“A man dare not play the tyrant in London, because there are so many examples to encourage the subject to rebel.”
It may be The Beaux’ Stratagem but it is Mrs Sullen’s play. The most striking thing about Simon Godwin’s production of George Farquhar’s final Restoration comedy is its determinedly proto-feminist stance as Mrs Sullen – an independently wealthy woman now desperately unhappily married – is given surprising agency to express herself in a meaningful way and attempt to extricate herself from her situation. And in Susannah Fielding’s superbly silken performance, she’s exquisitely played as an almost tragicomic figure, endlessly entertaining in the raucous romping around but as Jon Clark’s lighting picks her out at the end of each act, capable of holding the entire Olivier theatre’s hearts in her hands.
The beaux ain’t too bad either. Farquhar’s plot centres on their attempts to marry into money after squandering their fortunes in London. Hoping news of their disgrace hasn’t reached the provinces, they head north and stop off in Lichfield, pretending to be master and servant, where their attentions fall on a rich young heiress and her unhappily married sister-in-law. Samuel Barnett’s Aimwell and Geoffrey Streatfeild’s Archer are a witty pair of fellows indeed, with a cracking line in beautifully cut overcoats too, as their avaricious adventures are soon overturned by amorous attentions as they can’t help but fall head over well-turned heel for their marks. Continue reading “Review: The Beaux’ Stratagem, National Theatre”
“Twelve funerals I’ve been to this year. Twelve and it’s only August”
There’s something of a delayed reaction feel to Sarah Wooley’s new play Old Money in the way that it explores the relationship between the generations now that it can no longer be assumed that wealth will continue to increase in the way it always has. I say delayed reaction because it feels like a subject that been dealt with by other writers like Mike Bartlett and Stephen Beresford, but neither had quite so comic a take as Wooley, a first time playwright, has here. She wraps her version in the tale of Joyce, widowed after 40 years of marriage and given an unexpected new lease of life, but it is one which doesn’t go down well with the various members of her family.
It is a play completely driven by Maureen Lipman’s excellent central performance as Joyce. Her delivery of the material is always so note-perfect and able to wring just the right amount of humour that it is close to a comic masterpiece. And as she travels on her journey of self-(re)-discovery through trips to the opera and drinking sessions with friendly young strippers, there’s also something rather touching about the reminder that it is never too late to learn things about oneself and Terry Johnson’s production manages to convey this without veering towards the patronising.
I had more problems with how she connected with the rest of the play though, in particular the supporting characters like Tracy-Ann Overman’s Fiona, highly materialistic and determined of her right to make endless demands of her mother. Pregnant with her third child, saddled with a feckless husband and an unmanageable mortgage, hers is the unlikeable role against which Joyce’s new-found freedom is strongly contrasted but it is a strangely sour taste that is left in the mouth as the price she exacts on her own family as she strikes her merry way at the end feels misjudged.
So something of a fascinating piece rather than a necessarily compelling one and thus perhaps a little intriguing in how it made its way onto the Hampstead main stage, but Lipman’s performance makes it worth a trip.
Running time: 2 hours 10 minutes (with interval)
Booking until 12th January
“We talked about how memory deals or doesn’t deal with what is intolerable”
WG Sebald’s novel Austerlitz is a simply astounding piece of writing so I knew that I would have to make time in the busy Christmas schedule to listen to Michael Butt’s adaptation for Radio 3, even if it isn’t necessarily the most festive of fare. An emotive tale of repressed memories and how the echoes of an unresolved past can ripple out throughout an entire lifetime.
The story is based around a series of meetings between the narrator and a man named Austerlitz. From the waiting room in Antwerp station to London hotels and Parisian cafés, a relationship grows between the two men as the narrator gradually teases out the long-buried story of Austerlitz’s past which, as he was born into a Czechoslovakian Jewish family in the 1930s, is intrinsically entwined with the Holocaust, an event his mother saved him from by having him transported to the UK where he was adopted by a Welsh family and given a whole new identity. Continue reading “Radio Review: Austerlitz, Radio 3”
“We don’t live alone. We are members of one body. We are responsible for each other.”
Despite being a much-lauded and much-travelled production, and a mainstay of many a GCSE English Lit exam, An Inspector Calls has completely passed me by until now, my first engagement with this play. Time and the Conways at the National was my first Priestley play earlier this year, so I was interested to see another of his plays, especially one so well known. Representing the other side of the coin was my companion for the evening, Aunty Jean a former English teacher who knew the play inside out, so we had the makings of an intriguing night at the theatre.
JB Priestley’s period thriller, adapted here by Stephen Daldry, opens in 1912 with the self-satisfied Birling family celebrating the engagement of daughter Sheila to Gerald Croft. Oozing wealth and pomposity, Arthur Birling takes the opportunity to share his theories on money and success along with the glories of being on the right side of the social divide. Interrupting this cozy evening strides Inspector Goole, who informs them a young local girl has killed herself just hours before. As he quizzes them about her sacking, pregnancy and suicide, the previously composed family gradually falls apart as various revelations about their involvement with the girl come to the surface and how each of them contributed to her downfall. Continue reading “Review: An Inspector Calls, Garrick”