Don't bother, they're here
I’ve loved these deep dives into Tristram Kenton’s photo archive on the Guardian and with this selection from the Royal Court, there’s a lovely reminder of so many great productions (plus some that got away):
https://www.theguardian.com/stage/gallery/2020/nov/04/royal-court-theatre-productions-tristram-kenton-at-the-guardian-in-pictures
“One can’t have blessings without sufferings”
My main feelings about Mike Bartlett’s Life revolve around Rachael Stirling and thus are somewhat spoilerific – consider yourself warned! I was highly excited to see Stirling back on our screens so I was a tad disappointed when it turned out that her character was in fact a ghost and could only be seen by her grieving husband Adrian Lester.
But then when it was revealed that she was in fact a bisexual ghost – a proper shout at the TV moment – and her entanglements drew in at least one other, it was a glorious pay-off which almost, almost made up for her not being a full-on member of the ensemble. And its a hefty ensemble, set in a large house split into four flats in which four sets of tenants are all facing their own trials. Continue reading “TV Review: Life (Series 1)”
“Let there be doors that open when they open and close when they close”
I’ve long had my issues with farce but Noises Off managed to break through my preconceptions to genuinely make me laugh when the Old Vic revived it and then took it into the West End back in 2012. Even so, I have to say I wasn’t much enamoured by the thought of going back to it, hence me not going to the Lyric Hammersmith to catch Jeremy Herrin’s production there and only just now making it to this West End transfer at the Garrick Theatre.
And after the first act, I began to wonder if I hadn’t had the right impulse initially. I’d argue it’s good but not great, leaning into conventional farce as a touring theatre company take their own farce Nothing On across the country while dealing with the repercussions of their tangled inter-relationships. It is after the interval that the play soars though, the second act takes us behind the scenes into a sensationally choreographed piece of riotous fun of the highest order. Continue reading “Review: Noises Off, Garrick Theatre”
“Knowledge is nothing without understanding”
I loved chemistry at school, enjoyed biology too but for some reason, my brain could never wrap itself around physics. So when two characters in Terry Johnson’s play Insignificance started discussing the specific nature of the theory of relativity – albeit through the medium of toy trains and helium-filled balloons – I was thrown back to the mild panic of Mr Byrchall’s classroom and the general feel of ‘I just don’t get it!’.
But Insignificance is not a play about physics and the two characters aren’t just any random people. It’s 1954 and though they’re officially named The Actress and The Professor, we can – with reasonable confidence – infer that they’re Marilyn Monroe and Albert Einstein. And they’re intermittently joined by her husband Joe DiMaggio – The Ball Player – and Joseph McCarthy – The Senator, for a fantasia on the nature of celebrity that is occasionally quite dazzling. Continue reading “Review: Insignificance, Arcola”
“Hate the critics? I have nothing but compassion for them. How can one hate the crippled, the mentally deficient, and the dead?”
The outdated ramblings of a doddery old man – funny how art can reflect life… Any opinion I might have had about Ronald Harwood’s The Dresser inevitably comes tainted with his apparent inability to open his mouth without spouting some kind of crap or other. Last month it was claiming casting women in male Shakespearean roles as “astonishingly stupid”, earlier this year it was using his will to ban women from playing the lead role in this very play. At 81, he’s clearly of a different generation but I’m certainly not inclined to indulge him in a way one might one’s own casually intolerant older relations.
His 1980 play The Dresser is based on his own experiences as a personal stagehand to actor-manager Sir Donald Wolfit and closely too. Wolfit was known for his wartime Shakespearean tours, particularly his King Lear, and so Harwood gives us an increasingly decrepit thesp (Ken Stott) on an interminable regional rep tour in the midst of the Second World War. ‘Sir’ is due onstage (in Lear, natch) and his long-suffering dresser Norman (Reece Shearsmith) is the only one who can get him there, for he is caught in the throes of mental and physical disintegration. Continue reading “Review: The Dresser, Richmond/Duke of York’s”
“Don’t worry. I may have my quirks but I’m not an animal. Or am I? One for the courts to discuss.”
The term ‘dark comedy’ is much abused but there really is no better descriptor for Hangmen, Martin McDonagh’s long-awaited return to theatrical writing. Set (mostly) within the tobacco-stained walls of a proper boozer in Oldham in the 1960s on the day that Britain has abolished the death penalty, landlord Harry’s (the excellent David Morrissey) past comes back to haunt him in a big way. For he was the last hangman in the country, as evinced by a cracking prologue (that isn’t for the squeamish) that sees him and his assistant Syd go about their business.
The arrival of enigmatic Londoner Mooney (Johnny Flynn never better) is the catalyst for the plot, as Harry’s disaffected daughter becomes easy prey to his professed affections and disappears with him, round about the same time Syd reappears in Harry’s life to say something rum is going on with a serial killer who has a Southern accent. But the real joy is in the motley crew of grizzled regulars who gather in the pub and the cracking dialogue McDonagh gives them as they dance around the morbid curiosity that has called them to this pub rather than any others. Continue reading “Review: Hangmen, Royal Court”
why nobody will oppose”
Sheffield Theatre’s production of Anything Goes is launching on a simply mammoth tour of the UK – over 30 venues in 10 months – so it’s a pretty good job that it’s a largely excellent production. It’s rather amusing to note the number of reviews that mention that this classic show is over 80 years old yet still point out that the much revised book isn’t anything special at all but merely a framework on which to hang some of the most glorious songs of Cole Porter’s career. Given the average age of the audience, this will not come as a surprise to anyone, but there’s much here in Daniel Evans’ production to commend it to the young’uns too.
Alistair David’s choreography is a real delight, a constant breath of fresh air on which the show floats giddily, whether it’s the leads fooling about as if they’re Fred Astaire, sailors mooning over bathing beauties, or the whole company possessed with a spiritual glee. The eye is of course drawn to the stunning Act 1 finale set to the title track (which will always belong to Kate Capshaw’s bizarrely translated version in Indiana Jones and the Temple of Doom, my first experience thereof) which is a jaw-dropping, shoe-shuffling, tap-dancing dream, cleverly referencing classic moves but also firmly establishing its own identity by keeping Debbie Kurup’s sensational Reno Sweeney front and centre. Continue reading “Review: Anything Goes, New Wimbledon Theatre”
I realise I’m just adding (belatedly) to the plethora of 2015 features already published but so many of them trod the boringly familiar ground of forthcoming West End shows (and in the Evening Standard’s case, managed to recommend booking for three shows already sold out from their list of six). So I’ve cast my net a little wider and chosen a few random categories for just some of the shows I’m recommending and looking forward to in 2015.
“Gentlemen, let the race begin”
Nicolas Kent’s final hurrah at the Tricycle Theatre, which he has patiently nurtured into fine battling form as a theatre really at the cutting edge of hot-topic drama, is this multi-authored two-part epic – The Bomb – a partial history. Inviting nine authors to respond to the debate (or more accurately the lack thereof) around nuclear weapons, Kent has pieced together a stimulating and challenging piece of theatre, divided into two parts, which can be experienced separately on different nights or one after the other on certain days, in a seven-hour marathon, which is how I did it (and probably how I’d recommend to it).
Part one is labelled First Blast: Proliferation and focuses on the period 1940-1992 as nuclear weapons became a horrendous reality as Japan found out to its cost and then a terrible threat to all as the Cold War descended between the superpowers of the USA and the USSR, and more and more countries sought to gain nuclear capabilities for themselves, threatening imbalances right across the globe. The attempts to control the spread of nuclear weaponry is also dealt with as the Nuclear Non-Proliferation Treaty came into being and international pressure exerted to try and bring everyone into the fold. Continue reading “Review: The Bomb: a partial history – First Blast, Tricycle Theatre”
“Could it be possible
that war becomes so terrible that it outlaws itself?”
Ron Hutchinson’s Calculated Risk, the second play in the first half of the Tricycle’s The Bomb – a partial history, is an excellent debate on the morality and the reality of adopting a nuclear weapons programme. Set in the second half of 1945, the play focuses on Clement Atlee’s dilemma as he came into power as Prime Minister just days before the US dropped an atomic bomb on Hiroshima, a move sanctioned by Churchill’s government, and was put under pressure to decide on what Great Britain’s nuclear policy would be.
The main part of the piece is a sustained discussion between Attlee and his key advisors: Field Marshal Grierson, Foreign Secretary Ernest Bevin and scientist William Penney who are each pursuing their own agendas, and following their own instincts, in debating this huge issue. And Hutchinson spells it all out with great clarity, pitting the inevitability of scientific advance against ethics and the notion of free will, the morality of choosing an option that would undoubtedly result in huge civilian loss of life against the political expediency of warning potential enemies of what they might face. Continue reading “Review: Calculated Risk, Tricycle Theatre”