Constellations returns to the West End and how! One of my favourite plays, with four different casts?! Amazing stuff.
“One drink. And if you never want to see me again you never have to see me again.”
This summer Nick Payne’s beautiful and heartbreaking romance Constellations is revived in the West End with a twist: four different casts take turns to journey through the multiverse exploring the infinite possibilities of a relationship; each refracting the play afresh. Starring Sheila Atim and Ivanno Jeremiah (18th June – 1st August), Peter Capaldi and Zoë Wanamaker (23rd June – 24th July), Omari Douglas and RussellTovey (30th July – 11th September), and Anna Maxwell Martin and Chris O’Dowd (6th August – 12th September).
Southwark Playhouse continue to knock it out of the park with their programming with new musicals livestreaming and a revival of one of the best new plays of the last 10 years – Nick Payne’s Constellations
Written by Nick Payne. Directed by Jonathan O’Boyle. Lighting design by Jamie Platt. Sound design by Alexandra Faye Braithwaite. Set and costume design by Lee Newby.
Cast: Ronkẹ Adékoluẹjo and Oliver Johnstone.
Dates: Thursday 26 November – Saturday 19 December 2020
One relationship. Infinite possibilities.
Nick Payne’s Constellations explores how even the smallest change in our lives can dramatically alter the course we take. It is a spellbinding exploration of love, science, heartbreak and hope.
Premiering at the Royal Court in 2012, Constellations went on to receive critical acclaim in the West End and on Broadway. It returns to London this Christmas, starring Ronkẹ Adékoluẹjo (Three Sisters – NT, Been So Long) and Oliver Johnstone (All My Sons – Old Vic, On Chesil Beach), directed by Jonathan O’Boyle (The Last Five Years, The View Upstairs).
Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!)
Extraordinary Public Acts for a National Theatre
The establishment of the Public Acts programme at the National Theatre offered up something sensational in Pericles, an initiative designed to connect grassroot community organisations with major theatres, resulting in a production that swept over 200 non-professional performers onto the stage of the Olivier to create something that moved me more than 99% of professional productions. A truly joyous and momentous occasion.
Irene Cara once declared she was going to live forever. But as advances in medical science enable us to live longer and survive once fatal conditions, the question remains about the quality of the life that remains. Nick Payne’s Elegy, further exploring the neurological theatrical so vividly started in plays like Constellationsand Incognito, imagines society in a near-future scenario where the choice can be made to have part of the brain removed and artificially regenerated. The price though, the loss of huge swathes of memory.
Payne pulls no punches in showing us the impact of such a decision as when we meet post-surgery Lorna and Carrie for the first time, the former has no recollection of the latter to whom she has been married for many years. And cast as perfectly as they are here in Josie Rourke’s production in the form of Zoë Wanamaker and Barbara Flynn, Elegy has its achingly affecting moments as the non-linear narrative shows us Lorna as she was, as well as who she is now, and how the contours of her relationship have changed over time, particularly in the face of a degenerative brain disease. Continue reading “Review: Elegy, Donmar Warehouse”
2016 is nearly upon and for once, I’ve hardly anything booked for the coming year and what I do have tickets for, I’m hardly that inspired by (the Garrick season has been ruined by the awfulness of the rear stalls seats, and I only got Harry Potter and the Cursed Child tickets due to FOMO). Not for the first time, I’m intending to see less theatre next year but I do have my eyes on a good few productions in the West End, fringe and beyond. Continue reading “20 shows to look forward to in 2016”
“If you never want to see me again, you never have to see me again”
In another universe, I’ve written a brilliant, brand new review of this well-deserved West End transfer of the recent UK touring production of Nick Payne’s Constellations. But in this one, I wanted to get home early to take part in a Twitter discussion about blogging, I’ve got too much 9 to 5 work to do before heading off my hols, and I’ve already reviewed the show four times in each of its different major productions – so you’ll have to make do with a link to my review from the beginning of the tour. But rest assured, I’d happily continue seeing this show in all its heart-breaking glory on a regular basis.
Running time: 70 minutes (without interval) Booking until 1st August
When a rooftop beekeeper and quantum cosmologist meet-cute at a party, the first few lines of Nick Payne’s play Constellations suggest a rom-com in the making as time restarts and a new possibility plays out, it’s clear that there’s something much more eloquently sophisticated at work here. Premiering at the Royal Court upstairs, Michael Longhurst’s production manages to be both intimate and epic, the story of two people somehow expanding to fill several universes of heartfelt emotion.
When a rooftop beekeeper and quantum cosmologist meet-cute at a party, the first few lines of Nick Payne’s play Constellations suggest a rom-com in the making as time restarts and a new possibility plays out, it’s clear that there’s something much more eloquently sophisticated at work here. Transferring from the Royal Court upstairs to the Duke of York’s in the West End, Michael Longhurst’s production sacrifices nothing in the scaling up to the larger venue and if anything, gains in epic power.
When a rooftop beekeeper and quantum cosmologist meet-cute at a party, the first few lines of Nick Payne’s play Constellations suggest a rom-com in the making as time restarts and a new possibility plays out, it’s clear that there’s something much more eloquently sophisticated at work here. Marking the Broadway debut for all concerned, Michael Longhurst’s production manages the transatlantic transfer seamlessly and one wonders where the show could end up next.
Woking. After successes in the West End and on Broadway, Nick Payne’s play Constellations is now touring the UK, starting off at the New Victoria Theatre in Woking. Which is as good a place as any to see a rooftop beekeeper and quantum cosmologist meet-cute at a party and find themselves exploring the many possibilities that their relationship could take as scenes are played and replayed, shifting their journey together subtly but ineffably into new places.
Sally Hawkins and Rafe Spall. Perfect casting for the effervescent, wise-cracking Marianne and the slightly nerdish but endlessly endearing Roland, their intensity beautifully matched especially in the poignant flashforwards.
Sally Hawkins and Rafe Spall. That perfect casting retained for the transfer, their ease with each other and the technical challenges of the script even smoother than before and if the larger venue challenged them at all, there was no evidence of it.
Ruth Wilson and Jake Gyllenhaal. All change for Broadway – Wilson’s immense subtleties (is that an oxymoron?) made an ideal, if less kooky, Marianne and Gyllenhaal gave an interestingly judged performance as Roland, less obviously blokey but no less moving.
Louise Brealey and Joe Armstrong. And to the tour, Brealey really makes her mark with a more brittle, abrasive interpretation that contrasts so effectively with the warmer moments, and Armstrong exudes a hugely likeable affability that you would certainly chase across universes to find and keep.
Can I really put my finger on why I like this play so much? Why I think it is one of the smartest pieces of new writing that I’ve seen in recent years? I’m not sure that I can. It’s to do with the way it wears its scientific concepts so lightly – I mean I couldn’t tell you anything about quantum physics right now but during the play, it feels like maybe I could. It’s to do with the all-too-human instinct to wonder what if I’d done that differently, what path might that have led me down. It’s to do with the expression of such powerfully felt emotion that yet feels intelligently reasoned. It’s to do with free will. It’s to do with love.
I cried a little bit. Well quite a bit.
I cried so much I couldn’t speak for about quarter of an hour afterwards.
I cried a lot, but a New Year’s Day hangover probably had something to with my emotional state too.
I cried a surprisingly small amount, almost just the artful single tear in fact.
Tom Scutt’s design is inspired – I don’t tweet him. Atom-based clusters of balloons trail from the corridor into the theatre, hexagonal tiles mark out the physical space the actors occupy, and Lee Curran’s lighting tracks the darkening mood perfectly.
Tom Scutt’s design is inspired – I don’t tweet him. Some of the finer details are lost in the larger space but the evolving scale of the work is artfully done, capturing something even grander about the emotional contours of the play. This time, it is the sound design by David McSeveney that resonates stronger, delineating each fundamental shift so clearly.
Tom Scutt’s design is inspired – I tweet him, I don’t meet him. It looks as good as ever but the detail of Curran’s lighting is what captures my attention – the shift in the flashes of colour through to blood red, the antiseptic white of the harsh future scenes, the individual balloons picked out in lights with their own secrets.
Tom Scutt’s design is inspired – I tweet him, I don’t meet him and now I probably never will. Since the show has been end-on, there’s been a key scenic detail that I’ve missed every time. Every time. There aren’t enough potential universes to explain this. I need to go again.
Can I put my finger on why I like Constellations so much? Even on my fourth viewing, there are details that come to me anew. There are details that have still yet eluded me. There are scenes that somehow pack a gut-punch as fierce as the first time – why wouldn’t language shift that way. There are replayed scenes that I could continue to watch over and over – notes in hand or not 🙂 And in perfect keeping with the theme of the show, Michael Longhurst has kept the production the same but different, or is it different but the same in a remarkable way. Marianne may wear an almost identical outfit whether it’s Hawkins, Wilson or Brealey wearing the shoes but she has exuded such a singular sense each time which has been breathtaking to behold. And partnered by the affable/affectionate/rumpled charms of Spall/Gyllenhaal/Armstrong, they’ve all been Marianne and Roland but their own Marianne and Roland and brilliantly so.
I loved it.
I loved it.
I loved it.
I loved it.
Running time: 70 minutes (without interval) Photos: Helen Maybanks Booking until 17th May, then touring to Liverpool Playhouse, Bristol Old Vic, Nuffield Theatre Southampton, The Lowry Salford, Cambridge Arts, Richmond Theatre and Theatre Royal Brighton