Tag Archives: Upstairs at The Gatehouse

The Blonde Bombshells of 1943, Upstairs at the Gatehouse

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If you are travelling a long way for something you want to be sure it is worth the journey. I have visited the tiny loft theatre Upstairs at the Gatehouse in hilly Highgate before, but never have I witnessed such an evocative and fun production as The Blonde Bombshells of 1943, a show that overwhelms the limited stage space and entertains an audience of all ages.

This late Alan Plater work is filled with warm nostalgia and retro charm; I wonder why the production has been such a rarity in the London theatre. Set in the crucial year of 1943, the narrative portrays the struggle and trauma of the Second World War, the lost husbands and missing boys, the constant worry for those left behind. Bomb explosions echo throughout the show, contrasting the melodic musical numbers.

The story is simple and sweet… the bold Blonde Bombshells band provide light entertainment for audiences in the north of England in need of distraction from the war. The four band members are led by bossy but kind Betty (Louisa Beadel) a phenomenal saxophonist; they are in search of new recruits for a big television performance. A naïve nun comes on board, a giggly schoolgirl joins and a precocious army driver completes the group, together they are the Valentino trio, a close harmony unit resembling the Andrews Sisters. Rehearsing for their big showcase, each girl’s story unfurls, the challenges and sacrifices that they have had to face because of the war and the small pleasures they reap from their musical talent. When a war-evading young man comes along to play drums for the band, the group dynamic changes again.

Despite their young years, the cast present the show with a wise and touching sensitivity for this bygone era. Each character displays staggering ability on a variety of instruments, whilst also acting, singing and speaking in a broad Yorkshire accent! I was particularly impressed with Giovanna Ryan, the only real blonde in the group, who strums effortlessly on her double bass and sings beautifully and Emma Jane Morton who displays a youthful enthusiasm that is infectious and sings with an affecting lilt in her voice.

I spent the long bus ride home texting friends recommending the show, and I encourage you to buy tickets too.

Continues until 29 June, book tickets here.

THOROUGHLY MODERN MAN: Così Fan Tutte, Upstairs At The Gatehouse

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photography by Laurent Compagnon

Upstairs At The Gatehouse is the resident playhouse for Hampstead Garden Opera, a company that exists to provide, among other things, a platform for fledgling young opera singers to hone their craft before tackling some of the industry’s big-hitters.  In aiming to achieve ‘professional standards within an amateur framework’, this organisation more than fulfils its objective.  I was extremely impressed by both the standard of performance and the discovery of diverse singers at varying stages in their careers.  The venue was also a revelation for me; yet another great stage tucked away in the upper stories of a pub.  Top marks for offering Royal Opera House standard ice creams at fringe playhouse prices at the interval; I recommend the Honey and Ginger for your next visit!

On to the action and my ringing endorsements continue.  The opera buffa was presented in English, with a sparky and witty libretto that set the scene in Sicily during World War II.  The set was minimal and functional, yet effective.  I have recently performed excerpts from this opera, so I was poised to criticise anything that fell out of line with my own ideas.  However, I must say, I was delighted to be treated to a number of different slants on characters and relationships throughout the evening.  Nick Pritchard (Ferrando) and Jake Daichi Gill (Guglielmo) captured the camaraderie of two war comrades and also succeeded in conveying the ultimate hurt that these friends cause each other.  I also commend them for embracing and showcasing the youthful qualities in their voices, for it is all too often that one hears a strangled Pavarotti wannabe in an amateur opera performance.  Faustine de Monès (Fiordiligi) and Katie Slater (Dorabella) also complemented each other admirably, with the latter convincingly appearing to be the more coquettish of the two, who ultimately turns first for her naïve friend to follow.  The undisputed star for me was Alice Rose Privett, whose portrayal of Despina was masterfully sung and coyly acted throughout.

The performance was accompanied by the Musica Poetica London Orchestra, who gelled with the modern interpretation of the music, while maintaining Mozart’s quintessential touch.  Hats off to Dorian Komanoff Bandy, for fulfilling the tricky role of conductor and fortepiano player; his recitative accompaniment was at all times refreshingly evocative.

Unfortunately this great run has just come to a close, however, I recommend you get in early with reservations for HGO’s forthcoming production of Monteverdi’s ‘L’Orfeo’ in November.  I predict yet another sell-out run.

Visit the HGO website here for more information.

Written by a Thoroughly Modern Man, Mark McCloskey.