Review: Hamlet, Donmar Warehouse at the Wyndham’s Theatre

When the Donmar first announced its West End season, taking residence in the Wyndhams theatre, there was a special offer if you bought tickets for ll four productions at the same time, so incredibly, I’ve had a ticket for Hamlet for over 18 months! Indeed the entire run had been sold out for quite some time before it even opened, such was the draw of Jude Law’s name as Shakespeare’s eponymous Dane.

The weight of expectation must have been huge on Law’s shoulders. Not only was he following a superlatively-received Hamlet at the RSC with David Tennant, there has been a case of somewhat diminishing returns on the Donmar’s experiment, with Madame de Sade in particular disappointing many after Ivanov’s excellent start. So the sound of gleeful knives sharpening was strong, with a lead actor more known for his looks than acting talent these days taking a lot of flak before he had even started his run. Continue reading “Review: Hamlet, Donmar Warehouse at the Wyndham’s Theatre”

Review: Jerusalem, Royal Court

My heart sank when I saw the running time for this play: another play at the Royal Court over 3 hours long. After Grasses of a Thousand Colours sucked the life out of my companion (he left after two hours) and numbed my bum unforgivably, I even thought about shifting these tickets to someone else. But upon reflection, I remembered that the playwright, Jez Butterworth, was also responsible for the excellent Parlour Song which I enjoyed hugely at the Almeida earlier this year, and so off I trotted to Sloane Square.

Jerusalem is a new play, a dark comedy, which purports to be a critical look at what it means to be English in these times and specifically explores this issue of identity in rural England. Set on St George’s Day, the central character is a man called George Byron who lives in a caravan, and who has built up a little community of sorts around him, living a life of general hedonism and with little care for traditional ideas of society. However, Byron’s easy life looks to be coming to a halt as the walls start closing in on him: his children, eviction notices and angry fathers are just some of the things he has to face up to. Continue reading “Review: Jerusalem, Royal Court”

Review: Waiting for Godot, Theatre Royal Haymarket

Featuring two very acclaimed actors in the lead roles, Waiting for Godot has been somewhat of a surprise success in the West End this year, extending its run right through the summer. This is clearly partly down to the calibre of the leads, Sir Ian McKellen and Patrick Stewart are two major dramatic heavyweights, but it has also been a bit of a triumph for a straight drama production in these troubled economic times.

Apparently voted the most significant English language play of the twentieth century, Waiting for Godot is a play about two men, Vladimir and Estragon who are, unsurprisingly, waiting for someone called for Godot. We never get to meet Godot, or find out who he is, and so the titular ‘waiting’ forms the backbone of the play as we watch these two men pass the time in a multitude of ways, whilst debating the meaning of life and existence. Twice, they are visited by a man called Pozzo and his slave Lucky. Continue reading “Review: Waiting for Godot, Theatre Royal Haymarket”

Top five plays of June

Here are my top 5 plays for the month of June (not counting second views of things):

1. Arcadia
2. Sister Act
3. Phedre
4. The Cherry Orchard
5. Carrie’s War

and the top 10 (+5) plays of the year so far, seeing (La Cage again made me reconsider its position):

1. When The Rain Stops Falling
2. La Cage Aux Folles
3. The Pieta
4. Arcadia
5. A Doll’s House
6. Duet For One
7. Sister Act
8. The Last Five Years
9. Burnt By The Sun
10. Parlour Song

11. All’s Well That Ends Well
12. The Observer
13. Dancing At Lughnasa
14. Phedre
15. Time and the Conways

Review: Carrie’s War, Apollo

From the Nina Bawden book of the same name, Carrie’s War is the latest play to open at the Apollo Theatre on Shaftesbury Avenue. Telling the story of a sister and brother who are evacuated to Wales during the Second World War, they get swept up in a Gothic world of ghosts, curses, and skulls and when the intrigues of the family with whom they are billeted spill into their lives, decisions are made which haunt Carrie well into adulthood.

It is quite a gentle production, but I do not mean that in a patronising way. It really reminded me of the kind of dramas one used to get on a Sunday afternoon on the BBC, like Tom’s Midnight Garden, Moondial and The Railway Children. This is enhanced by the fact that the 15 characters are played by just 9 actors, so there is a little exaggeration of characterisation, especially with the local yokel types, but not to any negative effect. Continue reading “Review: Carrie’s War, Apollo”

Review: Sister Act, Palladium

I am nothing if not contrary, and whilst weighty fare such as Lantana features in my Top 5 films, Sister Act is also up there amongst my all-time favourites. I have seen it numerous, numerous times and absolutely adore it, so I had mixed feelings when I heard that it was being made into a musical and arriving at the Palladium. My fears were then heightened when I found out that the songs from the film would not be featured in the show, and so I was quite sceptical as I approached the theatre.

Sister Act The Musical first came into being in the States in 2006 and has been developed since then, with the book being written by multi-Oscar-winning songwriter, Alan Menken. The story is still fairly similar to the film, lounge singer Deloris Van Cartier is placed in a witness protection programme after witnessing her hoodlum boyfriend shooting someone, and so she finds herself in hiding in a convent, disguised as a nun. Her only connection to the sisters with whom she is sequestered is through music, and she inspires the choir to hgh levels of success, but in doing so threatens to ruin her cover, and the safety of the nuns, as she has a contract out on her head. Continue reading “Review: Sister Act, Palladium”

Review: Arcadia, Duke of York’s

Tom Stoppard’s play Arcadia first played at the National Theatre in 1993, and this is the first revival of it since then. It takes place in a country house in England, but in two different time periods: the early 1800s and modern-day 1989. It is an extremely difficult play to try and summarise but I will try and give it a shot.

In 1809, a precocious teenager, Thomasina, is studying with her tutor, Septimus Hodge who is a colleague of the poet Lord Byron, and it is apparent that her knowledge is vastly superior to his, especially in the field of mathematics where her musings show her to be well ahead of her time. In 1989, a writer is looking into the life of a hermit who apparently lived in the grounds of the stately home, when a visiting academic stops by looking for help with his investigations into a period of Byron’s life about which little is known. Painstakingly, and with the help of the current residents of the house, including Valentine Coverley who is a student of advanced mathematical biology, pieces of evidence are recovered and we slowly begin to find out what really happened nearly 200 years ago.

Continue reading “Review: Arcadia, Duke of York’s”

Re-review: When The Rain Stops Falling, Almeida Theatre

Believing that it was quite likely that I would love When The Rain Stops Falling as already covered in my original review, I had already booked a second set of tickets to see it on the evening when a post-show Q&A was also scheduled. It was incredibly rewarding to be able to see this play again. Knowing the story meant that some of the emotional impact was lost, but for me this was a benefit since it had affected me so deeply last time and now I was able to focus on other aspects of the play. This knowledge also meant that one could make a much greater appreciation of the structure of the play and how intricately worked the plot is, echoing through the different locations and timezones, and recognising how some of the later events are presaged in earlier scenes.

Performance-wise, I still think that this is one of the strongest ensembles I have ever seen on a stage: there isn’t a single weak link in the cast and each actor delivers performances of such intensity which is all the more admirable when one considers how relatively short most of the scenes are a we flit around the timezones. On second viewing though, I think Phoebe Nicholls and Lisa Dillon possibly edge it as the older and younger incarnations respectively of Elizabeth York. Through some subtle mannerisms and the lightest of touches, they leave the watcher with no doubt that we are watching versions of the same character, yet fully flesh out their roles so that they remain sufficiently distinct. Leah Purcell and Naomi Bentley also manage this same level of synchronicity between their incarnations of Gabrielle York without resorting to ham-fisted imitation and I look forward to the opportunity to see all of these actors again. Continue reading “Re-review: When The Rain Stops Falling, Almeida Theatre”

Review: The Winter’s Tale, Bridge Project at the Old Vic

Accompanying The Cherry Orchard as part of the Bridge Project’s first run of plays which arrived at the Old Vic last month, is The Winter’s Tale, often considered one of Shakespeare’s ‘problem plays’.

Starting off in Sicilia, the play follows childhood friends Leontes and Polixenes, Kings of Sicilia and Bohemia respectively, as Leontes allows his jealousy and paranoia over his pregnant wife to take over. Imprisoning his wife and ordering the murder of his friend, Leontes pushes everyone to the edge to destructive effect, even sending his newborn daughter to her death, a fate from which she is thankfully spared. The second act then jumps ahead 16 years in time to Bohemia, where we see a young couple falling in love and their peculiar parentages equip them with the power to heal the terrible events of the past. Continue reading “Review: The Winter’s Tale, Bridge Project at the Old Vic”