One after the other Oscar contenders are opening
in London. THE REVENANT (cert.15 2 hrs. 31 mins.)
is not just worth seeing for the performance of Leonardo DiCaprio
as Hugh Glass, a fur trapper and guide, who is left for dead after
being attacked by a big bear.
Director Alejandro G. Inarritu - who won the Best Director Award
at the Golden Globes 2016 - has put together a terrifically visual
film which, shot in natural light by cinematographer Emmanuel Lubezeki,
shows the vast wilderness of the Upper Missouri River terrain in
1823. Based on a true story, we see Leonardo drag his very injured
body over the ground as he sets out to revenge those who left him
for dead. Excellent performances by Tom Hardy and the young British
actor Will Poulter as the two who left him after being given money
by the leader of the expedition (Domhnall Gleeson) to look after
Leonardo shows that he is an actor who can depict
all emotions through his face and body. He suffers bravely for his
art in this film! Having won the Golden Globe for Best Actor, Di
Caprio is in the lead for the same at the Oscars. The film also
won Best Drama picture at the Golden Globes.
For female winner, look to Brie Larson who leads her rivals by
her performance in ROOM (cert.15 1 hr. 58 mins.)
as the mother of 5-year-old Jack (Jacob Tremblay) who escape from
the one 10 by 10 foot room with no windows, just a skylight, where
they have been locked up for Jack's whole life. A man just known
as Old Nick has kept them confined in this small space so that Jack
has never known anything outside. When they do escape he has to
get used to a whole new world. The film concentrates throughout
on the extremely close relationship between Jack and his mother.
Both actors interrelate really well and the performances that director,
Lenny Abrahamson has elicited from both are superb. The writing
is very well-done too, and as the scriptwriter is Emma Donoghue,
based on her original bestselling book, we must assume it is faithful
to her concept.
Up for Best Picture and Supporting Actor - Ruffalo and Supporting
Actress McAdams - is SPOTLIGHT (cert.15 2 hrs.
The subject sounds distasteful but the film is actually a true
and well-made account of the sexual abuse of children by Catholic
priests in Boston, which was brought to light in 2002 by a remarkable
team of investigators working for 'Spotlight' at the Boston Globe.
The disclosure didn't just shock Boston but had a wider impact on
the whole of the USA and indeed on the rest of the world.
It all starts when a new editor Marty Baron (Liev Schreiber) takes
over at the Boston Globe in 2001. He identifies the story of a local
priest abusing a large number of young children over his 30 years
in working in the Church and he wants the Spotlight team to investigate.
This means a major job of taking on the Catholic Church in Boston.
From left, Michael Keaton,
Liev Schreiber, Mark Ruffalo, Rachel McAdams, John Slattery,& Brian
d'Arcy James in 'Spotlight'
At first some of the team, including the Spotlight editor Walter
"Robby" Robinson (Michael Keaton) is concerned at the huge task
and the effect it will have on their largely Catholic readership,
but he and his team of reporters Sacha Pfeiffer (Rachel McAdams),
Michael Rezendes (Mark Ruffalo) and researcher Matt Carroll (Brian
d'Arcy James) approach the job professionally and spend all their
time looking first at one case and then at many more as the scale
of the paedophilia is realised. They are backed up by the Globe's
Deputy Editor Ben Bradlee Jr. (John Slattery)
They speak to the attorney of the victims, Mitchell
Garabedian (Stanley Tucci), interview adult victims who were assaulted
as youngsters and hear their very sad stories. There is an exciting
sequence when Mike Resenedes rushes around to get the court records
- which have been removed by the Catholic Church - released to the
public. As the team pour over the documents, it becomes obvious
that the scale of the abuse is much more extensive than was first
suspected. The team support the Editor's view that "We're going
after the system."
Obviously the Church officials, under Cardinal Bernard Law, the
Archbishop of Boston (Len Cariou), are very much against the exposure,
which the Spotlight team learn has been known about for decades.
After publication of the true facts, Cardinal Law was forced to
apologise and he resigned from his post in December 2002. He was,
however, re-assigned by Pope John Paul II to the Basilica di Santa
Maria Maggiore in Rome where he still serves!
The Boston Globe published the full article on 6 January 2002.
By this time the team had confirmed that more than 70 local priests
in Boston, who the Church had assigned to other parishes, were involved.
They paid money to the families of the child victims to keep the
cases confidential. Most of the youngsters targeted were from broken
homes or those without fathers present. The resulting furore led
to revelations in more than 200 cities throughout the world. And
in 2002, the Spotlight team published nearly 600 stories about sex
abuse by more than 70 priests whose actions had been kept secret
or covered up by the Catholic Church. At the end we learn that 249
priests have been publicly accused of sexual abuse within the Boston
Archdiocese, and, by 2008, 1,476 victims survived priest abuse in
the Boston area.
That the film is so engrossing and runs, at times, like a thriller
is due in no small way to the skill of the director, Tom McCarthy,
who directs the action so that film speeds along and he uses his
actors to get the best performances possible from each one. The
underplaying of the Editor is done so well by Liev Schreiber that
one can almost miss the subtlety he employs to enthuse his reporters.
Rachel McAdams puts in a performance of great honesty as she listens
carefully and sympathetically to the victims' accounts of their
suffering. Mark Ruffalo is most impressive, too, as he rushes around
in a most energetic manner pursuing each lead. While Stanley Tucci
has a smaller part, he manages to produce a character that shows
just what he has been through and how he now wants to help the journalists.
For most of you reading this, the story is no surprise as we all
became aware of what was happening as a result of the Spotlight
Team's work. How the film manages to put across the manner of the
investigation in such a thrilling manner is not known to most of
us. As a result of this film we can learn of the full extent of
the investigation into terrible crimes against small children.
The 1991 film, "Point Break" directed by Kathryn
Bigelow, was so special that the whole movie and especially the
performances of Keanu Reeves and Patrick Swayze remain in our memory.
The remake, POINT BREAK (cert.12A 1 hr. 44 mins.),
this time directed by Ericson Core, is a big disappointment.
The two main characters are here. Our hero is Johnny Utah (Luke
Bracey) who we see suffer a tragedy while taking part in an extreme
sport. This causes him to quit his sport and become an FBI agent.
Investigating robberies - involving stunts including motorcycling
and parachuting - in Mexico and Mumbai, Utah works out that the
robbers are practitioners of extreme sports and, in fact, are trying
to accomplish the Ozaki Eight - challenges to "honour the beauty
and power of Mother Nature." The challenges involve extreme sports
which take place in different parts of the world.
With the agreement of his boss at the FBI, Instructor Hall (Delroy
Lindo), and looked after by the English FBI contact, Angelo Poppas
(Ray Winstone), Utah manages to become part of the gang and joins
in with surfing, where at one point he is rescued by Bodhi (Edgar
Ramirez), the leader of the gang. Utah remains in conflict with
himself, his boss and the gang leader over exactly where he belongs
and how to end the adventure.
Although Luke Bracey is very attractive to look at, the acting
is pretty poor and the dialogue doesn't really assist. Ray Winstone
has the same London accent that he has employed in many films and
Delroy Lindo seems to be walking through his part.
The excitement - and indeed there is some - lies in watching the
execution of the extreme sports. Well photographed, there are some
thrilling episodes of motor bike riding, surfing, parachuting and
rock climbing, all photographed well and with some excellent stunt
work. I can imagine some of our 16 to 21 year olds really enjoying
THE HATEFUL EIGHT (cert.18 2 hrs. 48 mins.) which
is Quentin Tarantino's latest blood-filled film. In a kind of bloody
re-enactment of the Agatha Christie story And Then There Were None
the film relates how a group of strangers are stranded in a snowbound
cabin in a deserted Wyoming. Samuel L. Jackson is mesmerizing as
the bounty hunter and Jennifer Jason Leigh is his very feisty captive.
Although the film is over long Tarantino keeps the action going
and the blood bath is somehow never vicious.
Unusually for me, I'm recommending a film about boxing: CREED
(cert.12A 2 hrs. 13 mins.) This one about the son of Rocky's former
rival Apollo Creed brought tears to my eyes! Sylvester Stallone,
playing an older version of the famous boxer Rocky, is actually
good in this. He won Best Supporting Actor at the Golden Globes
Don't miss THE BIG SHORT (cert 15 2hrs 10 mins.):
very well-acted by Ryan Gosling, Christian Bale, Steve Carrel and
Brad Pitt, with some amusing lines. This is a tale of individuals
betting against the banks in the 2008 crash. Now on a very short
list for Best Film.
Well worth catching is the lovely little Icelandic film, RAMS
(cert. 15 1 hr. 33 mins.) which shows us two battling brothers who
are forced to come together when their sheep stock faces disaster.
Not quite the disaster that some forecast, DAD'S ARMY
can be much enjoyed particularly by those who were not great fans
of the original or who are new to the story. Not a marvelous script
but so well acted by Toby Jones, Michael Gambon, Bill Nighy and
lots of good British actors, that one can overlook this.
Not quite up to the standard of AMY,
the documentary about Amy Winehouse, nevertheless JANIS:
LITTLE GIRL BLUE (cert.15 1 hr. 47 mins), directed by Amy
Berg, has some very telling interviews with Janis herself, family
members and friends. Along with letters written by Janis and archive
material this provides a real insight into the iconic singer who
died much too soon.
The musical GUYS AND DOLLS, which
is the same production that Gordon Greenberg directed at the Chichester
Festival Theatre, is now on at the Savoy Theatre London (until 12
March 2016 then touring * Box office: 0844 871 7687). It
is something very special. The songs and music are well-known and
beautifully put across by a cast full of actors who sing (unlike
many musicals which have singers who also act). As a result the
story comes across very well and the songs are integrated into the
tale so that it is all one delightful whole.
Sky Masterson (Jamie Parker, now with more confidence and a more
definite personality than at Chichester) responds to a bet which
forces him to seduce and take a Salvation Army girl, Sarah Brown
(Siobhan Harrison), on a date to Havana in return for having 12
"sinners" attend the Army's prayer meeting. There is a lot of fun
with the group of card players, an amazing set of gamblers, who
have been given descriptive names like Nicely-Nicely Johnson. There
is also a sub-plot with the showgirl Miss Adelaide (the outstanding
Sophie Thompson) and her fiancÚ of 14 years Nathan Detroit (a charming
performance by the wonderful David Haig).
Sophie Thompson & David Haigh
Chichester has an apron stage, so the production
design has altered to a proscenium arch setting for the Savoy but
satisfactorily the surrounding area of the stage still has advertising
all over it and bright lights. The music seems to swell up from
within the set. Director Gordon Greenberg manages the set and the
actors deftly and he is greatly helped by the lively choreography
of the great Cuban dancer Carlos Acosta who really comes into his
own in the Havana scene. There are some very athletic dancers who
move deftly around the stage.
Based on the story and characters written by Damon Runyon with
music and lyrics by Frank Loesser, this production exactly captures
the New York speech of the guys and their dolls as written by Runyon.
All the lines are well and amusingly put across. "I never want to
see him again and have him call me here," says Miss Adelaide when
Nathan lets her down once again.
It is really good to see Big Jule actually played by someone genuinely
very tall and Nic Greenshields (who continues in the new production)
depicts Big Jule's limited intelligence very well. All the well-
known songs are put across with great musicality and lots of humour.
I very much like Nicely-Nicely Johnson (Gavin Spokes)'s spiritual
sounding "Sit down, you're rockin' the boat.
The star of the show is undoubtedly Sophie Thompson. Her Miss Adelaide
is a tremendous comic performance. She manages to put across each
of her songs in a different way so that her song about developing
a cold through lack of commitment from her fiancÚ Nathan varies
considerably from her rendition of "Take back your mink" which she
sings with her Hotbox Girls. Her whole body shows her emotions.
She gives a fine comic performance in a superb musical.
*Wed 16 - Sat 19 MAR 2016 - Liverpool Empire
Tue 12 - Sat 16 APR 2016 - Edinburgh Playhouse
Tue 07 - Sat 11 JUN 2016 - King's Theatre, Glasgow
Tue 14 - Sat 18 JUN 2016 - Milton Keynes Theatre, Milton
Tue 12 - Sat 16 JUL 2016 - Bristol Hippodrome Theatre
Tue 26 - Sat 30 JUL 2016 - New Victoria Theatre, Woking
Important notice: The cast for the transfer to the
Phoenix theatre has changed. Samantha Spiro will join
the cast as Miss Adelaide, alongside Richard Kind
as Nathan Detroit and Oliver Tompsett
as Sky Masterson. Continuing in their roles from the Savoy to the
Phoenix Theatre are Siubhan Harrison as Sarah Brown, and
Gavin Spokes as Nicely Nicely Johnson.
And for the touring version: Richard Fleeshman
and Louise Dearman are to lead the cast of Guys and Dolls on its
forthcoming tour of the UK. Fleeshman will play Sky Masterson with
Dearman playing Miss Adelaide in the Chichester Festival Theatre
production, which will begins its tour at the Liverpool Empire on
March 16. Dearman will perform in the show until April 30, however
the tour continues until July 30. Anna O'Byrne and Maxwell Caulfield
also join the cast as Sarah Brown and Nathan Detroit respectively.
RABBIT HOLE (Hampstead Theatre, London until 5
March 2016. Box office: 020 722 9301) is a most moving
play about loss and the way that those remaining deal with that
loss and their continuing relationship with each other.
A number of critics didn't really like this play by American
playwright David Lindsay-Abaire - which actually won a Pulitzer
Prize and was premiered in New York. Their complaint seems to be
that not much happens in the play. I would take issue with this
as everything that is said has an underlying currant of coping with
the loss of a child. There is a lot going on, only it doesn't manifest
itself in large action pieces or indeed dramatic occurrences. Director
Edward Hall has brought out the moving story in a very clear, well-designed
Tom Goodman-Hill as Howie
& Claire Skinner as Becca in Rabbit Hole
Some eight months' later Becca (Claire Skinner, better
known now for her TV appearances in Outnumbered) is suffering from
the loss of her four-year-old son who was killed by a young driver
as he ran into the road chasing the family's dog. Her way of dealing
with it is to get rid of her son Danny's clothes and possessions.
She wants to move. Her husband, Howie (Tom Goodman-Hill looking
completely different from his part in Mr Selfridge), however, wants
to stay in the house. He finds it eases his pain to watch home movies
showing his son playing with his parents.
Becca's sister is not a great help. Becca is upset when her younger
sister, Izzy (Georgina Rich), a flighty, very chatty girl, casually
announces that she is pregnant with her musician boyfriend. Becca's
mother (Penny Downie) is not that much better; she talks about her
own bereavement in the past and equates her daughter's with that
and then she talks casually about the Kennedys and all they have
suffered. The mother tries, but not very effectively to help her
"This feeling - does it ever go away?" Becca asks.
"No" replies her mother.
Meanwhile Danny's accidental killer, young Jason (a nice quiet
performance by Sean Delaney) comes to the house trying to find peace
for himself but also believing he can help Becca and Howie. It is
Jason, telling a story he has written about a warren leading to
parallel universes which gives the play its title. Becca tries to
help Jason by telling him that it was an accident.
The evocative set shows the house the couple live in - the living
area with kitchen behind and stairs going up where above we see
the little boy's room.
There are many very truthful moments in this play which, I am sure
will resonate with those who have lost someone close to them: the
inability of the couple to make love, to lead a normal life and
for ever coming back to their loss in their conversation. There
is good use of humour in the writing - which again is what people
use to deal with their grief. Both Skinner and Goodman-Hill are
just excellent in this play. They capture the continuous pain which
bereaved people carry around with them - even when they are not
speaking, you can see it in their eyes.
It is sometimes a hard play to watch as losing a child is probably
the greatest loss of all. Because of this I am not sure whether
this play is destined for the West End. I would like to see it have
legs, but have my doubts because of the subject matter. It is, however,
most certainly worth a visit.
Adrian Lester inhabits the character of Ira Aldridge, the black
American actor who performed in Othello in the London theatre for
two nights at Covent Garden Theatre in 1833 in RED VELVET
(Garrick Theatre, London until 27 February 2016 Box Office: 0330
The play by Adrian Lester's wife, Lolita Chakrabarti was first
presented at the Tricycle Theatre, London. It has already been seen
on Broadway and now comes to a most appropriate theatre, the Garrick
in London. Lester brings the character to life. We see him arrive
in London and astonish the theatre company at the Covent Garden
theatre when he is called upon to play Othello - "What, a black
Othello!" the company exclaim! Aldridge is to replace the famous
actor Edmund Kean who has collapsed on stage.
It is not just his colour that upsets the company
but the fact that he is trying to bring realism into the exaggerated
gestures as used on the London stage. Ira himself, of course, would
look false to our modern eyes but he brings much more reality into
his performance than the other actors.
Director Indhu Rubasingham brings out the culture of the time and
elicits strong performances from the whole company. We really believe
in what we see on the stage. There is much to learn about the racial
prejudice of the era but a lot of it is prevalent and relevant today.
The main events of the play - the few days that Ira is at the Covent
Garden theatre - are bookended by scenes in Ira's dressing room
in Lodz, Poland at the end of his life when he is being interviewed
by a pushy journalist. These didn't work as well as the rest of
The whole cast perform well, and we can see in their reaction to
Ira when he tries to encourage them to make their performances better
and bring some meaning into their work just how they treat him.
There is an excellent portrayal by Mark Edel-Hunt of Charles Kean,
who shows his anger and disappointment at Ira's arrival as he expected
to get his father Edmund's parts when he collapsed. Charlotte Lucas
shows us the actress Ellen Tree who actually listens and tries to
learn from Ira as he helps her to put across Desdemona. And in the
small but telling part of Connie, the black maid, Ayesha Antoine
gives us a young woman who listens quietly but shows she is obviously
adversely affected by her treatment by others. As the Manager, Pierre
Laporte, Emun Elliott presents a determined man who pushes the others
into working with the outsider and hopes they will learn from him.
But he has to tell Aldridge to go when the critics tear him to pieces.
The star of the show is, of course, Adrian Lester who is superb
as the outsider who comes into a theatre expecting to become an
equal part of a renowned company, and instead finds that most of
the others believe he is to be feared and that basically he is inferior.
It only has a short run, but I urge you to make an effort to see
the play and enjoy Lester's wonderful portrayal of the travails
of a black actor in 19th century London.
Just closed at the King's Head, London, I would be surprised if
THE LONG ROAD SOUTH doesn't return to this theatre
or another in the near future.
It's extremely hot Indiana in the summer of 1945, both weather-wise
as well as politically as it's the time of the civil rights marches.
Andre (Cornelius Macarthy), the black gardener, is using all his
efforts to get to Alabama to take part in the protests but mainly
to see his daughter who is in an Institution. He is kept in his
post by the young daughter of the family who needs him for support.
This is a well-developed production by Sarah Berger, with good
performances from Imogene Stubbs as the mother and Michael Brandon
as the father. The servants are well played too by Macarthy and
Krissi Bohn as his feisty girlfriend. Let's hope we see more of
Just closed too is 4,00O DAYS (Park Theatre, London).
Alistair McGowan plays Michael who has been in a coma for three
On waking in hospital he finds his mother Carol (Maggie Ollerenshaw)
fussing over him. They are joined by his partner Paul (Daniel Weyman).
While Paul and his mother argue over who should look after him,
Michael cannot remember his last 10 years with Paul. Paul wants
to continue their relationship but Carol encourages her son to abandon
his boyfriend. Peter Quilter has written a fascinating play with
lots to say about relationships - that between a mother and her
son, that between a man and his male partner and that between a
mother and her son's boyfriend. It's a situation we can recognise
even though our circumstances may be different. Michael's mother
has always been close to her son and with his illness and loss of
memory she sees the chance to get control of her son's life again.
Michael, who used to paint but gave it up to work in a steady job,
now finds that he really wants to be an artist once more.
Those used to seeing McGowan just as an impressionist will be
impressed at his skills as a formidable actor as displayed here.
He is able to portray a man just waking from a long sleep and then
re-establishing his relationship with his mother, but most of all
coping with how to respond to the obviously very keen Paul, whose
existence he has forgotten and making the big decision about how
he is to lead his life in the future. Meanwhile he has to deal with
the contest between his mother and former partner.
Excellent supporting performances by Daniel Weyman
as the kindly supportive lover who has to face new challenges when
he realises that his erstwhile partner has forgotten him. Maggie
Ollerenshaw is able to move her face to show a range of expressions,
from loving care for her son to an angry disapproving face when
she looks at Paul. It's worth trying to catch this play if revived
or put on at another theatre.
Using many of the same theatrical devices that he used in The
Father Florian Zeller's companion play,
THE MOTHER (Tricycle Theatre, London until 5 March
2016. Box office: 020 7328 1000), translated by Christopher
Hampton as in the other play, shows us a mother who is very distressed
by her two children moving out of the family home. She is particularly
close to her son (William Postlewaite) and misses him dreadfully.
As in The Father scenes, and even lines, are repeated, generally
in a different manner. As the play progresses we learn a lot about
Anne (Gina McKee) who suffers not only from her children having
flown the nest but also from her deep suspicions that her husband
(Richard Clothier) is having an affair. The play has many dramatic
moments, all put across well by the cast, particularly McKee.
Not a concert and not really a play in the normal sense, THE
PIANIST OF WILLESDEN GREEN (St James Theatre until 27 February.
Box office 0844 264 2140) has elements of both. Telling
the story of her mother, Mona Golabek acts out the parts as she
speaks. She also plays the piano and the whole event is so moving
that the audience is absolutely absorbed. Over 90 minutes Mona tells
how her mother escapes to England from Vienna on the Kinder transport
in 1938 and was moved around. She remained passionate about playing
the piano and lived through a number of homes until she was sympathetically
received in a refugee home in Willesden Green. Here she was able
to play the piano and studies and plays until she makes her debut
in London's famous Wigmore Hall.
Peter Brook's productions are always visually exciting and so it
is with BATTLEFIELD (Young Vic Theatre until 27
February). Working with Marie-Helene Estienne he manages to show
the essence of the Mahabarata following the end of the major war.
With an almost bare stage and few props and just four actors and
a musician, Brook presents some simple truths about war and death
and coming to terms with the end of life on earth. Speaking in English,
the actors illustrate some fables, acting out the parts of the creatures
including a worm and a falcon and pigeon. The actors make contact
with the audience; at one point divesting themselves of the many
scarves they have used and passing them on to 'poor people'.
"Are you poor?" The actor asks a member of the audience. "No" is
the answer. "Well, you look poor," the actor says to another and
gives him a scarf.
The Japanese drummer, Toshi Tsuchitori who illustrates all the
stories, is amazing and we listen in rapture as he executes a solo
at the end which leads into silence.
Although THE WINTER'S TALE (Sam Wanamaker Playhouse,
London until 22 April 2016. Box office: 020 7401 9919)
is not one of my favourite plays - not least because of the middle
part which is set in an idyllic countryside where the old shepherd
lives - director Michael Longhurst does stirling work in this lovely
candle-lit theatre. He manages to bring out the comedy as well as
the tremendous pain suffered by Hermione (gracefully played by Rachael
Stirling) as the wife wrongly rejected by her husband, Leontes (John
Light) in his extreme jealousy. He accuses Hermione of adultery
with his friend Polixenes (Simon Armstrong).
Almost in darkness as the candles dim, the bloodied Hermione,
who has just given birth to Leontes's daughter, appeals to him.
She is backed by the feisty Paulina (Niamh Cusack) who tries to
thrust the baby into Leontes's arms. The scenes between the grown
Perdita (Tia Bannon) and Florizel (Steffan Donnelly), son of Polixenes,
are well calibrated. Florizel is pretending to be just an ordinary
man and not of high birth. The old shepherd is well played by Sam
Cox and the rest of the cast work well together and enter into the
spirit of Longhurst's production. There is an amusing portrayal
of the villainous yet comic Autolycus by James Garnon.
Niamh Cusack as Paulina, Rachael
Stirling as Hermione & John Light as Leontes in The Winter's Tale
The ending, as always is preposterous, but in the beautiful candle lit setting of the Sam Wanamaker Playhouse we can almost believe that dead Paulina comes to life.
THE RESTORATION OF NELL GWYNN (Park Theatre, London)
is the first of two plays in London about the mistress of Charles
11. This amusing little play, shows Nell (Elizabeth Mansfield) waiting
for the King to die. As she is refused permission to visit him all
she and her maid Margery (Angela Curran) can do is to discuss what
will happen to Nell when he dies. The political climate of the time
is almost ignored except for little lectures that the two women
give to the audience. There are some lovely songs by Purcell beautifully
sung by Mansfield.
It is good to see the revival of Stephen Sondheim's ROAD
SHOW (Union Theatre until 5 March. Box office 020 7261
9876). Telling the story of two brothers who leave home to
make their fortune, Road Show shows us how they travel the country
looking for the right jobs and life style. The brothers are very
different and this is well brought out in director Phil Wilmot's
production, as indeed is the difference in characters by the two
actors, Howard Jenkins as Addison and Andre Refig as Wilson Mizner.
Joshua LeClair is good as the very young wealthy Hollis, Addison's
A pleasant score and some easy choreography - difficult on the small stage - make this an enjoyable show.