All posts by Edward Lukes

2020

"A Midsummer Night’s Dream" from Shakespeare’s Globe

The three groups of characters within Shakespeare’s much-loved comedy provide possibly too easy a scheme to judge a production. But given director Dominic Dromgoole’s expertise with the work of Oscar Wilde, here’s hoping he forgives me for not resisting temptation and following it for a rough assessment of his superb 2013 production.

First, the doubled-up roles of those who rule – Athens and the fairy world – deliver two excellent performances. John Light makes a forceful Theseus and downright virile Oberon: there’s a perfect diffidence about his marriage to a not-so-willing bride and a gorgeous Irish brogue as he plays tricks on his fairy queen. Taking to the stage she is now in charge of as artistic director, Michelle Terry is wonderful as a still fiery Amazon and a Titania who engenders a good deal of emotion.

Our “hempen homespuns”, the workmen who put on a play within the play, are also superb. Led by Pearce Quigley as Bottom, a role he was surely born to play, the clog-wearing workers get laughs before they open their mouths. Quigley has some excellent ad-libbing and a deadpan tone that makes a nice change for the role; his ironic delivery of a “monstrous little voice” and an actor’s temper tantrum are two of many highlights. Moonshine’s dead dog is another!

With the final group of the four Athenian lovers, things aren’t so good. Demetrius and Lysander are too cartoonish and Hermia a touch bland. It’s left to Sarah MacRae’s Helena to get the laughs, try as hard as the others do, creating unbalanced scenes that drag a little. Two out of three doesn’t sound that great. But Dromgoole has a vision for the play as a whole that sets his work apart. Steeped in rural mysticism (aided by the work of designer Jonathan Fensom) that Shakespeare’s audience would have recognised and is appropriate for the venue, there’s a powerful cohesion to the production. With a surprising amount of violence, danger and some pretty scary spirits, Dromgoole brings a tension that the play can sometimes lack. You probably can’t have a perfect production of A Midsummer Night’s Dream but, with a nod to an unsettling nightmare, this one comes respectably close.

Available until 28 June 2020

To support, visit www.shakespearesglobe.com

Photo by John Wildgoose

2020

“The Wiz” from The Shows Must Go On!

A change in schedule to this programme, proving a boon to theatre lovers during lockdown, was inspired by current protests. With an extra donation button to the NAACP added, this weekend offered a chance to see a show that made history by combining the classic Wizard of Oz story with African American culture.

This TV movie production, directed by Matthew Diamond and Kenny Leon, boasts a superb cast and some great costumes. It’s a shame that scenes are truncated and that filming hampers appreciation of the choreography.

With the exception of the show’s hit tunes (Ease on Down the Road and A Brand New Day) the music might disappoint. Led by Charlie Smalls (with Timothy Graphenreed, Harold Wheeler, George Faison and Luther Vandross), too many numbers feel a touch generic. Maybe that is a price of their success? The book by William F Brown is a lot more fun and the show’s humour considerable. Time and again, strong performances lift the songs above average. But what performances!

The Wiz Live! photo credit Virginia Sherwood/NBC
Shanice Williams and Amber Riley

With Mary J Blige as wicked witch Evillene and Queen Latifah as The Wiz, the singing is exceptional. Add Amber Riley as the good witch Addapearle and it’s musical theatre heaven. Shanice Williams plays a Dorothy better written that the original: “stubborn, strong, smart”, The Wiz makes her a more interesting heroine and even has a joke about her being a killer. Joined by Elijah Kelley, Ne-Yo and David Alan Grier, as the scarecrow, tin-man and lion, not a foot is put wrong as they all follow that yellow brick road.

With an all-black cast long before Hamilton and a famous film, this Tony Award-winning show is a testament to the importance of representation. And it knows it – characters claim that they “represent” more than once. Of course, they shouldn’t have to feel this need. It’s a shame that what should by now be a quaint historical point is still so valid, adding strength in a small way to the arguments of Black Lives Matter. Let’s hope for more than changes in programming when we finally return to theatres for real.

Available on The Shows Must Go On! YouTube channel until 14 June 2020

Photos by Virginia Sherwood/NBC

2020

“The Madness of George III” from NTLive

Another trip away from the South Bank this week, to the Nottingham Playhouse, means two places to donate to and reminds us of problems facing theatres nationwide during the Covid-19 lockdown. Alan Bennett’s play started at the National Theatre in 1991 and this revival, directed by Adam Penford towards the end of 2018, shows strong work outside the capital.

Penford approaches the piece with a disciplined hand. Although the title role is unquestionably a star part for Mark Gatiss, who does very well, each member of the cast gets a chance to shine. Gatiss has the King’s avuncular nature down to perfection (what a good gossip), and he makes his illness moving. The stuttering, frustrated efforts to communicate – fantastic writing from Bennett – are great.

George’s love match with Queen Charlotte is well conveyed with the help of Debra Gillett (although the off-and-on German accent could be tighter). Best of all is the appearance of Adrian Scarborough as the King’s physician Willis, who adds a good deal of tension. Many a show picks up when Scarborough walks on stage but, unfortunately, that feels especially true here.

Surprisingly, given Gatiss’ background in comedy, the play isn’t as funny as you might hope. There are too many lines wasted: telling the Prince Regent that style never immortalised anyone really should get a laugh. Instead, the play’s keen eye for politics seems to interest Penfold more.

Focusing on the power struggles behind the sick monarch is good news for Nicholas Bishop as “cold fish” Prime Minister Pitt and is, undoubtedly, interesting. But the plotting could be clearer and scenes in Parliament are pretty poor, despite some nice design from Robert Jones. Nonetheless, Bennett does well when he engages with history and Penford is smart to pick this up. If the author’s more romping moments are neglected, the play is clearly still in good shape.

Available until Wednesday 17 June 2020

To support, visit nationaltheatre.org.uk

2020

“A Monster Calls” from the Old Vic

Artistic Director Matthew Warcus’s Coronavirus lockdown project, entitled Your Old Vic is off to a fantastic start with this hit from 2018, co-produced with the London theatre’s namesake in Bristol.

Like the best of theatre aimed at younger audiences (the age recommendation is 10+) this adaptation of Patrick Ness’ novel appeals to all. And similar to the best of its kind – think Warhorse and Coram Boy – it tackles a tough subject we might shield children from. This story of a schoolboy whose mother is dying of cancer is tough stuff. Yet it’s brilliant from start to finish.

Anchored by wonderful performances from Matthew Tennyson, as Conor, Marianne Oldham as his mother and Selina Cadell as his Grandma, the play is honest about the complicated emotions that surround a long illness. The monster of the title is, of course, cancer. But the play also contains a pretty scary Yew Tree (Stuart Goodwin) who takes Conor on a journey of self-discovery.

Although the ensemble has some bumpy moments, three stories told by the tree and performed by all, means a lot of roles are covered by the small cast. Hammed Animashaun and John Leader impress as a Prince and an Apothecary as well as bullies in Conor’s ordinary life. Ness makes the important point that Conor’s problems at school continue. Other troubles don’t go away when cancer arrives.

In using fantasy and story-telling to reveal the truth, Ness tackles the anger and fear around loss for all his characters. Frequently violent, like many fairy tales, you might share Conor’s scepticism about allegorical touches. But with wit and twists we becomes convinced that “stories are the wildest things”. A sense of danger gains dramatic momentum in every scene.

Matching Ness’ imagination, the ideas for the show – inspired by Siobhan Dowd, devised by the company and directed by Sally Cookson – fill the stage with invention. Dick Straker’s brilliant projections and the sophisticated score from Benji Bower complement a simplicity to the staging that uses ropes to suggest the tree and many props. Technically brilliant, frequently beautiful, the shows very creativity serves as a hopeful note to help us through its emotional turmoil.

Until 11 June

www.oldvictheatre.com

Photo by Manuel Harlan

2020

“Joan Clegg” from the Finborough Theatre

Highlighting its strong reputation for rediscovering classic plays, this lockdown offering from Neil McPherson’s treasured venue had not been performed in London since 1944 when it was revived last year. Expert director David Gilmore shows us what we’ve been missing with a production of the highest quality.

It’s easy to see St. John Ervine’s 1913 piece as an English version of Ibsen’s A Doll’s House. The honesty about an unhappy marriage must have been just as shocking to Edwardian audiences as the Norwegian’s work. The frustrated, intelligent and independent Joan is a nice match for Ibsen’s Nora. And Joan is a similarly great role for an actress – here, Alix Dunmore embraces the opportunity to her credit, steely and dignified with a melancholy regret sustained throughout.

Ervine’s writing is solid. If the plot plods and there are some laughs at the outdated sexual politics, Joan Clegg is a robust piece. The inspiration of Ibsen runs deep – an attention to detail that naturalism insists on means the play stands on its own, rooted in a particular time and place. Gilmore does well to nurture these culturally specific touches, supported by performances from Victoria Lennox and Sidney Livingstone, as the mother-in-law and the husband’s manager. A sense of social constraints is strong but never over-stated.

As for that “absolute rotter” of a husband, Henry, that he isn’t a total turn-off is more to the credit of Brian Martin’s performance than the writing. Henry’s stubborn arrogance as his lies – and Joan – catch him out provides drama, despite being predictable. With Henry around it’s too obvious that Joan’s cry of “I demand as much as I give” isn’t going to be heeded. Her independence is a bit too much of a relief for a modern audience. But hearing about Joan’s life, over a century later, is powerful and stylish thanks to fine work from Gilmore and Dunmore.

Until 5 August 2020

www.finboroughtheatre.co.uk

Photo by Doug Mackie

2020

“Coriolanus” from NTLive

It’s a shame not to be able to rave about Josie Rourke’s Donmar Warehouse production of Shakespeare’s Roman epic a little more. The idea of putting the title character’s mother, Volumnia, to the fore is excellent and leads to the performance of a lifetime from Deborah Findlay. But Coriolanus is a tricky play, with an unappealing central character and short crowded scenes that are tough to make convincing. Although Rourke tries hard to inject energy and aid comprehension, the play frequently drags and hard to follow.

Rourke recreates the battle scene (where Caius Marcius wins his honorary surname of Coriolanus) with chairs and ladders – it probably looked better on stage but it is tough to follow. And a hard-working cast doubling up as politicians from different sides is also confusing.

It’s difficult to care about Coriolanus and his obsession with honour – even his arrogance becomes repetitive. How good a politician might he be? Is he truly modest or just another hypocrite? Such questions become unsubtle in a show with lots of shouting and moving around, none of which helps you work out what is going on or makes it exciting.

Thankfully, Deborah Findlay makes the show more than worth watching. Every scene with Volumnia is marvellous; from her introduction as the mother who would rather have a “good report” of her son than have him survive a war, to her creepy adoration of his battle scars. Findlay makes the exaggerations everyone spouts make sense. Rourke’s focus pays off and if the show uneven – aren’t we just waiting for these scenes? – it’s worth it. Here, Rourke has added to our interpretation of the play and brings out the best bits.

It’s not that the rest of the cast is bad – far from it. There are good turns from Elliot Levey and Helen Schlesinger as the tribunes who plot against Coriolanus, and making them lovers is another good idea. Mark Gatiss, as Menenius, gets better as the show goes, with a “cracked heart” from his last meeting with Coriolanus that is effective. 

CORIOLANUS The Donmar Warehouse credit Johan Persson
Tom Hiddleston

As for our leading man, Tom Hiddleston is very good indeed. It might have been interesting to explore the suggestion of “witchcraft” in the role, but Hiddleston is more than a little scary and brings out the character’s urge to be the “author of himself” well. Hiddleston can hold a stage superbly and, with Rourke’s impressive visual sense in this literally bloody show, helps creates some memorable images.

Yet even Coriolanus ends up seeming something of a foil for his mother – Findlay is so good. On her son’s exile, Volumnia refuses to cry, saying “anger’s my meat” in chilling fashion. That she finally begs Coriolanus is all the more moving – no wonder Hiddleston is reduced to tears. Even here there is a manipulative edge (see how she ushers her grandson towards his father) and note that this tragic dilemma is hers. Coriolanus says his mother deserves to have a temple built to her. It’s one of the few sensible things he utters. But, recalling Matthew Dunster’s idea about Cymbeline a few years ago at Shakespeare’s Globe, it might be an idea to change the title of this play, too? From Coriolanus to Volumnia anyone? 

Available until Wednesday 11 June 2020

To support, visit nationaltheatre.org.uk, donmarwarehouse.com

Photos by Johan Persson

2020

“Isolated But Open” from Papatango

Artistic director George Turvey’s quest to find new talent hasn’t stopped during the Covid-19 lockdown. Quick to respond to theatre closures, ten new monologues (plus two from award-winning playwrights) have been filmed by actors working in isolation. Without trying to “rate” this dozen – and apologies to those missed out – the standard is high and there is something for all to enjoy.

Several of the monologues address our current conditions. Arguably Benedict Lombe’s piece, rise from the wreckage, highlights opportunities and problems. The character’s challenge to aim for “something better” after lockdown is commendable. And the technique of dealing with the “one-way conversation” the monologue format has to confront is good – it’s a message to a future self. But the script is a touch self-conscious and the language full of slogans.

Emma Pritchard’s Pythagoras benefits from more imagination. Its subject is a young girl who plans to rescue a horse “as the world is ending”. Touching on teenage lives put on hold by the virus, there’s a quirky sense of humour and an excellent performance from Lucy Bromilow, who even seems to blush on cue. Balcony Bonding by Rachel De-Lahay is perhaps the strongest written: a Facebook Live chat between neighbours who don’t know each other, led by an endearing character in a strong performance from Susan Wokoma (complete with infectious laugh), it is simple but effective.

It’s a personal preference, but I enjoyed the escapism of monologues that had nothing to do with the coronavirus more. William Drew’s Hungry Like has a neat, intriguing premise with a surreal touch, and Angus Harrison’s Guts makes the induction of a newly recruited fishmonger in a supermarket far more interesting than it sounds!

Three plays that touch on grief were my highlights. Martha Watson Allpress’ Wild Swim has a simple premise about a mother and daughter that proved effective: painful but positive, impressively filmed (although the music proved distracting) and expertly performed by Lizzy Watts. Hips by Alex Riddle isn’t quite as focused, but the idea of a father and son who are professional impersonators could easily be developed and Josef Davies’ performance is great. Another short leaving you wishing it was longer comes from Tafline Steen, who manages to quote “existential terror” without coming across as pretentious (thanks to Andrea Hall’s performance, maybe) and who mixes feeling with philosophy in a way I’d like to see more of.

The degree to which these monologues should stand fully formed or show potential to grow is only one starting point for debate that the selection provokes. All involved should be proud of this inspiring project – and to have been included from an amazing 2,063 submissions. That is a lot of talent for Papatango to continue to try and foster, which brings us, deservedly, to the donation button!

www.papatango.co.uk/isolated-but-open

2020

“Bound” from the Southwark Playhouse

The Elephant & Castle venue’s fund-raising offering during the Covid-19 lockdown is impressive. There are four projects: Shakespeare, the musical Wasted, weekly monologues from Philip Ridley and this play from Bear Trap Theatre, which originally ran in 2011.

Written by Jesse Briton, who successfully packs a lot in to just 80 minutes, it is the story of ‘cursed’ fishing trip by Devon trawlermen. A troubled industry is the backdrop to an increasingly dangerous trip journey, which makes the show exciting.

Also directing the show, with help from lighting designer Seth Rook Williams, Briton conveys the peril faced – and the storm itself – with the simplest of means. It’s the kind of show that makes you love live theatre. And the recording, which has a static camera, is the kind I’m starting to prefer, as it’s far more authentic.

Drama doesn’t just come from the sea. Briton’s characters are impressive, if not uniformly developed. Bound shows a man’s world that diverges slightly from the toxic masculinity often seen on stage. Regardless of the arguments, big and small, there is a strong sense of care and affection – and a powerful undertow of a claustrophobic community burdened by its history.

While the cast might vary a little more in age, all do a good job with their distinctive roles. Joe Darke does especially well with Graham, who provides a good deal of the show’s many lighter moments. The older men are the source of plenty of jokes, so it is to the credit of actors James Crocker and Alan Devally that their moving story lines are still so strong. And Daniel Foxsmith is excellent as the most complicated character, Reece, who is a mix of unappealing politics and good common sense.

It isn’t all plain sailing. An outsider to the group, a Polish agency worker, is a role with a lot riding on it; Thomas Bennett works hard, but the character feels too naïve and Briton falters when it comes to showing English as a second language. The character of Woods, the skipper, is made compelling by John McKeever’s performance, but really needs plumping out.

The moral dilemma that leads to the play’s finale arrives too late and is ill prepared. Even worse, it isn’t really strong enough – there’s little sense that these brave men would take any other course of action, no matter how awful the outcome. But Briton’s direction bridges problems in his script. With the help of associate director Joe Dark, the movement work here is excellent. Best of all, songs – performed by a cast who turn out to be excellent singers – bind the show in ship-shape fashion.

Available until the theatre is open again at https://southwarkplayhouse.co.uk/streaming/

2020

“Hairspray” from The Shows Must Go On!

While few would call Marc Shaiman’s adaptation of John Waters’ movie a great musical, it is a lot of fun. And this version, filmed for TV by Kenny Leon and Alex Rudzinski, performed live with a star cast and plenty of cash behind it, really does the piece proud.

Maddie Baillio is a superb Tracy Turnblad, the teen whose adventures we follow and whose body-positive attitude is inspiring. Baillio has an innocent edge and manages to convey how outrageous the character is supposed to seem. Fighting segregation in 1962 Baltimore, through her protests on The Corny Collins TV show, gives this musical a sense of purpose. Mark O’Donnell and Thomas Meehan’s book, along with witty lyrics from Shaiman and Scott Wittman, make sure there is merriment alongside messages.

With the exceptions of the opening and closing numbers, Shaiman’s score, while enjoyable, isn’t quite memorable enough. Although good pastiche, with a point to make about how African American music was appropriated into the mainstream, it doesn’t unify into a whole that builds. The tongue-in-cheek lyrics are often better than the tunes themselves.

The production impresses, though, not least with the massive film studio set of a whole street, moving traffic and even rain! Judicious use of split screens is only one example of the impressive camera work – cinematography that also gets the most out of some great choreography which, inexplicably, IMDb doesn’t seem to credit.

Best of all are the characters and cast that, from Hughes’ film onwards, have become much loved and loathed. As well as star cameos from Rosie O’Donnell and Sean Hayes, this version has a lot to boast about. The legendary Harvey Fierstein reprises his role as Edna Turnblad and it really is a marvel to see how much he can get out of punchlines (even when they aren’t that good). Jennifer Hudson makes Motormouth Maybelle’s anthem, Big, Blonde and Beautiful, as rousing as possible – what a voice! Garrett Clayton as Tracy’s love interest, Link, shows surprising depth, while Ariana Grande, as her friend Penny, proves a fine comic actress. Hairspray also has great villains – the mother and daughter Von Tussles. The latter provides a fine role for Dove Cameron, who made me laugh out loud more than once. As for mummy dearest, the spectacular Kristin Chenoweth is a scream every moment she’s on screen. Tracy may be aiming for a “degree in musicology with a minor in ethnic studies” and, secondly (good girl), Link’s affection, but Chenoweth already has a doctorate in giving a divine performance.

Available on The Shows Must Go On! YouTube channel until 31 May 2020

Photo by Brian Bowen Smith/NBC

2020

“This House” from NTLive

The scheduling for the National Theatre’s fund-raising lockdown-lifeline was organised a while ago, so a play about arrogant politicians and their mistakes can’t be seen as a current commentary. And anyway, in James Graham’s fantastic play the humanity of our Members of Parliament is to the fore, making it funny and moving as a result. Set between 1974 and Margaret Thatcher’s election five years later, these politicians of a previous age come off rather well. The current lot should be so lucky in their chronicler.

Too young to remember the events he so skilfully recounts (as one MP comments, it’s “anarchy out there”), Graham surely makes them slightly more interesting than they really were. Comprehensively and impeccably researched, this is a modern history lesson brilliantly told. All manner of boring bills and the arcane workings of parliament are made fascinating and funny. You honestly don’t have to be interested in party politics to find This House interesting.

Jeremy Herrin’s direction is a masterclass: what could so easily be confusing is clear, his appreciation of the comedy is perfect while at other times the pace resembles a thriller. Herrin is also careful to allow space for more poignant moments without lapsing into sentimentality – the script benefits as a result. It’s hard not to become attached to several figures, even with smaller appearances (the member for Walsall North and a subplot about mental health, played by Andrew Havill, spring to mind).

Focusing on the “engine room” of the Whips offices is Graham’s key move. On the Labour side, the roles of Walter Harrison and Ann Taylor prove the most interesting, making great roles for Reece Dinsdale and Lauren O’Neil, who play with how ruthless their characters are with appropriate efficiency. The jokes on class, gender, personal foibles and the 1970s range from downright howlers to subtle observation. The “aristotwats” they oppose are led by the brilliantly waspish Humphrey Atkins and the dapper Jack Weatherill, even stronger roles for Julian Wadham and Charles Edwards who are both brilliant.

Phil Daniels and Vincent Franklin in 'The House' at the National Theatre credit Johan Persson
Phil Daniels and Vincent Franklin

This is a recording of the show’s transfer from the Dorfman (then Cottesloe) into the larger Olivier auditorium. The music accompanying the show seems less noticeable and Rae Smith’s design, including the audience seated on a moving stage (what fun) is understandably lost. A bigger problem is that the cast seems to be compensating for the bigger space. Yes, politicians shout a lot, but the lead Labour Whips, played by Phil Daniels and Vincent Franklin, bellow all the time and the roles suffer as a result. Filming exaggerates this further.

Nonetheless, as a “war of attrition” takes its toll on the Labour ranks, Graham’s questioning of cooperation and the constant deals politicians make comes to the fore. Remember that when it was written in 2012 the UK was dealing with its first coalition government since World War II. A long way from Machiavelli, lots of the machinations here are petty, the motivations mostly tribal. Neither detract from the drama and maybe one character becomes something of a hero? Without making excuses for our masters, Graham has shown one lot at least working hard and trying their best.

Available until Wednesday 3 June 2020

To support, visit nationaltheatre.org.uk

Photos by Johan Persson