All posts by Edward Lukes

“Cornelius” at the Finborough Theatre

The latest “rediscovery” of a play from the Finborough Theatre is Cornelius by J.B.Priestley and it’s a real gem. A rich text, full of ideas, humour and drama, it is not to be missed. Not content with revealing this hidden treasure, last performed in London seventy years ago, director Sam Yates gives this superb play the excellent production it deserves.

Cornelius is at first a gentle, office-based comedy, with a cast of amusing characters sure to entertain. In a strong ensemble special note has to be made of Beverley Klein who takes on two roles with great skill. Yates handles the comedy superbly with a masterful nod at what a modern audience makes of the more dated moments. Similar intelligence is seen dealing with the social themes that so engaged Priestley: Cornelius runs a business in trouble, in dire economic times, with work interrupted by desperate salesmen and creditors. Cleverly, Yates handles any parallels to our current state with the lightest of touches.

What really interests is Cornelius himself; a fantastic creation, Yates and his lead actor Alan Cox understand him wonderfully. Bluff and blustering, appealing in his modesty and humour, Cox is perfect in bringing out nuance and adding the touch of poetry that makes his character fascinating.

There’s romance for Cornelius but his relationships with the devoted Miss Porrin and the down to earth Judy, finely performed by Annabel Topham and Emily Barber respectively, show two sides of unrequited love that makes the piece feel refreshingly real.

Cornelius contains a touch of mystery and tragedy as well, coming from his business partner, the intense Murrison remarkably portrayed by Jamie Newall, giving rise to dark observations, such as the “scheme and scratch” nature of office work, that are sure to ring true with many. But there is hope in Cornelius that the production embraces in proud style. Yates brings great focus to a tight script, making Cornelius a riveting work and this production is not just the finest on the fringe but one of the hottest tickets in town.

Until 8 September 2012

www.finboroughtheatre.co.uk

Photo by Robert Workman

Written 17 August 2012 for The London Magazine

“Curtains” at the Landor Theatre

Making its European debut at the Landor Theatre, Kander and Ebb’s last work, Curtains, sets the making of a new musical – a Wild West version of Robin Hood – alongside a comedy murder mystery. It’s a bizarrely inspired combination, executed with a wicked sense of humour.

At the play-within-a-play’s opening night it isn’t just the critics’ knives that are out; a talentless star becomes a showstopper of a special kind when she’s murdered on stage. Behind the scenes is a hive of viciousness and villainy that proves plenty of suspects. Enter our detective, who just happens to be a huge theatre fan.

Jeremy Legat excels in the role of Lieutenant Cioffi, solving the crime in style and inspiring the cast to produce a better show at the same time. Bryan Kennedy, who plays an imperious director, delivers every line in superbly arch fashion and the show’s apparently ruthless producer, played by Buster Skeggs, joins the fray in equally high camp fashion.

Curtains isn’t without its problems. Even for a musical, there’s a touch too much pastiche, the piece loses some steam toward the end and, despite tremendous performances from Leo Andrew and Fiona O’Carroll trying to save their marriage and the show, heartfelt moments seem out of place. But these faults are quickly forgotten in director Robert McWhir’s superb production – injecting humour into every scene, he lifts the piece magnificently.

With designer Martin Thomas’s near miraculous use of the space, Curtains feels very much the big Broadway show. As the cast sing of ‘wide open spaces’ that couldn’t be further from the intimate setting of the Landor, they show off Robbie O’Reilly’s terrific choreography perfectly. No question that this playful whodunit is a hit.

Until 1 September 2012

www.landortheatre.co.uk

Photo by Francis Loney

Written 31 July 2012 for The London Magazine

“Richard III” at Shakespeare’s Globe

Mark Rylance, former artistic director of Shakespeare’s Globe, makes his return to the theatre in the title role of Richard III. The play is always a star vehicle, and Rylance’s Richard is a stuttering, often jovial figure who gets plenty of laughs. Playing with the theatricality of his character, a smart move that suits Rylance, his conspiratorial tone delights. It takes time to appreciate Richard’s darkness, but when he chooses, Rylance shows a startling, unashamedly psychotic King, making sure his depiction will be one to go down in theatre history.

Alongside Rylance the whole production, under the direction of Tim Carroll, shows skilful pacing. The speed of the action is breakneck but the riveting ensemble seize the attention masterfully. Special notice must go to Roger Lloyd Pack as the King-maker Buckingham, matching Richard in his cynical malevolence up to the point of murdering the princes in the Tower: when Lloyd Pack exits to consider the usurping King’s request, it is a moment of great tension, superbly performed.

This is an all-male production. Without revisiting the debate on this approach, and stressing that those taking on female roles give superb performances (especially Johnny Flynn, who plays Richard’s unwilling wife Anne), the move is indicative of a traditional approach to the play. There’s no dwelling on the history here or the superstition rife in early modern society – Shakespeare took both for granted after all. The emphasis is on drama and entertainment.

Thoroughly at home on his old stomping ground, Rylance leads the cast in exploiting the dominant feature of the Globe – its ability to encourage audience participation. Whether it’s knowing glances that create complicity or shared outrage at Richard’s demonic actions, Carroll’s production is always engaging. With direct appeals for cheers as he is encouraged to take the throne, Richard gets the applause Shakespeare’s play has denied him as a figure in history – in the case of this production, the cheers are well deserved.

Until 13 October 2012 and then transferring to the Apollo Theatre from 6 November 2012

www.shakespearesglobe.com

Photo by Simon Annand

Written 26 July 2012 for The London Magazine

“Timon of Athens” at the National Theatre

While directors seldom shy away from interpreting Shakespeare, sometimes searching almost perversely for a spin that promotes their production, Nicholas Hytner’s Timon of Athens offers something different. As Shakespeare’s least known work, we have the unusual situation of an audience coming to the show fresh. As a result, the new production at the National Theatre makes a remarkable contribution to the World Shakespeare Festival, presenting a contemporary sounding voice that demands to be heard.

Timon of Athens contains more parable than plot and traces the downfall of the eponymous protagonist, who is ruined by his generosity in a mercenary world. It’s easy to see the writing on the wall for Timon, but filling the play with contemporary references, setting the action in Canary Wharf and Parliament, and casting the rebel Alcibiades as a political protestor in the mould of ‘Occupy’ movement, give the production a powerful resonance in our financially unstable times. It’s a wicked world out there; you’ve only got to watch out for the on-stage product placement from Jaeger to have your cynicism reinforced.

The play’s main fault lies with its characterisation but Hytner’s cast manages to deal with this. Deborah Findlay is superb as Timon’s steward, adding emotional punch to the play, while Hilton McRae is excellent as the philosopher Apemantus. In the lead role, Simon Russell Beale gives a magnificent performance: his powerful presence matches the play’s directness – there are no byways here, just a monotonous misanthropy. Few actors could carry the violence of Timon’s language, his prayer of vengeance, this convincingly. Both Russell Beale and Hytner convey the bleakest view of humanity, making Timon of Athens the National’s most radical, challenging production for quite some time.

Until 31 October 2012

www.nationaltheatre.org.uk

Photo by Johan Persson

Written 18 July 2012 for The London Magazine

“Mack and Mabel” at the Southwark Playhouse

Mack and Mabel has a reputation as a difficult musical to stage successfully. But you’d never guess that from the fine production now showing at the Southwark Playhouse. In the expert hands of director Thom Southerland the piece becomes what aficionados have long suggested – one of Jerry Herman’s finest works.

The love story, set in the early days of the movie business, is slight. But, like the films its protagonist Mack Sennett makes, it has all you need to capture an audience: “love, light, laughter”. Perhaps inspired by Mack’s love of speed, Southerland takes the piece at such a pace that you won’t have time to worry about plot. This is a glorious mix of melodrama, bathing beauties and Keystone Cops. The only disappointment is that the often-promised gorilla doesn’t turn up.

One thing everyone agrees on is how fantastic the songs are. There isn’t a bad number in Mack and Mabel and in this production they all get the delivery they deserve. Norman Bowman and Laura Pitt-Pulford are both impressive in the title roles. The latter deserves special mention for her fantastic delivery of the Barbara Cook standard ‘Time Heals Everything’. There are fine performances from Jessica Martin, as studio stalwart Lottie Ames, and Stuart Matthew Price shows he’s thoroughly on the ball, dealing with a minor wardrobe malfunction while sounding fantastic.

Lee Proud’s choreography is outstandingly ambitious and, impressively executed by the ensemble, it adds a great deal of humour. There are fine comic performances, especially from Steven Serlin as the studio’s producer – his crew may be making comedy shorts but Mack and Mabel is a grown-up affair with a famously downbeat ending. Some find this unsatisfying, but Southerland emphasises the work’s melancholy and nostalgia to create a moving, weighty experience that is not to be missed.

Until 25 August 2012

www.southwarkplayhouse.co.uk

Photo by Annabel Vere

Written 12 July 2012 for The London Magazine

“The Taming of the Shrew” at Shakespeare’s Globe

The Taming of the Shrew is surely Shakespeare’s most objectionable play: its politics can’t help offending a modern audience and its conclusion leaves a bitter taste – never a good move for a comedy. But director Toby Frow’s new production at Shakespeare’s Globe comes as close as possible to redeeming the piece. With a simple approach, Frow makes sure we don’t take the misogyny too seriously, expanding the comedy and saving the show in masterful style.

Frow, aided in dealing with the text by Samuel Adamson, adds plenty of slapstick and interjections that enliven frankly duller moments and acknowledge that few of us are up to speed with Shakespeare’s verbal dexterity. The result is two fold. The ensemble truly excels with even the smaller roles shining: Pearce Quigley’s deadpan Grumio is just one example, and the often sickly sweet lovers Bianca and Lucentio get to have a go, with superb performances from Sarah MacRae and Joseph Timms. Secondly, Frow establishes a fantastic, farcical rhythm (often quite literally – his use of music in the production is inspired) that escalates wonderfully. There’s a touch of One Man, Two Guvnors sometimes and more than dash of Carry On. And why not, if it works?

When it comes to the most unpleasant aspects of “taming”, Frow exploits the play’s dream theme and also sets up a relationship between Katherina and Petruchio that treads a fine line between feigned lunacy and the possibility of equality – this is a subtle, complex relationship underneath the broad comedy and works through the intelligence of its lead performers. Simon Paisley Day plays Petruchio in fine bombastic style, believable as the “devil” people describe him as and reducing the audience to fits of laughter. But his intended is more than a match, with Samantha Spiro putting in a tremendous physical performance as a head-butting, door-bashing Kate that steals every scene. Even if you can’t understand why anyone would want to tame Spiro’s shrew, you can still laugh along at the attempt.

Until 12 October 2012

www.shakespearesglobe.com

Photo by Manuel Harlan

Written 5 July 2012 for The London Magazine

“The Fix” at the Union Theatre

Those who love musicals know that the art form can tackle pretty much any subject matter. But some might raise eyebrows at show tunes about an American presidential campaign. John Dempsey and Dana P. Rowe’s musical The Fix shows there’s a good fit between the two since the theatricality and artificiality of politics is highlighted by the genre.

This is the story of Cal – a young man from a dynasty that sees politics as a game – and his journey to power, from a stint in the military to a marriage of convenience, and the ensuing sleaze, affairs and mafia connections. Director Michael Strassen does a superb job with this fast-paced, exciting story, injecting it with humour and passion. A 60s setting allows Rowe to show off a panoply of musical styles that can’t fail to impress and Dempsey’s smart lyrics are full of satire.

If The Fix has a failing it serves to prove a point. Cal is blank slate for others to manipulate. The suggestion is that’s what it takes to get ahead in politics, and his character is somewhat flat – though this certainly isn’t the case with Louis Maskell’s singing, which resonates beautifully. Maskell also displays considerable acting skills and manages to put some flesh on his character in scenes with his mistress Tina, played by Daisy Tonge, whose strong voice makes this young actress one to watch.

As the plot thickens to include Cal’s desperation for a fix because of his drug addiction, the real focus becomes not the heir in waiting to the presidential throne, but his mentor and his mother. As the former, Miles Western gives a tremendous performance as a Machiavellian mastermind of spin with plenty of motivation – his continual questioning of the very sanity of his plan gives The Fix its edge. Yet the star of the show is Liz May Brice as Cal’s mother. In superb voice with the highest calibre of acting, this mad mixture of Lady Macbeth and Mama Rose is truly captivating.

Until 14 July 2012

www.uniontheatre.biz

Photo by Roy Tan

Written 28 June 2012 for The London Magazine

“The Last of the Haussmans” at the National Theatre

What a cast: making a return to the stage after over a decade, national treasure Julie Walters is joined at the National Theatre by the equally superb Helen McCrory and Rory Kinnear. You might think their presence in any play should be enough, but even these performers can’t hide the problems in new playwright Stephen Beresford’s debut, The Last of the Haussmans.

The story of an old hippy, Judy – played by Walters with great energy – and her discontented family, starts well: it’s a gentle comedy, with Chekhovian spirit and naughtiness on the right side of rude. Kinnear is captivating and McCrory wonderfully deadpan, while her long-suffering daughter, played by Isabella Laughland, does remarkably well to hold her own against the more experienced thespians.

But after the interval Beresford’s attempts to add a serious edge fall flat. It seems we have another play about the baby boomer generation, and the disgruntled offspring’s desperation for property, but this now familiar theme feels tacked on and unconvincing. There is little exploration of what Judy’s politics were – surely more than just something to laugh at – and the sheer self-centeredness of her children beggars belief.

Director Howard Davies and the cast’s comic skills fail to hide the one-dimensionality of Beresford’s characters. Following her script, Walter’s portrayal becomes slightly too broad and the fate of the children a touch sordid. Ultimately, the family’s demise fails to move or hold real interest. At the risk of sounding uncharitable, it’s probably no bad thing that they are, indeed, the last of the Haussmans.

Until 10 October 2012

www.nationaltheatre.org

Photo by Catherine Ashmore

Written 22 June 2012 for The London Magazine

“Henry V” at Shakespeare’s Globe

The Globe has a special relationship with Henry V: the play opened the new theatre and any bardophile is sure to thrill at the lines referring to “this wooden O” when they hear them in situ. With the bunting still out on the streets, Shakespeare’s most patriotic king is in tune with this summer. Henry’s rallying “once more unto the breach” is addressed so directly to the audience that it receives spontaneous applause. And it is richly deserved: Dominic Dromgoole’s new production is a triumph.

Droomgoole is too intelligent a director to reduce Henry V to jingoism. Fully at home in The Globe, he brings out the nuances in the play with all its bittersweet humour. There’s a tremendous performance from Brendan O’Hea as the leek-loving Welshman Fluellen, providing a cynical twist on patriotism. Leading the low life is the superb Sam Cox as Pistol, getting the laughs while reminding us that those who suffer most in war are often the poor.

The production is aided immeasurably by a wonderful performance from Brid Brennan in the role of the chorus. She sets the scenes, urging us to “work our thoughts” with beautiful clarity, perfectly reflecting Droomgoole’s simple, no-nonsense approach. This Henry V is full of confidence, it has faith in the play, and the production’s achievement is to show off Shakespeare at his very best.

The jewel in the crown of Droomgoole’s Henry V is Jamie Parker in the title role. Martial certainly, blood curdling when he has to be, but also full of charm, Parker’s frequently understated performance shows total control (he’s even better than Branagh), and you want to back him and even fight for him. This is a truly glorious reign, certain to make any theatre lover happy.

Until 26 August 2012

www.shakespearesglobe.com

Photo by John Haynes

Written 14 June 2012 for The London Magazine

“A Midsummer Night’s Dream” at Regent’s Park Open Air Theatre

Regent’s Park Open Air Theatre has such a long association with A Midsummer Night’s Dream that any production of the Shakespearean favourite is highly anticipated. Director Matthew Dunster’s bold version seeks to challenge any tendency to see the play as comfortable by reimagining the setting as a gypsy camp.

There’s nothing wrong with the idea: it allows a fresh look at a well-known text and affords designer Jon Bausor the chance to create a fantastic set, full of surprises, that Laura Hopkin’s costumes look great on. Unfortunately, it’s a concept that pays few dividends and results in a misguided midsummer night.

The gypsy theme works fine for the play’s quartet of lovers. Making their entrance mid-fight, Demetrius and Lysander, finely performed by Kingsley Ben Adir and Tom Padley, are full of youthful virility. As Hermia and Helena, Rebecca Oldfield is spirited and Hayley Gullivan superb.

In comparison, the fairies are conventionally supernatural. Despite a BMX-riding Puck, they seem to have little connection with the rest of the play and this is hampered by some histrionic performances and laboured choreography. When Titania falls in love with Bottom, the result is crude and silly.

The workmen who perform for the now Gypsy King are another unhappy fit. Valiantly led by George Bukhari, their extended party scene is a surreal mix of My Big Fat Gypsy Wedding and Britain’s Got Talent that pleases the crowd but creates an unbalanced production. Their play within a play is performed in mock-operatic style with great energy, but the laughs they get become a problem as their success jars with the overall feel of the production.

Dunster makes many efforts to inject menace into A Midsummer Night’s Dream, emphasising violence from the start. Theseus’ confession to his bride – “I woo’ed thee with my sword” – remains a threat throughout: their wedding celebrations are fraught. But as a device to add tension the idea is overplayed. Dunster has to add to the play – to the extent of including a karaoke performance! Like much of the show, it’s inventive, but this is a problem that Dunster has created in the first place.

Until 5 September 2012

www.openairtheatre.org

Photo by Johan Persson

Written 13 June 2012 for The London Magazine