“Where’s Kay, is she in Oslo? No, she’s in the cellar.”
Polar Bears is quite a coup for the Donmar Warehouse, being the first play written by celebrated novelist Mark Haddon. After the huge success of The Curious Incident of the Dog in the Night-time which featured a lead character with Asperger’s Syndrome and its follow-up A Spot of Bother, Haddon has now turned his hand to the theatre.
If you can, I would recommend going into this play with as little knowledge of it as possible, as it really does enhance the whole effect of it to no end. The review that follows does not contain any plot spoilers per se but it does discuss the nature and structure of the play which in itself is a bit spoilery, so if you’ve not seen it yet and you intend to, look away now! (But do come back afterwards xx) Continue reading “Review: Polar Bears, Donmar Warehouse”
“If I reprehend anything in this world, it is the use of my oracular tongue, and a nice derangement of epitaphs!”
Taking up residence at the Southwark Playhouse is this new production of Richard Sheridan’s The Rivals, mixing music and dance with a very high calibre cast to create a fresh new look at this well-known comedy. Set in eighteenth century Bath, it follows the efforts of the meddlesome Mrs Malaprop to marry off her niece Lydia Languish, who has romantic designs of her own, but with an array of suitors, some of whom are not all who they seem, the scene is set for a plethora of romantic capers.
I loved the opening: the cast trickle onto the stage and chat away to the audience as if we’re all here for a ball, then up strikes the music and there’s a wickedly subversive choice of songs for an opening dance number which set the tone for this mischievous little production. There’s a real convivial atmosphere throughout, with plenty of fourth-wall-breaking going on (be warned if you’re on the front row!) and the cast play up to the intimacy of the venue with a strong conversational style.
It’s led by a trio of high-profile female performances. The stunningly beautiful Charity Wakefield as a playful Lydia is spritely good fun and charmingly engaging and Ella Smith as Julia does well with the lightest of touches on some very wordy scenes and showing off a melodious voice and some flute-playing thrown in for good measure. But it is Celia Imrie as Mrs Malaprop who is the star of the show: this being my first viewing of The Rivals, I can hardly imagine anyone else doing better in the role, it seems tailor-made for her. She endows her with such warmth and humour that one tended to find oneself laughing with and not really at her, and it is genuinely distressing to see her discover the truth about who has written the letters mocking her. Imrie seizes every opportunity to display her comic chops too, the incredible misjudged verbosity is always well-delivered, the constant shooing away of the recorder-playing heralds was a nice touch and her seductive swaying is just a sight to behold. Continue reading “Review: The Rivals, Southwark Playhouse”
Best success in the face of adversity
Helen Dallimore, Too Close To The Sun
Cynics might think I created this category specifically so that Too Close To The Sun could win something, and they might be right. The particular performance that I witnessed involved what can only be described as “tablegate”, so not only did they have to put up with delivering one of the worst musicals ever created, the cast in particular Helen Dallimore, had to contend with a collapsing wicker chest and the funniest case of ongoing corpsing I’ve ever seen. It made what would have been a tragedy into an ‘event’ and one which I feel privileged to have been part of!
The cast of Madame de Sade
Miranda Richardson, Grasses of a Thousand Colours
When the Donmar West End season was announced, my eyes were immediately drawn to the third play, the only one to feature an all-female cast and one of such calibre that Iwas eagerly anticipating Madame de Sade. What a shame that this was the only mis-step in a excellent season: a turgid, laborious piece that not even a Dame could rescue.
And there needs to be some recognition of the indignities suffered upon Ms Richardson, cast as a lover of Wallace Shawn in a play written by the self-same Wallace Shawn, he had her pretending to be a cat and licking his bald head.
Closest move to damehood
Parading all her wares us to laugh at in Entertaining Mr Sloane, Imelda Staunton showed great fortitude and continued a legacy of fine fine performances on the stage (which, combined with her efforts in Cranford) means that a place on the Queen’s list must surely be hers soon.
Nicholas De Jongh’s theatrical writing debut comes to the West End after a run on the fringe last year, and Plague Over England is a fine, thought-provoking piece of work. A look at attitudes to homosexuality during the 1950s, the play uses John Gielgud’s arrest for cottaging as a prism to see how the authorities dealt with the “moral plague” and how this affected the lives of a series of gay men. The set design is extraordinarily versatile with numerous changes throughout the play, evoking a vast range of different locations quite effectively and this is superbly bolstered by some fine ensemble acting, with many actors also doubling up.
I neglected to purchase a programme, so cannot name the actor who played the policeman, and this is meant to be a serious blog, but he is possessed of quite a fine set of abs. There was a collective gasp of appreciation when they were unveiled, almost enough to make me want to join a gym, but not quite! I mention the abs only because they featured in the best scene of the play with the pontificating of the railing homophobic Home Secretary counterpointed with the first coupling of the mis-matched copper and judge’s son. It is a wittily played vignette, my only caveat would be that it is only the young hunky members of the cast who seem to get it on, which slightly undermines the universality of the play in general. Continue reading “Review: Plague Over England, Duchess Theatre”
Some shows you just know are going to get bad reviews but these are quite often shows that certain people are going to love no matter what and so it was with me and Acorn Antiques The Musical. I loved Victoria Wood’s sketch show from the moment I remember seeing it (I’m northern, it is in the contract) and so when I heard that she was writing a musical based on it, there was no doubt what my request for a birthday present would be: tickets to see it at the Theatre Royal Haymarket.
Directed by Trevor Nunn, Wood took on sole responsibility for the show, writing book, music and lyrics and managed to persuade many of the original stars from the show to reprise their roles: Celia Imrie, Duncan Preston and of course, Julie Walters. And when the show focuses on recreating the hilarity that was Acorn Antiques the show as we remember it, this has to be one of the funniest nights I have ever had at the theatre, I was helpless with laughter for so much of it. Continue reading “Review: Acorn Antiques The Musical, Theatre Royal Haymarket”