As a dance musical, Can-Can! is a high-kicking delight at the Union Theatre
“My cheeks are clenched”
Courtesy of choreographer Adam Haigh, there is some seriously impressive dance going on at the Union Theatre right now. You might expect some good moves from a musical Can-Can! but the full company sequences that book-end the show are full of verve and vitality and some jaw-dropping moments, which are all the more impressive for taking place on a stage as intimate as this.
Phil Setren’s production wisely scatters more dance performances throughout the show, ensuring that we’re never too far from a routine, as the rest of the musical is something of a mixed affair. A grab-bag approach to its construction means it often feels scattered – based loosely on Pinero’s Trelawney of the Wells but moved to Paris, its populated with both real life figures from La Belle Époque and fictional characters. Continue reading “Review: Can-Can!, Union Theatre”
“Reserve your tears for the bedroom Madam, this is whist!”
With just a handful of films under his belt, Joe Wright has made quite the name for himself as a director of some theatrical flair – perhaps nodding to childhood time spent at the Little Angel Theatre that his parents founded – but it is only now that he has made his directorial debut in the theatre with Trelawny of the Wells at the Donmar Warehouse. Whether by design or by accident, it marks the third notable recent outing for the otherwise neglected Victorian playwright after the Rose’s The Second Mrs Tanqueray and the National’s The Magistrate but it cleaves closer to the gently farcical nature of the latter than the melodrama of the former. The text here has been ornamented by Patrick Marber, though more learned writers than I will be able to tell you by how much.
The play focuses on Rose Trelawny, a star of the melodramas that filled the Victorian stage, who opts to give up her career in the theatre when she decides to marry her paramour, the aristocrat Arthur Gower. But when the social chasm between her and his family drives them apart, drastic measures on both sides are necessary to try and restore their relationship. But for a play about the theatre, it had little of the breathless joy and theatricality that I had assumed Wright would bring into play and not all of that can be ascribed to the fact that this was a preview. Continue reading “Review: Trelawny of the Wells, Donmar Warehouse”
“It’s the little lies that get you into trouble”
Aged 36, the widowed Agatha Posket feared for her re-marriage prospects so when the genial Aeneas Posket, the magistrate for the Mulberry Street Police Court, arrived on the scene, she lopped 5 years off her age and promptly became Mrs Posket. The only trouble is her 19 year old son Cis whom she tells the world is actually 14 in order to make her fib fly. The farcical trials that follow as he continues to act as a 19 year old and the arrival of his godfather threatens to undo the whole deception make up the plot of Arthur Wing Pinero’s rather delightful play The Magistrate, which takes up residence at the Olivier as the National’s Christmas offering in place of The Count of Monte Cristo.
Nancy Carroll is simply sensational as Agatha, an actress in full control of her considerable gift and razor-sharp throughout. Whether layering in real pathos in lamenting the lot of a middle-aged widow, working in genuine comedy whilst extemporising wildly as chaos surrounds her or managing to make the spitting out of some bread into a moment of sheer genius, she is never less than unmissable. And she supported excellent by Joshua McGuire as her son Cis, who has a wonderful physicality and gleeful sense of timing in his teenage rampaging and Jonathan Coy’s family friend Colonel Lukyn who is pretty much scene-stealingly fantastic, a true master of comic acting which fully deserves the mid-show round of applause he received. Continue reading “Review: The Magistrate, National Theatre”
“All jealous women are mad”
Stephen Unwin’s run of home-grown productions for the Rose Kingston, where he is also Artistic Director, continues with this revival of Arthur W Pinero’s Victorian melodrama, The Second Mrs Tanqueray. Respectable member of society and widower Aubrey Tanqueray scandalises his friends when he suddenly announces he is to be married again. The issue is that his intended, Mrs Paula Jarman, is a woman with a past – a sexual one at that – but his determination to go through with the marriage leaves Paula feeling increasingly alienated from her new world and particularly from her new stepdaughter. And try as they might to overcome their differences, secrets from the past threaten to overwhelm everyone.
Though meant to be something of a mismatched couple, James Wilby and Laura Michelle Kelly struggle to convince that there could have been anything between Aubrey and Paula, both performances missing some psychological depth to point us to the truth of their characters. Wilby does mannered Victoriana extremely well but seldom gives a sense of real man behind the bluff exterior, and Kelly’s whole air a little too girlish, rarely feeling born of the frustrations of a life already lived though the second half does see her start to darken the tone effectively. Continue reading “Review: The Second Mrs Tanqueray, Rose Kingston”