All posts by Edward Lukes

2017

“Tiresia” at the Etcetera Theatre

Here’s a SPOILER warning – but one that comes with little apology.
That sci-fi and philosophy class favourite – the brain transplant – is the subject matter for Ian Dixon Potter’s new play. Starting off vague, to create tension, makes for an unnecessarily tough beginning. Thankfully, the scenario is common enough to become clear quickly and when the experimental procedure is pinned down, its implications are set out with satisfying clarity.

Putting an old man’s brain into a pretty young girl’s body gives rise to questions of identity, sexual politics, and ethics. There’s a nod to evolution and even aesthetics – Tiresia is an artist. And there’s the fascinating idea that bodily chemistry means memory might exist not only in the mind – so that Tiresia is really a hybrid of two people.

That the exploration of these questions is uneven, given such complexity, is understandable. It is exciting to have so many debates raised. But it’s the philosophy that interests Dixon Potter more than the drama, and since he directs as well as writes there’s nothing to temper this or reign in the oddly dry dialogue.

In the title role, Natasha Killam does well to deliver lines that are burdened by learning. Especially when it comes representing her previous, older, incarnation her character is possessed by too many old-fashioned eccentricities to be credible. I know plenty of erudite older folk who are happy to discuss Schopenhauer, but they never use the expression, “Jack Robinson”. Too much of the dialogue feels like a collection of essay questions.

Any potential for comedy, such as Tiresia’s friend’s grand-daughter taking a fancy to her, gets the shortest shrift. It’s fair enough that the serious subject matter isn’t taken as an excuse for jokes, but seeing unrealised potential to lighten the play becomes frustrating. And pathos, in scenes with Tiresia’s former wife and the mother of girl whose body was donated, isn’t developed either – despite the efforts of Louise Morell who takes both roles.

With so little emotional material on offer we have only the ideas to entertain us. Sure to inspire conversation in the pub afterwards – but about the concepts, rather than play itself.

Until 16 July 2018

www.tickettea.co.uk/tickets-theatre-tiresia

2017

“Macbeth” at St Paul’s Church, Covent Garden

Iris Theatre is celebrating its ten year anniversary, at the so-called ‘Actors’ Church’, with a production of Shakespeare’s Scottish play that is ambitious, adventurous and immersive. Director Daniel Winder shows an energetic appetite for the play that is infectious and gets the most out of his talented team.

The production goes all out for the supernatural, with creepy costumes by Anna Sances and a satanic angle that gains potency from being performed in a church. And there’s no shortage of gore either: the Macduff family massacre comes with a PG warning. Having Macbeth attend is a great idea and his frenzied attack a shocker.

David Hywel Baynes, making a welcome return to both the company and the UK, takes the title role and is joined by Iris Theatre stalwart Nick Howard-Brown as Banquo. The two command the various spaces, of church and gardens, that the audience travel around scene by scene.

As well as displaying technical prowess, Hywel Baynes’ interpretation of the murdering monarch is also strong. Joined by Mogali Masuku as his wife – making a professional debut that’s a resounding success – we see Macbeth manipulated, then degenerate into a man drunk and dribbling with blood lust. Masuku’s Lady Macbeth is frightening and sexy (look out for Stephen Boyce’s roving eye when playing Duncan) but then scared by her spouse. It’s an emotional journey from both performers that is well delivered.

There’s good supporting work from the whole cast, but sometimes a danger of distraction in how many roles just six performers tackle. Matt Stubbs is a convincingly virile Macduff and transforms into a hired assassin superbly, and some of the doubling is interesting (Masuku also plays ones of the witches), but focus can be lost with all the changes – the production feels trapped by its small headcount.

The biggest commendation goes to set designer Alice Channon – despite the fact that her ideas cause problems. The outdoor spaces are strictly sectioned off – a bold move with a promenade performance since an audience is seldom as nimble as hoped. The start of too many scenes might be missed. But the idea is great: slowly filing past a tableau of the Macbeths’ bedroom on the way to the interval and the audience rushing into the church for the finale are electric moments.

Taking Hieronymus Bosch as inspiration is a brilliant move – providing an intelligent period aura and surreal chills. The subsequent Bosch-Banquo-banquet makes less sense than it should (more a psychological crisis than a point about Macbeth’s leadership) but it looks stunning. Amorphous sculptures, with a touch of Eva Hesse, contain loud speakers playing composer Filipe Gomes’ impressive contribution to the evening – indicative of designers taking any opportunity to make a mark. There are flaws, yes, but also exciting work.

Until 29 July 2017

www.iristheatre.com

Photo by Nick Rutter

2017

“Attic” at the King’s Head Theatre

Meriel Hinsching’s debut play is a poetic glimpse at troubled love. A young couple meet again after the breakdown of their fraught relationship for a one-night stand that plays with reconciliation and offers flashbacks into their attempts at being friends with benefits. In a scenario carefully stripped of specifics, we learn little of their larger lives. Intensity is the aim – a goal achieved – but even at just 45 minutes the play boxes itself into a corner. Profundity is in the eye of the beholder, I guess, but this self-obsessed pair may grate many a nerve. Nonetheless, Hinsching’s approach is consistent, the text engaging and her voice sincere.

Attic is most effective as a showcase for the new talent on stage. Connor Harris plays Bay. He’s good at looking adoring and confused – which is handy as his onstage lover Leonie run rings around his character. Truth is, Leonie is so much more interesting and a good deal smarter – both qualities that Phoebe Stapleton manages to convey in her performance. You can see why Bay’s obsessed with her, but not the other way around. Leonie’s lust to “not to be numb” raises questions of her stability, producing further good work from Stapleton, and tension that could be developed. It’s a shame so much talk of being impulsive makes the couple come across as contrived.

The play benefits from sympathetic direction from Ed Theakston, who adds some classy touches that bring out its poetic quality, and uses music and lighting effectively. From the firm base of strong performances, Theakston adds the style needed to make grown-up claims for this youthful work.

Next performances 2 and 3 July 2017

www.kingsheadtheatre.com

2017

“42nd Street” at the Theatre Royal Drury Lane

Bringing one of the most famous movie musicals to the stage, Mark Bramble and Michael Stewart’s adaptation of the 1933 backstage-on-Broadway tale relies on scale to secure success. Taking Harry Warren and Al Dubin’s fantastic collection of songs, they add more hits to the original list. Accompanying the great tunes, Randy Skinner’s Busby Berkeley-style choreography uses an enormous ensemble and every bit of the theatre’s huge stage. Spectacular is the key word.

As one of the many hit songs proclaims, “Who cares if there’s a plot or not?” Following chorus girl Peggy Sawyer’s rise to stardom, after breaking the ankle of her leading lady, doesn’t take much time. Instead 42nd Street is a collection of set pieces. Delivered big, with giant mirrors and staircases included in Douglas W Schmidt’s design. And what costumes – bravo to Roger Kirk. Who knew it was possible to be overwhelmed by sequins? To quote another song – “We’re in the money” – the producers haven’t skimped here.

Bramble is in charge and stamps his mark on the piece, like his potential onstage alter ego – another director – Julian Marsh. Tom Lister takes this role and shouts in capitals throughout, no doubt as instructed, detoxing the character’s old-fashioned pomposity and sexism. Camp is a clever way to deal with how the show has dated. But it isn’t the only possibility: so while An American in Paris give us old-age panache, here we have pastiche. Lots of humour and the over-the-top staging make everything ridiculous – deliberately so – and enormous fun.

Clare Halse
Clare Halse

Yet all the parody kills the characters. The star playing the star (she of the broken ankle) is Sheena Easton, who can belt out a number but fails to transfer personality into her role. Stuart Neal, as the shows tenor, makes all his smiling look like hard work; he is technically brilliant but the character leaves no mark. Thankfully, Clare Halse can’t be faulted as new star Peggy. She has ingénue down to a T and her tap dancing is superb. And Jasna Ivir, playing a matriarchal producer, is the epitome of value for money. Which is exactly what this show is – a West End ticket that’s worth every penny, delivering jaw-dropping, extravagant entertainment.

Booking until 10 February 2018

www.42ndstreetmusical.co.uk

Photo by Brinkhoff & Moegenbur

2017

“The Kite Runner” at the Playhouse Theatre

The 2003 novel, by Khaled Hosseini, upon which this play is based, is a tear-jerking page-turner that’s enjoyed huge sales. This welcome stage adaptation follows its success with a second outing in the West End. Using its narrator Amir’s life – and getting the first plaudit out quick, this is a role David Ahmad excels in – it’s a family story, with plenty of guilt and a little redemption, combined with the recent history of Afghanistan. It’s full of big themes but, while not belittling any of them, remains a good old-fashioned yarn.

Amir’s friendship with his servant and playmate Hassan is efficiently conveyed. Andrei Costin does well with a character who’s little more than a blank slate – it’s Amir’s memories of him – distorted by remorse – that we see. Even in the peaceful Kabul of the 1970s there are troubles – caused by the teenage psychopath Assef (Bhavin Bhatt). Of equal import is Amir’s relationship with his father, satisfyingly explored and with a sterling performance from Emilio Doorgasingh, who reveals the character with charisma.

Taking the lead from Matthew Spangler’s clever adaptation, director Giles Croft works at a cracking pace. The story grips so much that the play feels like escapism, so that grim moments – and there are plenty – shock. Theatrical touches, and music performed by Hanif Kahn, are restrained and never distracting.

Amir emigrates to America, follows his dream to become a writer and gets married. This isn’t quite as interesting and feels rushed. But there’s good work again from Doorgasingh. Just as Amir’s guilt about being a “disappointing son” starts to seem self-indulgent he gets the chance to “be good again”. Family secrets are revealed on a dangerous return trip to Afghanistan. The pace doesn’t pick up as much as it could, but the story is powerful and Hosseini’s use of coincidence gives his narrative a self-consciously epic feel.

The Kite Runner has the heavy weight of exposing terrorism in action – upon Amir’s return, Assef is revealed as a Taliban leader. Care and bravery are taken over many emotive issues and scenes of sexual violence are carefully depicted (the show isn’t comfortable family viewing). Despite some structural flaws, the power of stories and theatre to take us behind news headlines and show a common humanity feels, regrettably, more important than ever. Any desire for a deeper understanding is consoling in itself.

Until 26 August 2017

www.TheKiteRunnerPlay.com

Photo by Irina Chira

2017

“Little Pieces of Gold” at the Southwark Playhouse

This night of new writing produced by Suzette Coon is a great chance for future star spotting. There are nine up-and-coming writers, not forgetting the directors, and 23 actors helping them out. It’s an exciting testament to the creativity and talent of the theatre scene.

Interestingly, the first three pieces all had a connection to the justice system. Abraham Adeyemi’s subject was a post-murder scene, Rachel Archer’s a court-enforced mediation, but the one that stood out was by Tatty Hennessy as it switched from laughs to drama effectively and had a strong performance from Louisa Hollway. And more good comedy with Sid Sagar’s The State We’re In: a multi-racial flat share scenario that raised risqué questions and benefited from a strong quartet of performers, including Leila Damilola as a clueless representative of the Home Office.

After the interval there were three plays centred on young love and college, the funniest being the evening’s finale, Vegan Visiting by Micah Smith, which showcased the talents of its director, Jaclyn Bradley. The most interesting pieces were set in the world of work. Corinne Salisbury’s Girlboss imagined a disciplinary hearing and had an impressive amount to say – well done to director Georgie Staight for handling the thought-provoking content. The boldest writing was Tom Collinson’s Percy –about an older employee facing obsolescence, which benefitted from Mike Hayley’s excellent performance.

 Little Pieces of Gold is an event to add to the calendar. And, given the size, one that’s a little intimidating to write about. It isn’t a competition, thankfully, but searching for stand out is irresistible. My critic’s fingers are crossed for those I’ve highlighted. Apologies to those left out and here’s the sincere hope that they prove me a fool.

www.littlepiecesofgold.co.uk

2017

The HandleBards 5th Year Anniversary

To celebrate five years of taking to their bikes to tour Shakespeare, this young company performed its potted version of A Midsummer Night’s Dream at Rotherhithe’s Brunel Museum. The spirit of fun adventure runs alongside the serious idea of environmentally sustainable theatre which has won them awards. And if you think cycling around with all your kit to put on plays is bonkers – I am sure that they would, amiably, agree with you.

The production is a bit mad, too. Having only four performers is a short cut to laughs. Cycling bells are the cue for characters changing and, you’ve guessed it, audience members are recruited. It’s all out for jolly japes and the company of friends works with a Boys’ Own spirit. Founder members Callum Brodie and Tom Dixon are especially assured, the former stealing the show as both Puck and Hermia. Calum Hughes-McIntosh and Matthew Seager also have experience with the company and it shows – both doing well with improvisation and crowd control. There’s a technical virtuosity that belies the casual feel here, and it’s an understandable flaw if the chaos is too contrived.

There’s no sign that all the cycling has tired anyone out – 12 countries, on three continents, performing to more than 50,000 people over the years – physicality is shown off at any opportunity. There’s now an all-female troupe on the road as well (I’d love to see how they might change The Chap atmosphere), and As You Like It is touring in, ahem, tandem. Comedy to the fore, and all that open air, is clearly working wonders. And good luck to them.

The HandleBards current tour runs through to September 2017

www.handlebards.com

Photo by Danford Showan

2017

“Dreamgirls” at the Savoy Theatre

This 1981 Broadway hit, with book and lyrics by Tom Eyen and music from Henry Krieger, reached movie screens before the London stage, so theatregoers have had to be patient. But it has been worth the wait. The story of a Motown girl group, and their trials in show business, its cast’s superb voices mean that from the first talent contest there’s no doubt fame will arrive for The Dreamettes. As the focus becomes the trio’s personal lives, with professional betrayals and broken relationships, powerful songs guarantee strong emotion.

Liisi LaFontaine plays Deena, the shy girl chosen to lead the band into stardom. She sounds fantastic and her acting is adroit. Asmeret Ghebremichael is Lorrell, another member of the group, who holds her own providing a welcome comic number, Ain’t No Party. Lorrell’s affair with the star the girls used to sing backing vocals for – played by the multi-talented Adam J Bernard – is strong in its own right.

Joe Aaron Reid and Liisi LaFontaine
Joe Aaron Reid and Liisi LaFontaine

The bigger story is the love triangle between Deena, the band’s manager Curtis (performed with a slick edge by Joe Aaron Reid), and Effie, jilted in love and abandoned by the band. And it’s all about Effie. Taking the role of this complex character, Glee star Amber Riley has the audience on its feet more than once. Her powerful voice brings goose bumps – do take the chance to hear her – but big credit also goes to her acting.

The music tells the simple story in a satisfyingly layered manner. Even weaker numbers, examples of cynicism rather than soul through the machinations of Curtis, reflect and comment on the characters’ lives. With the development of R&B into disco (again, blame the manager) variety is built in. It’s an accomplished musical history, aided by Gregg Barnes’ costume design, with a riot of sequins guiding us through the years and illustrating how to really wear a feather boa… if you didn’t already know.

But it’s the women rather than some calculated social history who bring this dream to life. Brilliant performances, packaged by Casey Nicholaw’s direction and choreography affording speed and immediacy, make the success, struggle and reconciliation both uplifting and entertaining.

Booking until February 2018

www.dreamgirlswestend.com

Photos by Brinkhoff & Mögenburg

2017

“The Enchanted” at the Bunker Theatre

Rene Denfeld is an investigator for death-row prisoners, discovering facts that might save their lives. But her award-winning novel, adapted by Joanne and Connie Treves, is a poetic affair with a magical strain. Bringing such lyricism to the stage is a big task and this attempt is both impressive and intriguing.

Our guide is the prison “monster” Arden, institutionalised his whole life and now awaiting execution. A mute bibliophile, he narrates even his own death, and Corey Montague-Sholay is terrific in the role. His is a captivating performance, with some contrived internal dialogue delivered naturally and a remarkable physicality (including a great catuspadapitham).

Montague-Sholay’s movement, directed by Emily Orme is a nice attempt to express the novel’s flights into both fantasy and despair. But as the director Connie Treves uses it too much; particularly when the whole cast join in for small reason. Likewise, chalk drawing over the set is a good idea, linking the world of legal documentation and the prison cell, but it could be employed with more restraint.

There are fewer reservations with the second major character, known as The Lady, who has the same job as Denfeld. Jade Ogugua tackles emotions sensitively and leads the plot, finding evidence to help a prisoner called York, with suitably intensity. There’s strong supporting work from Liam Harkins as various characters she meets while puzzling over the case’s history. It’s a shame The Lady’s love interest, a defrocked priest, feels tacked on.

I am loathe to criticise the Treves’ work on the adaptation – it is excellent. Having only just finished the novel, let’s go all out and call it exemplary. With a steel will, the tone of calm around the emotive issues raised is preserved. Ruthless in all the right places, the adaptation doesn’t just preserve Denfeld’s themes and style, but enhances them. The characters are more vivid and the action clearer. There might be flaws when it comes to the staging, but this development from page to script is superb.

Until 17 June 2017

www.bunkertheatre.com

Photo by Dina T

2017

“Common” at the National Theatre

With big subjects, a huge cast, and the Olivier stage to play with, DC Moore’s new play aims at being epic – and, up to its interval, it feels as if it might be. The twisting plot, following the story of Mary, brilliantly portrayed by Anne-Marie Duff, is an interesting mix of melodrama and the supernatural. The language, combining old and new vocabulary, odd syntax and lots of swearing, makes the text original, satisfyingly dense and a great deal of fun.

Set in the early 18th century, the play’s first topic is the enclosure of common land and one community’s struggle to prevent this devastating policy. The dramatic potential and importance are clear – a description of enclosure as “a dry word with a sharp end” is great – but the play seems embarrassed by its subject matter. Painful metatheatricality is thrown in with an overt disavowal of “dry historical accuracy”. But facts are fine, really – a bit of history won’t hurt a play.

Common is more interested in the superstition that filled agricultural communities. Director Jeremy Herrin goes to town with some Wicker Man horror that makes one gory scene especially good. The costumes and lighting, by Richard Hudson and Paule Constable, fit well. But there’s little sense of anything else – despite a subplot about incest that… well, I guess must have some point to it. As the action boils over, interest cools: the plot is abbreviated and the sign off comes across as trite. There’s too little concern for anyone apart from Mary, who overpowers the play. Cush Jumbo as a former lover and Tim McMullan as the local landowner have a go, but Duff is left to propel all.

However uneven, Mary is a brilliant creation that Duff makes a joy to watch. A romantic rogue (her self-description is a good deal more colourful) returning to the country after a debauched life in London, Mary’s psychic abilities and supernatural invincibility batter credulity – even before a crow starts talking to her. But like all devils Mary gets great lines – Moore’s expletive-ridden insults are quite something. It’s a shame the “jigsaw” of Mary’s story isn’t solved satisfactorily. Too quickly moving from the people’s saviour into a “blight” ruining their lives, the role is overburdened – and since Mary is the only thing rooted in the play, the overall harvest is poor.

Until 5 August 2017

www.nationaltheatre.org.uk

Photos by Johan Persson