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Searching For Doctor Branovic

Here's a treat that deserves more than its three shows at the Customs House.

Produced by Sunderland-based Theatre People, it featured five Wearside actors in a hugely enjoyable, farcical and dark comedy about a man, Joe Tyler, who survives his own suicide. Not only does he have to confront his own wife but there's a detective on his case and he's left a trail of destruction as he flees from the hospital morturary.

Jay Mullen and Sarah Boulter, who play the Tylers, had an excellent rapport and some great one-liners made for an abundance of laugh-out-loud comedy.

Steven Stobbs as the mysterious Doctor Branovic, Frank Ditchburn as the amiable undertaker Mr Bannister and Steve Langley playing the Columbo-esque detective were all engrossing and, again, the delivery was underplayed and effective.

This was a professional and polished cast using basic props and lighting. It embraced the DIY ethos and should be an inspiration to aspiring actors and producers in the region.

While it was slightly disappointing to find out that Searching For Doctor Branovic is a long-established play on the amateur circuit and not new writing, the biggest disappointment is that this talented Sunderland-based professional group are only performing in South Shields.

This should be attended by representatives of Sunderland Council to remind them that there is real talent among their constituents and that not having a professional theatre like the Customs House in a city the size of Sunderland is a disgrace.

by Ed Waugh

Unforgettable night

A bruised head, a bout of amnesia, a cheating wife, a scheming pornographer and a detective inspector who just wants to eat his sandwich in peace.

What more does anyone want on a drizzly night than a sharply-acted twisting farce featuring all of the above?

Forget-Me-Knot, by David Tristram, tells the tale of a man who may or may not be Robert Zeinfeld, found wandering in the North East suffering from amnesia.

Detective Inspector Monroe is the man charged with working out who this mystery man is, with the help - or rather hindrance - of Mrs Zeinfeld and his own wife Samantha.

The play is billed as "having more twists and turns than a buckled slinky", and is quite safe from prosecution under the Trade Descriptions Act.

It is the latest outing for Jay Mullen and his Wearside-based Theatre People and follows the success of Finders Keepers earlier this year.

Theatre People productions are, from what I've seen, a cut above: void of the obvious humour, North East jingoism and cringe factor that dog so many small-scale prouctions in the North East.

After five minutes, I'd already decided that Philip Chamberlin had stolen the show as Monroe, but this was challenged when Corinne Kilvington bursts into center stage as Mrs Zeinfeld with all the presence and pomposity of Miss Piggy on the warpath.

Then came Jay Mullen with an incredible performance as Mr Zeinfeld, every second packed with a comically-perfect gesture, an immaculately-designed twitch or a perfectly-pitched line.

The show was not yet complete, however, with Nicola Michelle Airey's brilliant performance of Monroe's tempestuous wife saved as a treat for the second half.

One audience member remarked that the number of twists in Forget-Me-Knot got "quite silly" - which I suppose is the point - and requires a strong cast to carry it off.

Thankfully, that's what it has.

by Ross Robertson

Edited by Katy Wheeler

Forget-Me-Knot

Robert Zeinfeld is a confused man - not of his own doing - a bump on the head resulting in amnesia and a night in the cells have attributed to that.

Inspector Monroe is also a confused man - he has nobody to blame but himself.

Robert had been found wandering the streets in his confused state, not sure of any what/if’s or but’s. His filofax knows who he is – but do anybody else? Monroe is on the case - he seems to think he is anyway!!! More confusion rains down when Robert’s frightful wife is summoned and she doesn’t know many if’s or but’s either. What she does know is that Robert shouldn’t be anywhere near where he was found and probably with a mistress, who he definitely shouldn’t be anywhere near. The mistress (Samantha) turns up later and all ‘hell and damnation’ of confusion is unleashed upon the stage.

Is Robert who everybody else says he is? Does he really have amnesia? If he doesn’t then what the hell is he doing with a wife like that in the first place? Is anybody actually who they maintain they are? Am I really reviewing this play in South Shields or am I really in The Bahamas?

What I do know is Forget-Me-Knot is one of the funniest British farces that I have come across with superb laugh out loud comedy brought to life by four fine actors.

Robert played by Jay Mullen is not only a great actor but also founder and owner of Theatre People. I have absolutely no confusion whatsoever about his ability on the boards. Both on and off the stage his professionalism shines through.

The bungling Inspector Monroe (no wonder The Bill has parted company from our tv screens with policemen like him around!) played by the impressive Philip Chamberlin has a long history of performance behind him, and a fantastic performance he gave tonight.

Corinne Kilvington as the horrid Mrs. Zeinfeld has come a long way since her honours degree in theatre around 2002. She has put in lots of hard work and it all came across brilliantly to the audience.

Nicola Michelle Airey as Samantha - the bit on the side - shouted, cursed and sexily swayed across the stage as though this was all real life. I wouldn’t mind having recurring amnesia if she was acting along with me.

A simple but effective stage set design of a police office and interrogation room filled the stage with as much comedy as the performers did. I hope it stands up to a few more nights of door slamming!

It did sadden me that the South Shields folk didn’t come along and embrace this great play. The sparse crowd though did summon up enough laughter to fill the room. Plays like this could well be a thing of the past if the public can’t congregate en masse.

Forget-Me-Knot is well worth the asking price of £10 at the Customs House. It is also being performed in Sunderland at Infinity Bar & Entertainment Suite (previously The Theatre Restaurant) on Saturday 2nd October - tickets are £19.95 but includes a 2-course meal: BOX OFFICE 0191 567 0611.

by Michael Hunter, spikemikeisbreakingaleg.blogspot.com

Small scale, big results

At the first line I sensed things were speeding towards a theatrical car crash, but my opinions soon swerved.

Finders Keepers did, however, keep me feeling like the moment of impact was imminent.

One way to judge a play is the watch test: How long before you look at your watch?

Finders Keepers is the first production which gave me no desire to glance at a timepiece either before or after the interval.

Based on Finder's Fee by Emmy Award-winning U.S. game show host Jeff Probst, and adapted by Jay Mullen of Sunderland-based Theatre People, the play is the latest in a long line of brilliant if small scale dramas at the Customs House.

It tells the story of a lost wallet, a stolen winning lottery ticket, a poker game and a building under lock-down.

All decks prepared for cringe as the first lines were uttered - British actors in British theatres adopting American accents to perform plays set in the U.S. rarely end well. This was very much an exception to the rule.

Not content with his adaptation and direction, Jay added his 10 years acting experience to an already strong cast.

Any regular theatregoer doesn't need to be told Steven Stobbs has been round the North East block, and no one could deny the humour of Michael Harrison's performance or the intensity of Tom Hutchinson's portrayal of his character, Robert.

Frank Ditchburn, a wee bit older than the rest of the cast, gave an excellent performance as the aged yet intriguing outsider Avery Phillips.

Two actors also well-known in Wearside's theatrical circles: Steven Langley - who pulled off a great take on the archetypal big city detective - and Keith Armitedge also cropped up in supporting roles.

This edge-of-seat outing, with dialogue and humour written and performed perfectly, is why I'd much sooner see a small-scale production at the Customs House than the more lavish, star-studded offerings upriver.

by Ross Robertson

Edited by Katy Wheeler