Treasure Island, Derby Playhouse, Derby

Treasure from a theatre on the rocks

It's going to take more than a few pieces of eight, or doubloons, even, to save Derby Playhouse from Davy Jones's locker. That's certainly how it seemed last month when, with choice theatrical timing, it was announced that the company had gone into liquidation. It seemed as though Treasure Island might sink without trace. It was a rum do, as the sea-dogs of the Hispaniola might have said.

A theatre in the doldrums is nothing new, but one on a knife-edge, threatened by lubbers (clownish dolts, according to the useful programme glossary) and forced to rely on gentlemen of fortune, is the stuff of a great West End show. And, in fact, that is exactly what Derby Playhouse's boisterous production of Stevenson's tale of buccaneers and buried gold deserves – a West End airing.

After the cancellation of the first week of performances, and the joint artistic director Stephen Edwards offering almost £30,000 of his own money to tide the theatre over, hopes of survival seemed doomed. Then a consortium led by a former Playhouse chairman put £160,000 into the theatre. That was all it took for a staff – as numerically skeletal as the cadaver left guarding the pirates' long-lost treasure – to hoist the flag again, waive their pay and set the leaky ship afloat once more. Rights were renegotiated, the cast re-contracted and swords replaced in their sheaths. The black spot of certain death had been, temporarily at least, withdrawn from the 530-seat theatre, the area's only professional producing house. The debate about the viability of the Playhouse rages on, as the sums required to keep it open are being scrutinised and stars such as Alan Rickman, Simon Callow, Timothy West and Prunella Scales rally round.

Extra performances have now been added to the run of Karen Louise Hebden's compelling adaptation of the story of fearsome pirates, dusty maps, schooners, tropical islands and a one-legged seaman with a gaudy, garrulous parrot. That gives London producers as well as audiences from surprisingly far afield more opportunity to catch this splendid production and discover what a hidden treasure the Playhouse is. X marks the spot in the shopping mall which threatens to engulf the Playhouse.

I don't know of a more gripping tale of derring-do on the high seas, with its desperate search for hidden gold on a tropical island. It scared me stiff as a child and I still quake at the sound of Blind Pew's tapping tick. In this faithful stage version – created with the help of the director's Master Mariner father, Captain Hebden – quaint characters are thrillingly depicted while nifty action has young and old on the edge of their seats. The veteran Ben Roberts emerges from playing a menacing old Billy Bones to being stalwart Smollett, indisputably in charge of the ship. Glyn Kerslake cuts an ambiguous figure as the charismatic Long John Silver and Gregory Gudgeon is alternately sinister as Pew and hilarious as the half-crazed, cheese-craving Ben Gunn, delightful in a nifty number parodying Gilbert and Sullivan. A vigorous little band plays while the cast roars its shanties and ballads.

Brian Protheroe's music adds boundless atmosphere to a show in which colours of all hues – from the fusty Admiral Benbow Inn to the exotic Caribbean island – transport the audience to what Stevenson's stepson called a "heaven of enchantment". But what of young Jim Hawkins himself? Making an impressive debut, Daniel Hinchliffe is confidently engaging as the boy whose child-like delight at finding himself in the middle of the best nautical adventure of all time turns to an abrupt coming of age in the light of bloody battle and piratical skulduggery.

The fate of the devious mutineers is left hanging in the air; but doughty Derby Playhouse must be not be left marooned.

Reviewed by Lynne Walker, The Independent - Published: 10 January 2008

Don’t Judge An Album By Its Cover

One of the problems that has afflicted the ever increasing number of stage performers recording solo albums has been the lack of originality in choosing material, resulting in a deluge of recordings of favourites like "Bring Him Home" extracts from the Sondheim catalogue and of course, "Meadowlark".

Glyn Kerslake over comes such problems by digging a little deeper into the show music archives and by penning several songs. In the former category fall the likes of "Unusual Way" (Nine), "If I Can’t Love Her" (Beauty and The Beast) and a medley of two Kander and Ebb compositions. Only with the ill-advised "Too Darn Hot" does he show a lapse of taste. His own writing is also of high standard and Don’t Judge An Album By Its Cover contains several poignant and moving ballads including "Fly", "The Miracle" and "The Smile You Left Behind" (a moving song to this late mother which has previously been recorded by Linzi Hateley). A simple but effective piano accompaniment shows off Glyn Kerslake’s light but touching vocal style to great advantage. This album comes highly recommended.

Review by Mike Gibb (Masquerade Issue 24) --- Masquerade is published by Mike Gibb, 32 Woodhall Road, Aberdeen AB2 4JW

CD Review - Showmusic - winter 1999

Glyn Kerslake is also an ex-Les Mizer who took part in the anniversary concert. His Don't Judge An Album By It's Cover mixes songs he wrote with those by more noted songwriters. Among the latter are Cole Porter's 'Too Darn Hot', John Kander and Fred Ebb's 'I Don't Remember You/Sometimes a Day Goes By' (well paired, with Kerslake singing counterpoint with himself), Maury Yeston's 'Unusual Way', Duke Ellington and Bob Russell's 'Don't Get Around Much Anymore', Michael Legrand and the Bergmans' 'The Summer Knows;, and Alan Menken and Time Rice's 'If I Can't Love Her'. Kerslake's own five songs, including the affecting 'Fly' and the rueful 'Don't Play That Song Again' prove his talent extends beyond his very expressive voice.

Max O. Preeo ---- Extracted with kind permission from SHOW MUSIC Magazine

London - Las Estrellas - summer 1999

No-one could doubt Glyn's energy. First he was flitting between the Palace and the Prince Edward every week, playing lead roles in both Martin Guerre and Les Miserables. Soon he becomes the latest West End Phantom and yet he has still found time to fit in a few cabaret shows along the way. As a result, it has been possible to see a more laidback Glyn at work, singing a wide range of material - Gershwin, Loesser, Herman, Sondheim - as well as his own touching composition 'Fly'. At Las Estrellas, a new cabaret space in Bayswater, this generous and likeable performer clearly revealed the quality of his vocal range, even if, on occasions, a microphone seemed unnecessary. When Glyn himself was not at the piano, young and talented Nathan Martin did the honours, contributing a nice arrangement of 'All The Things You Are', while other guests were the powerful-voiced Tania Newton, Juliette Caton and Sarah Ingram whose swinging rendition of 'It's Only A Paper Moon' was a treat.

Lisa Martland

Extracted with kind permission from MUSICAL STAGES

Musical Stages is available on subscription. Contact Musical Stages at PO Box 8365, London W14 OGL, on +44 20 7603 2221 or via the editor's e-mail : LyndaTrapnell@compuserve.com

Glyn's Not Miserables

Double role for Torbay star

Torbay's West End star Glyn Kerslake could be about to waltz into the record books - by starring in two top blockbuster musicals at the same time. The rising stage star is currently playing a leading role in long-running show Les Miserables in London. But now the 29-year-old Paignton-born actor has been asked to play the leading role in new hit show Martin Guerre as well - and that's all about impostors and mistaken identities!

Musical impresario Sir Cameron Mackintosh put the challenge to him while he was
auditioning for another part in Les Miserables. Glyn, who's back in Paignton for a special one-off concert tomorrow night, didn't have to think twice. He explained: "I'm going to carry on playing the part of Enjolras in Les Mis for seven shows a week. "But on Mondays, I will be playing the role of Arnaud du Thil who is the impostor Martin Guerre. We don't think it's ever been done before. Luckily, the two theatres are only about 100 yards apart, so at least I won't have far to go!

"So at the moment, I'm rehearsing Martin Guerre and playing in Les Mis in the evenings as well as rehearsing a new cast of Les Mis who are joining next week, so sometimes I don't know who I am, where I am or who I'm meant to be ...!"

HERALD EXPRESS, Torquay, 4 January 1997

Glyn Kerslake - Palace Avenue Theatre, Paignton

Glyn Kerslake paid a triumphant visit to his home town on Sunday night.

At Paignton's Palace Avenue Theatre he treated a packed audience to a thoroughly professional performance consisting largely of songs from West End musicals in which he has appeared and is still appearing. However, he opened and closed the evening with the song I Am What I Am, making his show a statement of his personal integrity.

His programme included some of his own compositions. The song Fly was written and composed in memory of a gifted schoolmaster and The Smile You Left Behind was a deeply felt tribute to his mother, the late Joan Kerslake.

All his songs were delivered with a sincerity that showed his ability to get inside the lyrics and marry them tellingly with the music. Why God from Miss Saigon had the desperation of a tortured mind, Oh What A Circus from Evita was given the right ironic touch and Javert's song from Les Miserables was well pointed to convey the obsessive moral rectitude of the character. Mr. Cellophane from the musical Chicago was a study in self-effacement, while On The Sunny Side Of The Street had all the blatant brashness of a Thirties cheerer-upper.

Glyn has the priceless ability to convey both the bold strokes of a stage performer and the more subtle intimacy of a cabaret artiste. His stage companion was the soprano Katie Knight-Adams, who revealed a versatility equal to that of Glyn. What's The Use Of Worrying from Carousel was lilting and fresh, the award-winning big song from Pocahontas was given a glowing tone, I Feel Pretty was pert and happy and Gershwin's moving number Someone To Watch Over Me had a haunting quality.

Glyn accompanied many of the songs and his playing showed a rhythmic vigour and sensitive touch that charmed the audience, especially in a piece of his own composition that is still unfinished and had some Debussy-like harmonies and a touch or two of Rachmaninov.

When he was not at the piano the singers were superbly accompanied by pianist Nathan Martin, a young musician who displayed the musical insight and technical skill of a seasoned artist.

Glyn Kerslake will return to his West End roles with the vociferous applause of the Paignton audience ringing in his ears. 1997 promises to be an outstanding year for Paignton's troubadour.

HERALD EXPRESS, Torquay, 5 January 1997

Happy Return to Les Mis

Torbay actor Glyn Kerslake has made a happy return to the smash hit West End show which helped him make his name, but this time he is at the top. Because Glyn is back in Les Miserables - "the worlds most popular musical" - in a leading role seven years after he understudied the same part.

He’s just signed a six month contract for one of the show’s most prized roles, that of the student revolutionary Enjolras in this musical which celebrates its 11th anniversary this week. "It’s a show which means a lot to me as it was the first big one I did in London" says Glyn now 29, who cut his teeth as an amateur performer with Paignton’s Bijou theatre and a string of other companies in the bay. "I was in the swing then which meant I could be asked to go on in any part in the show , bar the four main roles, so you could say I know it pretty well."

"Going back to the Palace Theatre feels a bit like going home or going back in time for me, but this time I have the part of Enjolras to myself. It’s a great part to play. He’s the one who rallies everyone and dies a very spectacular death on the barricade."

"As well as that, the show is on a real high at the moment after all the publicity from the tenth anniversary concert last year, which I was also in. It’s selling out once again - it really is the mega-musical of the century." Glyn’s return to storm the Parisian barricades comes in the middle of a busy time for the actor who has also had leading roles in Miss Saigon, Sunset Boulevard and Evita.

He’s just released his first solo CD, Don’t judge An Album By Its Cover, produced by his own newly established company ELM Productions and featuring his own compositions plus jazz and show tunes. And he’s planning a Sunday night concert tour to help promote it.

"I’m hoping to bring that to Devon soon, but the album is selling really well. I had 1000 printed and I’ve sold 250 of those in the first couple of weeks. It’s on sale at the shop Dress Circle here in London, and I hope it will go on sale at the theatre soon, too."

Praise for the album has come from none higher than one of the most influential names in musical theatre - Tim Rice. On the album is song from the show Beauty And The Beast written by Rice which prompted the lyricist to drop Glyn a line in a letter. "He said ‘You clearly are a man of taste and ahead of your time!’ and that my own songs showed great talent. The fact that he bothered to write at all means a lot to me."

Meanwhile, days as well as night are spent at the Palace because he’s also understudying the ultimate musical role in Les Mis, the massive part of Jean Valjean - a middle-aged ex-convict who ages 30 years in the course of the three hour show.

"This means I’m doing eight shows a week as well as spending three or four hours a day rehearsing because it’s a big part. I’ve been fitted for the wig and beard... but we’ll just have to wait and see if I go in that part too!"

Article from Herald Express 5 October 1996