THE RINK till 4 October
Coventry
THE RINK: Music John Kander, Lyrics Fred Ebb, (from the book by) Terrence McNally
Belgrade Theatre: Tkts: 024 7655 3055
Runs: 2h 30m, one interval, till 4 October
Review: Rod Dungate, 11 September 2003
Interesting but not special: a collector's piece with some very collectable moments
THE RINK is Hamish Glen's debut production as the Belgrade's Artistic Director. An unusual choice . . . . interesting, but not special. The action rolls along engagingly and there are two terrific performances from Diane Langton and Lucy Williamson (rink owner, Anna and her daughter, Angel). But the show, while it engages you pleasantly, never really reaches out and grabs you by the throat.
The show is written by John Kander and Fred Ebb: They brought us shows such as CABARET and CHICAGO: you can't help noticing that THE RINK doesn't quite match up to these. It may be that the story just isn't important enough to us. Anna was married to Dino who was part of a family of roller-skating rink owners. He left her to plough other furrows, leaving her with their daughter Angel. Angel leaves home and returns to her heritage (the rink) just as her mother has sold it and it's about to be razed. The truth of the matter is that we just don't have the same emotional (historical) response to a roller-skating rink in the UK as may have been true in the US. The play is as much about 'times moving on' as it is about the mother-daughter relationship: the rink metaphor is strong for the play but doesn't click with us.
This combines with two other weaknesses in the show's construction. There are some good numbers, but none that are really good. And what would be the best bit of a show about a roller-skating rink? Well, surprise, roller-skating. In Glen's production there's only really one bit and we have to wait for the second half. Performed by the men it's the nearest to a show-stopper (well deserved) that the show has.
On balance, therefore, THE RINK is a worthwhile collector's piece. And some really collectable moments. Diane Langton opens will a long, musically not terribly interesting, solo. She carries it with her truth and calm intensity. Elsewhere in the evening she has a strong passionate voice which certainly engages us. (I hope she's careful though, her voice was showing signs of strain the night I saw it.) Opposite her is her mum, Anna Diane Langton. This is a great part for a feisty performer. Langton never disappoints she has the best numbers and makes the most of them: she stamps her mark on all with her opening CHIEF COOK AND BOTTLE WASHER. When the two women sing together there is a marvellous rapport between them (as in the second half opening THE APPLE DOESN'T FALL). Great stuff.
Perhaps for budget reasons Glen has taken the decision to double smaller women's roles by the men actors. This is unwise: the stylistic inconsistency is uncomfortable and leaves the audience confused. WHAT HAPPENED TO THE OLD DAYS, for instance is an important song, a lot of truth in it, in a way. But it become unbelievable when two of the 'women' are clearly men, no matter how good (and they are very good) their performances are.
Anna: Diane Langton
Angel: Lucy Williamson
Little Girl: Faye Gibson, Hannah Tallentire
Dino: Rufus Dean
Buddy: Simon Bishop
Tony: Sion Lloyd
Tony: James Telfer
Lucky: Andrew Overin
Ben: Dermot McLaughlin
Director: Hamish Glen
Designer: Patrick Connellan
Musical Director: Hilary Brooks
Choreographer: Rita Henderson
Lighting: Mike Robertson
Sound: Nik Dudley
2003-09-12 10:48:55