I'm a Camera
Past Productions

 

Woody Allen's Murder Mysteries
Adapted and Directed by Janey Clarke
From the original short stories by Woody Allen
Warehouse Theatre, December 9 2005 - February 19 2006  

Composer/MD Warren Wills, Produced by I'm a Camera, Lyrics by Janey Clarke

I'm a Camera won the rights to perform these unique short stories from Woody Allen last year. The production was very very well received, playing to large audiences through our ten week run over Christmas/New Year 2005-06.

Keep your eye on this site for further updates on where we go next with the show... or why not join our mailing list for free by contacting us: info@imacamera.co.uk

Below - some of the reviews:

‘I imagine Allen would love director-adaptor Janey Clarke's classy surrounding textures given to the tales, in particular the brilliant jazzy-bluesy pastiche songbook that drape themselves around each story to give a marvellously rich sub-texture, performed by a terrific sextet of actor-singer-musicians.' CAROL WADDIS, WHAT'S ON STAGE

Two stories feature the notorious and charismatic Private Eye Kaiser Lupowitz; another puts his shy secretary centre stage; another features the most seductive femme fatale of all... who is the mystery blonde? An original take on some hilarious stories, this is a highly original evening of drama, song and dance, framed in an atmospheric art deco jazz club setting.

'The best comes last with The Whore of Mensa, in which Lupowitz busts a house of mental prostitution where students peddle discussions of The Waste Land to guys starved of intellectual intercourse with their wives (“symbolism's extra”). It's one of Allen's most sustained stories and gets the most laughs. This is indeed the “earlier, funnier” Woody.' IAN JOHNS, THE TIMES

Warren Wills is composer and Musical Director for Woody Allen's Murder Mysteries. Warren was Musical Director for Simply Heavenly (Young Vic/ West End) & composer/MD on Lady Day at Emerson's Bar and Grill (West End.)

''Six Woody Allen's detective stories, originally published in The New Yorker, have been innovatively staged by a go-getting director and dramatiser. The whole cast admirably doubles as a jazz sextet, crooning bluesy songs in the gaps between the stories with sultry saxophones, clarinet, double bass, fiddle and piano. Kate McCahill as the brassy Flo, has an outstandingly vibrant voice and the number "Blue Moon Time" sung by Harry Myers as he slugs from a whisky bottle is wonderfully lived-in and melodically enrapturing, like a slow-swirling fog.' KATE BASSETT, THE INDEPENDENT 1.1.06

 


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