“My God’s out there. That’s why I go out in that van. Each night I sit behind the wheel and, believe me, I pray. But with the engine running and the headlights on”
Brian Mullin’s first play as part of the 503Five Writer-in-Residence scheme is We Wait In Joyful Hope, directly inspired by his aunt, a nun who helped to found a successful NY women’s shelter. Thus the central character here is a nun who helped to found a women’s shelter, in New Jersey though, where it has been helping people for over 30 years. They say write about what you know but in this case, it does feel occasionally that Mullin could have done with a bit of distance to really make the drama work.
For Sister Bernie D’Amato is an absolutely cracking character, played with intelligent and varied depth by Maggie McCarthy, but the play around her doesn’t quite match up. D’Amato is battling the spectre of gentrification as property buyers are wrecking the community, the patriarchy of the church hierarchy against whom she’s always had to fight and her own failing health too. But in among all this, Mullin rarely ventures out to deal with any of these larger themes on which he touches, there’s little that’s truly dramatic. Continue reading “Review: We Wait In Joyful Hope, Theatre503”
“There was a motivation…”
This is a curious thing – a drama-documentary of legendary mystery writer Agatha Christie which utilises a double flashback structure to form a kind of biopic of her life, but one with an additional focus on her mysterious disappearance over several days after a particularly traumatic, though unexplained, experience. Anna Massey plays Christie late in life, at a party celebrating the 10th anniversary of The Mousetrap’s West End run, where she fields questions from journalists about her life, the answers to which are played out in flashback. Olivia Williams takes on the younger role who is meeting with a psychiatrist to try and explain her experiences, which are also replayed to us, through the delicate probing of her psyche.
It is all elegantly done in this BBC adaptation, written and directed by Richard Curson Smith, covering the key points of her life – a happy childhood devastated by the loss of her father, the freedom of becoming a volunteer nurse and then pharmacist during the Great War, the beginnings of her career as a writer – but with little real insight or inspiration in what it is saying. The scenes around her disappearance have more meat to them but again fail to really click as the build-up to the grand reveal of what caused it falls rather flat in the final analysis. The split narrative adds nothing and instead subtract substantially from the pace of the film, continually frustrating as we switch fruitlessly between the two. Continue reading “DVD Review: Agatha Christie – A Life In Pictures”
“The loss of his arm had apparently dulled his senses”
Tennessee Williams’ One Arm started life in the 1940s as a short story, was turned into a screenplay which remained unproduced in the 1960s and now finds itself adapted into a stage play by Moisés Kaufman, receiving its UK premiere directed by Josh Seymour at the Southwark Playhouse. Champion boxer and serving in the American navy, Ollie Olsen life is turned upside down when he loses his arm in a car accident and turning to prostitution, finds himself sucked into a world of increasing darkness and ending up on death row. From his cell, he reflects on his life and the strange contours of its journey.
Kaufman is perhaps best known for The Laramie Project (which Seymour directed in Leicester in 2012) and elements of that patchwork approach remain here, as this play has snippets from the screenplay quoted directly, including scene transitions and settings, upping the metatheatricality around Ollie’s story. But as it progresses, this device loses prominence amongst an increasing sense of Ollie’s fevered dreamworld taking over, allowing Seymour to bring out more of his own theatrical vision as with the incorporation of John Ross’ movement. Continue reading “Review: One Arm, Southwark Playhouse”
“A manly enterprise”
Propeller’s 2013/14 tour sees them revive their productions ofThe Comedy of Errors and A Midsummer Night’s Dream, with the latter kicking things off in a few venues this winter before the former joins it in rep early next year. The all-male Shakespeare company has rightfully garnered considerable praise for its innovative ensemble-driven approach to the Bard’s works but returning to this interpretation of A Midsummer Night’s Dream, previously seen in 2003 and 2009, sees them lose a little of that special magic that they have previously brought to bear.
Located in a Victorian attic of sorts, the story of the course of true love is surprisingly leaden in a protracted first half which fails to reveal any real sense of purpose to Edward Hall’s production. The ducal court is dull with a criminally insipid Hippolyta, any character that does arrive in Will Featherstone’s performance is too little too late; there’s a quartet of curiously bloodless lovers, with only Dan Wheeler’s Helena really standing out; and the Rude Mechanicals are serviceable but little more. Joseph Chance’s Wizard of Oz-inspired Puck really is the saving grace with his supple slyness. Continue reading “Reviewer: A Midsummer Night’s Dream, Propeller at Yvonne Arnaud”
“Everywhere they curse the name of Boris”
The instinctive reaction when one hears of a production of a lesser-known work by a well-known writer tends to be one of healthy scepticism, as one waits to find out whether there was a good reason for its relative obscurity. But sometimes there are mitigating circumstances and Alexander Pushkin’s 1825 play Boris Godunov – receiving its first ever professional production in English here at the Swan Theatre – sufficiently provoked the ire of the state censors so that it was 30 years after his death before it was first approved and even then, continued political pressure ensured its limited impact.
The uncensored version was finally translated by Adrian Mitchell, premiered at Princeton in 2007 and selected now by Michael Boyd to mark his swansong as AD at the RSC, as part of the ensemble-led globetrotting A World Elsewhere season. And one can see why the Russian authorities wouldn’t have taken too kindly to Pushkin’s satire, indeed still to this day, as wrapped up in the tale of men lying, cheating and murdering their way to become Tsar in the late 1590s is an excoriating indictment of the Russian ruling elite. And what Boyd teases out in this fast-moving version, is that such autocratic leadership is seemingly endemic in this country and so its resonances play out right up to the current day. Continue reading “Review: Boris Godunov, Swan Theatre”
“I don’t even know what you are speaking of but I sense it’s dirty, underhanded and plain illegal”
And so to complete the set… Having initially declared that I was fine with not seeing any of the RSC new commissions at the Hampstead Theatre when they were announced, I’ve now seen all three of them, Tarell Alvin McCraney’s American Trade following on from Little Eagles and Silence in what has been, to be completely honest, a rather underwhelming season. Billed as a contemporary Restoration comedy, this is an ultra-modern, breakneck 90 minutes of multi-coloured, multi-racial, multi-sexual shenanigans, which also happens to mark Jamie Lloyd’s RSC directorial debut. This was a preview performance on the evening of Saturday 4th June.
Insofar as the plot is concerned, young New York hustler Pharus is offered a golden chance to escape his increasingly tricky situation when an unexpected offer from his unknown English Great-Aunt Marian to run a new modelling agency as part of her PR firm comes through. So he crosses the ocean and make a good impression but ends up finding he is best at what he knows and so the model agency becomes a cover for a prostitution racket. But his cousin Valentina, heir presumptive to the business, is not happy with the new arrival and the threat he poses, so she sets about trying to uncover his murky past whilst trying to work her PR spin on a children’s film star who has gone seriously off the rails. Continue reading “Review: American Trade, RSC at Hampstead Theatre”
“A man may see how this world goes with no eyes”
A double bill of Shakespeare is something that not even I would undertake lightly but as an opportunity to visit the newly opened Royal Shakespeare Theatre in Stratford-upon-Avon, it was something I couldn’t resist: King Lear in the afternoon for the first time and a revisit of Romeo & Juliet in the evening. Typically, the old maxim about not booking shows to see particular actors came and bit me on the posterior with a depressing predictability, as the main reason for seeing this King Lear was in order to see Kathryn Hunter’s Fool, but as she unexpectedly withdrew from the ensemble at the beginning of the year, the role is now being covered by Sophie Russell.
This was only my second ever Lear, Derek Jacobi’s at the Donmar being the first and whilst I enjoyed seeing that with fresh eyes and not knowing the story, it was nice to watch this one with a little more comprehension of exactly what was going on! Though I was still a little perplexed by the mix of time periods covered in the costumes, the courtiers in classical garb but the outside world seemed to be inspired by the First World War, a mixture that was a little too haphazard for my liking. But overall, it did actually combine to quite epic effect, led by Greg Hicks’ powerful turn as Lear. I got more of a sense of a man going mad from Hicks, as opposed to the fragility, even possible onset of senility, of Jacobi’s interpretation, with his viciousness towards Goneril being particularly shocking in a way I didn’t remember so much. Continue reading “Review: King Lear, Royal Shakespeare Theatre”
“Give me my robe, put on my crown; I have immortal longings in me”
Never mind ‘the Scottish play’, it appears that it’s the role of Mark Antony that has some kind of a curse attached to it. Last year saw the Dutch Hans Kesting break a leg before The Roman Tragedies arrived at the Barbican (he delivered a barnstorming performance from his wheelchair), and now Darrell D’Silva is having to perform with his left arm in a sling after suffering severe injuries to his hand after a prop firearm malfunctioned during the technical rehearsal. He has now rejoined the cast after surgery, but press night has been postponed to try and make up some rehearsal time. So my first trip to the Courtyard Theatre at the RSC in Stratford which should have been to one of the final previews actually ended up being earlier in the run than planned.
This is a modern-dress Antony and Cleopatra, featuring guns and suits to tell this great tragic love story of two powerful individuals brought together yet unable to escape their circumstances. Rome is ruled by a triumvirate (what a great word!) after Julius Caesar’s assassination, yet all is not well. Mark Antony has had his head and heart captivated by the Egyptian Queen Cleopatra and is spending more of his time there than in Rome. Taking advantage of this is the ambitious Octavius Caesar who turns on the third triumvir Lepidus, setting the scene for an almighty showdown between the two rivals. Continue reading “Review: Antony and Cleopatra, Courtyard Theatre Stratford”
“Are my discourses dull? Barren my wit?”
Digital Theatre specialises in providing recordings of plays, captured as-live and available to watch either online or to download onto your computer. They have established links with some top theatre companies and so is building up an interesting collection of plays for viewing. I became aware of Digital Theatre back at Christmastime, and downloaded my first play (Far From The Madding Crowd). It has however remained on my hard-drive unwatched for a number of reasons. But with the offer to get a free download of the RSC’s The Comedy of Errors through the Times newspaper, I decided to revisit the site and actually get round to watching something.
There’s been a lot of debate about the merits of videoed theatre over live theatre: my personal view is that there’s ample room for both in the world. The recordings are there to supplement the live experience, not replace it, something that seems to be lost on much of the commenters in the press. These kind of initiatives, along with the National Theatre’s cinema showings of some plays, offer a great opportunity to expand the audience for these shows, and whilst the frisson of live performance may be lost, I can guarantee that whoever saw Phèdre at the cinema would have had a much better view of the faces of the actors than I did from the circle of the Lyttleton. Continue reading “Review: The Comedy of Errors, RSC via Digital Theatre”
I have long struggled with Chekhov, I’ve never really seen the attraction or seen a production that made me understand why he is so well regarded as a dramatist. So when the Donmar Warehouse announced a hugely star-studded season of plays to be performed in the West End, at the Wyndhams Theatre, my heart sank a little bit to see that the first play was Ivanov, by none other than Anton Chekhov. But in a new version by Tom Stoppard, directed by Michael Grandage and featuring the return to the London stage of Kenneth Branagh, this emerged as a production that might actually have convinced me that people are onto something here!
The key to my enjoyment here was all about the humour that is threaded throughout the evening so that the dour tragedy that is something of a trademark is leavened with something else and introduces a wider palette of emotion so that the ‘tragedy’ becomes well, more tragic for being contrasted with something else on offer. So Ivanov, seeking escape from his TB-ridden wife whom he no longer loves, rocks up at the neighbours’ house on a regular basis despite owing them money and a daughter there who has designs on him. When discovered together, society turns it disapproving eye on him but it turns out there’s a far harsher critic in Ivanov himself. Continue reading “Review: Ivanov, Wyndham’s Theatre”