AIN’T MISBEHAVIN’ by Fats Waller Directed by Brendan Murray

Ain't Misbehavin' is not quite a musical - it's more a revue. Some 30 Fats Waller tunes are crammed into just under two hours, which makes for a high quotient of hummable melodies and lyrical ingenuity. Oxfordshire Theatre Company… executes this with panache. The band, led by experienced recitalist Dominic Harlan, doesn't languish in the pit, instead it is pushed centre stage among the singers, and they seem to relish it. The comical numbers sparkle - Your Feet's too Big, Find out what they like and Fat and Greasy form a trio of howlers in Act II, replete with razor-sharp rhymes and slapstick choreography. Just when it seems the show will end in unbounded mirth, the mournful and politically-conscious Black and blue reminds us that Harlem's Cotton Club was not all spats and saxes, but in the centre of a ghetto. It is impeccably sung in five-part harmony. The Stage 6th March 2008 A terrific set by Jane Linz Roberts conjured up a smoky jazz den… imbued with the sexy and sultry vibe of 1920s speakeasy culture. The songs run a gamut of styles and subject from sad/bluesy, saucy/sexy, to outright hilarity. The cast embrace the challenge of this fast-paced show enthusiastically. Particular highlights for me were the soulful Mean to Me sung with heart-wrenching emotion by Sharon Wattis, and the side-splittingly funny Your Feet's Too Big from Nigel Phillips. In ensemble the company were excellent, for instance, in the end of show let-it-rip' finale, or in their sophisticated renditions of social commentaries, such as Black and Blue. Musical director Dominic Harlan has melded his musicians and singers into an impressive team, who genuinely celebrate this great songwriter. The is the last project with Oxfordshire Theatre Company for artistic director Brendan Murray. He is bowing out on an incredible high and should be very proud of this bold new production. Ain't Misbehavin' is a polished and exciting show and will delight all those who come out to see it. Oxford Times 13th March 2008

THE DELICIOUS REVENGE OF PRINCESS RUBYSLIPPERS Written & directed by Brendan Murray with music by Richard Taylor

A thoughtful play, which neither patronises nor intellectualises, kids will delight in the multiple turns of Orla Cottingham as a harried mum, slightly wonky fairy godmother, baying wolf and D'Artagnan-like Prince Charming. The three children are played with skill and accuracy by Matthew Tanner, Paul Stephenson and Chloe Lang. Lang, as Ruby, commands a fine repertoire of faces and voices, while Tanner has the proud struts and rolling eyes of the rather precious Jake down to a fine art. Meanwhile, Tom (Stephenson) relishes the moment he mutates from a shy onlooker to the prince who must kiss Ruby awake. The Stage, 20th December 2007 The Delicious Revenge of Princess RubySlippers, written and directed by artistic director Brendan Murray, is a charming adventure into the imaginative world of children and their play. Chloe Lang is charming as the feisty Ruby, with Matthew Turner a great foil as the petulant Jake. The most captivating performance was that of Paul Stephenson as their friend Tom, who is only too eager to kiss the Princess, the frog, or anyone! Orla Cottingham does great work in her quick changes from Mum, to Fairy Godmother to Wicked Witch, and keeps the dramatic tension humming. The youngest members of the audience were kept on their toes, but I did not notice any upset as this is a well-thought-out family show for all ages. The audience in cosy Begbroke Village Hall - where I saw the show - ranged from babes-in-arms to senior citizens, who all seemed entranced. The Oxford Times, 5th December 2007 Psychologically acute and great fun it's borderline farcical, with quick exits and entrances, plus a chase, and the light, pointed interplay of the script. All four actors are expert and seem to be having as good a time as I did. And that's a very good one indeed. Brendan Murray wrote the script and directs the production. What's more he runs the company. Is he that good? He is, as this witty, deft and perceptive evening shows. Reviews Gate 7th January 2008

UNDER MILK WOOD by Dylan Thomas Directed by Brendan Murray with music by Jon Nicholls

The Oxfordshire Theatre Company has come up with pure gold for its latest production. Originally a play for voices, the excellent cast flow through Thomas's poetically eloquent alliterative prose with a magical grace. I can honestly say I have never enjoyed a production of this work so well. In addition to the tremendous directorial vision of Brendan Murray, further potency is added by the use of sign language throughout by the cast. The Oxford Times 17th March 2006 Oxfordshire Theatre Company makes imaginative use of small spaces to make the play visually interesting; the objects on stage and the way the characters move around the edge of the space: it all works to conjure up the image of the Welsh village for the audience, and makes the play visually interesting. The timing of the dialogue is perfect, the voices of the character passing the lines back and forth in a stream of consciousness that gathers pace and rhythm throughout the two hours of the show. Surreal and evocative of an earlier, quieter time, this is an adult play for understated but quality entertainment, not to be missed. Daily Info 16th March 2006 This new production by the Oxfordshire Theatre Company makes the most of Thomas' wonderful cadences, without distracting itself by way of props or flashy devices. Use of music and sound effects is well judged throughout, and there is enough variety in the voices to give the sense of a community five times the size of the cast. At the heart of the Llareggub townscape is David Ellington, who acts in sign language throughout. His Lord Cut Glass is a joy, tick-tocking away in a house crammed with clocks. Elsewhere, the racier aspects of the play are handled well, particularly the bawdy playground scenes, and Hannah Timms' Polly Garter and Gossamer Beynon are creatures of sensuous longing, both comic and melancholy. With the autumn chill fast approaching, this production is a heart-warming treat. The Stage October 2007

THE FALLING SKY by Brendan Murray Directed by Clare Smout with music by Jon Nicholls

Brendan Murray touches on almost every rural concern in this tender and ultimately shocking piece, which charts the intertwined lives of five country dwellers over one year.

The conflicts are subtle and the characters never mere mouthpieces for whichever issue is uppermost - the Hunting Bill, farm payments, agro-chemicals, biodiversity, loneliness and isolation. They all have the ring of truth about them, especially Hazel Maycock's delightfully garrulous Patience, cramming her beret on top of her new hairdo and prepared to "go to London to make a stink."

Two strong threads bind the community and the play together. One is the ageless English folk songs sung a cappella and the other the disturbed, Bible-spouting village character, John, powerfully played by Stephen Middleton in his first professional role. In his desperate delusions, speaking as a leader of the Peasants' Revolt or a farmer's boy at the Somme, he embodies all the history that has influenced rural communities over the ages. The Stage 29th March 2007

This really is a landmark production for Oxfordshire Theatre Company. The Falling Sky, written by artistic director Brendan Murray, is a rare thing - a contemporary play that captures the essence of rural life as it is lived today. Without sentiment or cliché, it is a snap-shot of a part of society that few who do not live within it ever really grasp. Murray has created a group of archetypal characters to populate his fictional Oxfordshire parish, where the well-constructed, cohesive plot contains more than a few shocks and surprises on the way.

The direction, by Clare Smout, is first-rate, eliciting great performances from the excellent cast of five, each of them strong and moving. These country folk are a million miles away from the stereotypes found in The Archers, and the story is anything but everyday.

Sharply defined, with flawless pace, the production is formed around the four seasons of the year and this perennial symmetry gives the show a timelessness which juxtaposes perfectly with the contemporary issues it confronts. Oxford Times 30th March 2007

THE FIREBIRD by Jane Buckler Directed by Brendan Murray with music by Richard Taylor

There is no mistaking the Russian influence on Oxfordshire Theatre Company's new show. Jane Buckler's adaptation of The Firebird respects the traditional folk tale of the magical bird that can bring both good and bad fortune to whoever captures it that is perfect for young audiences.

It is a tale with lots of adventure and the characters all learn valuable lessons. But the reason why it is so entertaining is largely down to the enthusiastic cast of four whose playful performances are a delight.

But also contributing to the success are an imaginative staging and excellent songs, which move the plot along while sharing the hopes, fears and dreams of the characters.

Oxford Times 1st December 2006

Oxfordshire Theatre Company has thought very carefully about the types of storytelling that appeals to children. It is not remotely patronising - there is no flinching from the morbid subtext central to many fairytales but at the same time there is plenty of optimism and good humour to leaven the darkness.

Sam White's Ivan has a rather sweet impetuosity, continually hovering between hope and despair. The practicalities are thus left to Elliot Quinn's Wolfie, whose selective memory and occasional unpredictability only complicate the journey.

Throughout the twists and turns of the narrative, a screen carries abstract projections, calling to mind some of the more surreal kids TV programming from the seventies and eighties. Not that the production is dated - this is a timeless story and judging by the reception it is getting from both children and parents, Oxfordshire Theatre Company has brought it to new audiences with the subtlety and care for details it deserves.

The Stage 14th December 2006

SCARLET RIBBONS by Brendan Murray Directed by Darren Cheek

Scarlet Ribbons is the heart-warming story of an unlikely friendship between the elderly Dorothy and PJ - a teenage boy. As these two very different people begin to share their hopes and fears, they discover they have more in common than either of them could ever have imagined. The show mixes gentle humour, real emotion and a drop of the hard stuff with five wonderful songs - sung live - made famous by the legendary Nat King Cole. Winner of the WGGB Best Play (Children & Young People) 2009 The show was directed by Darren Cheek and performed to intergenerational audiences in residential homes for older people and secondary schools. There were no newspaper reviews but some typical audience comments are listed below: Everyone was captivated… Poignant, moving story and acting. Exceptional singer… The storyline was brilliant as was the singer… Residents and pupils in Oxfordshire, October 2008

HOUSEWIVES’ CHOICE by Brendan Murray Directed by David Haworth

Set in the early 1950's, informed by personal memories and with a host of songs from the period, Housewives' Choice takes a comic and affectionate look back at the joys and tribulations of young married life. A co-production between Oxfordshire Theatre Company and Forest Forge Theatre Company, the show was directed by David Haworth and performed to audiences in residential homes for older people. There were no newspaper reviews but some typical audience comments are listed below: Some said they felt they had gone to the theatre! And all stayed awake! The Cotswold Home, Burford July 2005 No words can say how highly we praise this play. Oxford Deaf and Hard of Hearing Centre The residents were unstinting in their praise for the professionalism of the performers and the enthusiasm that they brought to the production. St Katharine’s House, Wantage

PEOPLE ARE LIVING THERE by Athol Fugard Directed by Brendan Murray

A KNOCK-OUT

This year's spring tour by the ever-adventurous Oxfordshire Theatre Company is a revival of a rarely performed work by Athol Fugard.

Set in the 1950s in a shabby boarding house of an inner-city suburb, it reminded me a little at first of the sitcom Rising Damp. But whereas Mr Rigsby's manic tirades were side-splittingly ludicrous, landlady Milly Jenkins (a stirring performance by Jilly Bond) touched one's heart, as her deprived and joyless life was laid bare. It's her 50th birthday and her ghastly husband has decided to trade her in for a younger woman. Not one to be beaten, however, she decides to hold her own celebration, but the only guests available are her down-at-heel, rather peculiar lodgers. As the evening progresses, this motley crew get a lot off their chests about their problematic lives and the elusive search for happiness, in a story that is both moving and exciting. As scruffy would-be genius Don, Philip Dinsdale shone, arousing empathy for a character who longed to achieve something, anything, but would probably end his days in his squalid digs, endlessly drinking coffee and sniping with Milly. As a foil for this Sam White's simple-minded Shorty was brilliantly cheerful and positive, and this crazy threesome partook of one of the quirkiest birthday parties ever staged. As always, a cunning set design really invites the audience into the action. I was going to say that it's ‘in the round' but it's actually more ‘in the rectangle'. The lighting design by Adam Leigh is particularly effective, evoking simultaneously their dingy interior lives and the tantalising larger world as cars fly by outside taking other people off to good times and better lives. The Oxford Times, 11th March 2005

NOAH’S ARK by Brendan Murray Directed by Chris Garner with songs by Jon Nicholls

The Oxfordshire Theatre Company has been visiting village halls and small venues for a quarter of a century. Under the present artistic direction of Brendan Murray, who wrote this piece, the company maintains an eclectic and commendable repertoire. Noah's Ark, billed as a family show for everyone over six, is a free-ranging exercise in the fanciful and any connection to the original flood seems purely coincidental. Most of the action takes place in Linda and Dave's shambolic back garden, with Heath Robinson water pipes and a variety of semi-domesticated animals. Adrift in an imaginary boat, they survive the second great flood in the company of an ill-tempered parrot, two rabbits and a dog called Malarky. Played by Mark Huckett, this odd animal has both a degree in German Romantic Literature and a habit of addressing the audience to impart canine wisdom. Having a sense of the ridiculous is an essential element in the appreciation of this audacious and sometimes downright barmy tale, interspersed as it is with folksy little musical numbers and attacks of flatulence. Finally in an act of reconciliation that defies received wisdom, the argumentative duo, eyeing each other lasciviously, walk off into the proverbial sunset. The Stage, 17th December 2004

This new production of Noah's Ark by Oxfordshire Theatre Company was no larky pre-Christmas biblical tale of animals going in two by two. Instead Artistic Director, Brendan Murray has written a more modern fable of 21st century life revolving around the troubled family relations surrounding a boy called Noahand his disputing parents. Animals still do feature, though. The story is narrated largely by the family dog, Malarky, played with a great deal of fun by Mark Huckett. As in all good plays something dramatic happens to bring about a life-affirming attitude adjustment, and this duly happens in the shape of a flood of biblical proportions. The set, comprising a shed and washing line full of clothes, cleverly becomes the boat that saves the family from the ghastly storm. The Oxford Times, 3rd December 2004

BIG BABY Written & directed by Brendan Murray with music by Olly Fox

Theatre aimed at young people is notoriously difficult. Too abstract and you lose their attention; too simple and you patronise. Big Baby gets it just about right. Brendan Murray’s play… is an imaginative and often surreal look at adoption, exploitation and abandonment. Manchester Evening News, 30th September 1999 Big Baby, written and directed by Brendan Murray, is like no other show I have seen by this company. In a sense it’s a fairy tale but one blacker than anything devised by the Brothers Grimm. But despite its firm base in the fantasy genre, it is a deeply polemical play, making sharp points about education and the commoditisation that modern day society seems obsessed with. As you can imagine, this fairy story doesn’t end happily ever after but spirals into tragedy. Yet it’s not a stodgy morality tale; it is often very funny indeed, albeit containing some of the blackest comedy you will ever see. The Oxford Times, 1st October 2004 Murray’s extraordinarily clever fable is everything you don’t expect from a play designed for teenagers. In a bewitching mixture of parable, dumb-show, song-and-dance and a fistful of other theatrical tricks, Murray takes on half a dozen huge ideas. Douglas Irvine’s production rises magnificently to the challenge of this ambitious script…and the 14-year-old I took with me – visibly gob-smacked by the end, was just as enthusiastic. The Times, 4th October 2005 Disturbingly compelling… Rather than regurgitate clapped-out platitudes… Murray’s resistance to a happy ending is unflinchingly honest [and] hits where it hurts. Glasgow Herald, 3rd October 2005 Murray’s play for teenage audiences is a grand metaphor about modernity, industrialisation and capitalism…chillingly forceful and poetic. The Scotsman, 4th October 2005

MY FOOLISH HEART by Brendan Murray Directed by Sean Aita

Based on material gathered during reminiscence sessions with older people My Foolish Heart is a comic but always affectionate boy-meets-girl story with a handful of great songs from just after the Second World War . A co-production between Oxfordshire Theatre Company and Forest Forge Theatre Company, the show was directed by Sean Aita and performed to audiences in residential homes for older people. There were no newspaper reviews but some typical audience comments are listed below:

Thank you so much for a fantastic afternoon! We haven't enjoyed anything so much in ages.

Oxfordshire Cheshire Home

It struck a note for me.

St Luke's Hospital

Thank you very much for such an excellent cast- who were aside from the performance, professional, courteous and sensitive to the needs of our client group.

Bicester Day Centre

BIG SISTER, LITTLE BROTHER by Mike Kenny Directed by Brendan Murray with music by Jon Nicholls

Samantha Adams & Jon Aitkin in Mike Kenny's madcap comedy sequel to The Emperor’s New Clothes.

Following the twists of fate that befall the two tailors of the Emperor’s (supposed) New Clothes, after they've been found out, the show was produced by Oxfordshire Theatre Company and toured Oxfordshire schools during March 2004. There were no newspaper reviews but reaction was very positive and the production was one of the hits of the 2004 Pride of Place Festival

THE NUTCRACKER & THE MOUSE KING by Jane Buckler Directed by Brendan Murray

This is the first production by the new artistic director of Oxfordshire Theatre Company, Brendan Murray. Judging from his debut, the company is in safe hands. The many levels of storytelling heighten the psychological insights… Below the surface, adult themes are accentuated by the clever doubling of roles. A wonderfully realised gripping family show. Newbury Weekly News, 11th December 2003 Presented with a combination of puppetry and strong dramatic performances, the tale is told with real sensitivity but maintains a sparkly yuletide magic… ideal for all generations and just right for this type of local community tour. Oxford Times, 5th December 2003 A Christmas fairytale full of atmosphere and mystery that whisks the audience away to a land where anything can happen, the production uses props cleverly and the lighting is very effective. BBC Radio Oxford, December 2003

Complex and striking in its visual staging, this is a dark story set against wartime poverty. Multi-levelled - hope is offset by death and bereavement - it spins a mix of dreams, stories and realities till each becomes equally real.

Reviews Gate, 5th January 2004