All posts by Edward Lukes

2017

“Richard III” at the Arcola Theatre

Greg Hicks is dream casting for Shakespeare’s villainous monarch. An experienced RSC actor who commands the stage with just a shrug of his shoulder, he delivers every line impeccably, making director Mehmet Ergen’s production unmissable. This Richard carries a chain to pull himself upright but it could clearly be used as a weapon. He’s nasty and thuggish, a bar room brawler not to mess with – there’s no nonsense here about the character’s charisma. Hicks shows the world through a psychopath’s eyes rather than presenting us with a cunning politician, and using the king’s cold logic to create a chilling persuasiveness that leaves you gasping.

A mature cast join Hicks, securing further praise for the production. Peter Guinness is particularly strong as Richard’s partner in crime Buckingham. This is where the politicking comes, with a cloak-and-dagger feel aided by noirish staging, with Ergen using Anthony Lamble’s split-level set boldly. The big news is a superb Catesby, the sinister instigator of Richard’s plans, with Matthew Sim making an elegant assassin out of a usually minor role with super-spooky meticulous gestures. Strong female characters are another reason to love the play: Jane Bertish is an excellent deposed Margaret, her curses on the “bottled spider” Richard containing a sense of the tragedy that motivates her. Sara Powell gives an emotional portrayal of Queen Elizabeth that also impresses.

It’s a grown-up affair all around. Ergen is comfortable with his audience managing to work out contemporary resonances in the play if they wish, but there’s no sense of this being forced on us. Of course, the play isn’t performed in doublet and hose, but there’s no obvious spin or agenda, and this, ironically, feels original. Ergen even credits us with knowledge about the play’s propaganda content. Jamie de Courcey’s Richmond has a dash of the heroic that would have made the Tudors proud. Winning against the tyrant “raised in blood” gives the play a resolution worth suspending cynicism for. A final intelligent touch – one of many – in a strong production with consistently fine acting.

Until 10 June 2017

www.arcolatheatre.com

Photo by Alex Brenner

2017

“Ordinary Days” at the London Theatre Workshop

Adam Gwon’s tyro musical from 2008 has a special place in many hearts. Presenting the lives of four everyday New Yorkers, with the ambition of making the prosaic poetic, it’s full of enthusiasm, hearts on sleeves and clever comedy. A budding friendship and a struggling romance, with meditations on art and urban life, fused by super piano score, make this a short but fulfilling gem of a show.

It’s easy to imagine the piece as a treasure trove for performers, with four evenly exposed, meaty characters who demand attention.

Finding friendship in the big city are sensitive artist Warren and grad student Deb. Neil Cameron makes his role an appealing figure while Nora Perone does well with her character’s easily recognisable anger management issues.Warren might be played more bohemian and Deb a little sassier, but these are questions of interpretation rather than presentation – top marks to both performers. Meanwhile, struggling to love her new boyfriend, Kirby Hughes makes a convincing Claire, and her voice is a real pleasure. While the chemistry between Claire and her just-moved-in partner is necessarily reserved – much of the plot is her journey to accepting love – Alistair Frederick’s Jason was the highlight for me. Frederick makes a slightly soppy character shine and reveals solo numbers stronger than I’d previously recognised. I’ll stop skipping those tracks on my Ordinary Days CD from now on.

The production is admirably directed by Jen Coles, who keeps up momentum and adds nice touches that bring a sense of movement, specifically circularity, which suits the piece. It hardly matters that the staging here is so basic – it simply adds to the charm. As a final treat, there’s the special thrill of hearing performers without amplification – a rare event that always wins admiration for a cast and is perfect for this wonderfully intimate piece.

Until 17 June 2017

www.londontheatreworkshop.co.uk

Photo by Natalie Lomako

2017

“Woyzeck” at the Old Vic

John Boyega is the young actor who impressed everyone in the reboot of the Star Wars franchise. Bringing him a further credibility it’s questionable he needs, this stage foray is a serious affair, with lots of forehead slapping, that shows he can handle angst with ease. In the title role as a soldier suffering a nervous breakdown, Boyega establishes sympathy for his character commendably. As his health deteriorates, the magnetism increases – it’s tough stuff to watch but gripping, too.

Boyega is star material, but the revelation of the night is young director Joe Murphy. It’s top man Matthew Warchus’ idea to give him the title of Baylis Director, offering emerging talent ‘main stage’ shows. And it’s an opportunity Murphy has embraced. Woyzeck can work well in any space, but the cavernous stage of the Old Vic is used to emphasise a lost, lonely, quality. Tom Scutt’s brilliant design has panels that suggest both walls and beds – sliding in and out, up and down – brilliantly lit by Neil Austin.

Jack Thorne has updated George Büchner’s unfinished play from the German provinces of the 19th century to Berlin at the end of Cold War, with Woyzeck traumatised by action seen in Northern Ireland. The move makes the play approachable but better still are changes to Woyzeck’s unfortunate love, Marie, played by Sarah Greene. More than a foil to her troubled partner, Greene’s modern sensibility makes the play’s domestic violence potent. Along with the addition of a plot about a medical trial Woyzeck participates in to raise cash, the play’s first half feels like a thriller.

Unfortunately the tension falters. As the play becomes ‘madder’ it feels too drawn out. The staging remains impressive but secondary characters, seen through Woyzeck’s eyes and affected by his increasing paranoia, become tiresome rather than threatening. The roles of Woyzeck’s Captain and his comrade, Andrews, are well performed and funny – but thinly written. It’s a great show for Nancy Carrol, playing the Captain’s wife and transforming in flashbacks into Woyzeck’s mother, but her posh cow character shows the problem best – an interest in the army’s class structure feels forced. Woyzeck becomes a victim in search of an excuse. Exploited by all and trapped by his past, causes are crammed in rather than explored.

Until 24 June 2017

www.oldvictheatre.com

Photo by Manuel Harlan

2017

“Chummy” at the White Bear Theatre

John Foster’s new play has two strong ideas behind it: the scenario, of a killer hiring a private detective to stop him killing, and the delivery, which has the story retold and commented on simultaneously. The plot has the potential to grip and the telling, with characters revealing their inner dialogue, creates the entertaining sensation of reading a book. Sadly, implementation of this novel technique has appeal only for aficionados of crime fiction.

Megan Pemberton takes the lead as Jackie, an ex CID with PTSD and an overripe vocabulary, who is haunted by phone calls from the titular “maybe murderer”. Foster knows his heroine is too close to cliché and is playing here – but the game has limited appeal and doesn’t make things easy for Pemberton. Credit to Pemberton for holding the stage: direct addresses are strong and her detailing of Jackie’s mental breakdown, leading to the play’s twist, is good.

Her friend on the phone, Chummy, is an even harder role that Calum Speed tackles well. The character is a blank slate described in detail – an oxymoron that should ring bells well before we learn his name. Speed manages to make it work with a creepy laugh and various voices. As for Chummy’s victims – played valiantly by Jessica Tomlinson – oh dear. The first has a little wicker basket to carry flowers and uses the word “fudge” a lot. The second is an equally unbelievable police woman who acts as a stand-in at the world’s least successful crime reconstruction.

There is a point to reach and some skilled direction from Alice Kornitzer propels the audience. But Foster needs to curb his enthusiasm. More than one scene might be cut and all of them curtailed. The plot is slow and the language verbose. The aim of steeping us in noirish thrillers falters with pained metaphors, excessive alliteration and a lack of humour. That the dialogue is odd eventually makes sense, but the language is jolting – I am sure I heard the word milquetoast used at one point, and lost a few lines after that in bewilderment. There’s far too much lyrical talk of The City – unspecified – and as Foster surely knows, fictional detectives need defined locales; nice try for something different but it doesn’t work. The evening is saved by some nice touches from Kornitzer and three strong performances but the play is overwhelmed by the genre that inspired it.

Until 10 June 2017

www.whitebeartheatre.co.uk

Photo by Headshot Toby

2017

“Twelfth Night” at Shakespeare’s Globe

Emma Rice has chosen well for her last show as director of the Globe, with a cross-dressing comedy that updates the Bard for our gender-fluid times. If you don’t think Shakespeare and Sister Sledge mix, then be warned – Rice’s energy, sensitivity and sense of irreverence are bountiful. The disco lights are on and it’s time to celebrate her reign at The Globe.

Let’s not forget that organising a good party is hard work and can call for tough decisions. There are moments of forced jollity – musical chairs proves messy – and a close reading of the text isn’t invited. But the passion in Twelfth Night is frenzied and Rice’s insight is to allow this. Nasty edges have poignancy, fate is presented as a choreographed natural phenomenon (cleverly mocked as a touch of “community theatre”) and the laughs are manic.

The twins, Sebastian and Viola, whose adventures we follow, are used to anchor the show. In these roles Anita-Joy Uwajeh and John Pfumojena impress, respectively showing a touching vulnerability and sounding particular gorgeous. The confused suitors who fall for the ship-wrecked siblings are played by Annette McLaughlin, who makes for a joyous Olivia, and Joshua Lacey, whose river-dancing-mullet-sporting-lothario Duke is the funniest I’ve seen.

Marc Antolin
Marc Antolin

The trio of pranksters in Olivia’s house continue the strong comedy. Sir Toby, Fabian and Maria, played by Tony Jayawardena, Nandi Bhebhe and the super-talented Carly Bawden (another strong voice) really go for it. The revelation is Marc Antolin as Aguecheek, transforming the role with physical comedy, ad-libs and fluorescent Y-fronts. And a lisp… sorry, but lisps are funny.

Katy Owen
Katy Owen

What the production takes seriously is drag, spoiling us with cabaret star Le Gateau Chocolat, whose Feste steers the tempestuous proceedings like a glittering, magical MC. It’s impossible to steal a show from six feet of sequins, but Katy Owen’s Malvolio holds his/her moustachioed own. Funny again (well, most jokes are better with a Welsh accent), Owen tackles bullying intelligently, tempting us to join in, then allowing the character to retain some dignity. Role-play can be dangerous.

All good parties depend on their soundtrack. Rice’s secret weapon is Ian Ross, whose compositions dominate the show: driving plots, aiding comedy, interacting with the text – check them out online. Using so many lines as lyrics enforces how productive treating the text loosely can be. It annoys purists when Shakespeare is tampered with, but Rice does so intelligently, aided by additional lyrics and lines from Carl Grose. The revisions sustain her imaginative interpretation, making the play both accessible and stimulating and her the sadly departing hostess with the mostess.

Until 5 August 2017

www.shakespearesglobe.com

Photos by Hugo Glendinning

2017

“Our Ladies of Perpetual Succour” at the Duke of York’s Theatre

A big hit on the Edinburgh Fringe and at the National’s Dorfman auditorium last year, this coming-of-age show is now out on the town in the West End. Following the day-long misadventures of convent schoolgirls from Oban, let loose in the Scottish capital for a choir competition, it’s raucous fun, peppered with thought-provoking moments and fantastic singing.

Lee Hall’s adaptation of Alan Warner’s book (The Sopranos) is adventurous and tackled at suitable speed by director Vicky Featherstone. Partly a concert – and the singing deserves a second mention – and then a collection of character studies, the six performers all do a terrific job. Frances Mayli McCann’s voice is particularly strong and supremely versatile, while Dawn Sievewright and Isis Hainsworth do well with the strongest story lines, as a young lesbian and a cancer survivor, respectively. There’s plenty of drama in these teenage lives, but a spirit of humour presides. Caroline Deyga delivers insults with enviable skill while Kirsty MacLaren and Karen Fishwick are especially good when taking on male roles. There’s a pretty shaming view of masculinity here, but I am not going to argue with it – I wouldn’t dare take these girls on.

“Really, really rude” language is the warning all over the theatre foyer. And they aren’t joking. The swearing is enough to make a submariner blush – let alone what else they might have to say about him. The discussions of sex are… frank. Impressively, the drink- and drug-filled binge is fun but not glamorised. For all the crudity, Hall and Featherstone want this to be a play that respects its characters. The girls know they aren’t angels but they aren’t hypocrites either. Telling teenage life as it is, even if it makes some squirm, makes this a mature show about youth.

Until 2 September 2017

www.ourladiestheplay.co.uk

Photo by Manuel Harlan

2017

“Brimstone and Treacle” at the Hope Theatre

Here is a real find on the fringe. Many a larger venue might have considered a 40th anniversary revival of Dennis Potter’s landmark play, but director Matthew Parker has beaten them to it and can bask in the glory of his superb production of this brilliant piece.

Potter’s scenario has a severely disabled girl, tended by her desperate parents, visited by evil. It’s a remarkable performance by Olivia Beardsley as Pattie, the bedridden victim of a hit and run who’s unable to speak yet communicates frustration and fear. Pattie’s father regards her as dead. The alternative – that she is “locked in” –is just too frightening for him, but the possibility that she is sentient haunts the play.

Both Pattie’s parents are struggling. Her mother, a house-bound full-time nurse, is played to perfection by Stephanie Beattie, who combines her wretchedness with humorous touches. The talented Paul Clayton plays the father, an objectionable figure who’s close to parody. Clayton invites us to take the character seriously, while glimpses of his love and regret are tender without being mawkish. The couple’s flirtation with right-wing politics makes Potter visionary – the yearning for isolationism and a past where people “did less sniggering” – gives us plenty to think about in 2017.

It’s with the character of Martin, played here by Fergus Leathem, that Brimstone and Treacle becomes unforgettable. He is a visitor claiming to have been Pattie’s fiancé. First comes nervous laughter at supernatural overtones, then chills with his monotonal singing and glances to the audience, culminating in truly shocking abuse. Parker’s staging of all these levels of discomfort is handled brilliantly, destabilising the audience and aiding the tension in the text.

This suburban Satan may have a Rosemary’s Baby plan in mind. But he is also a common conman and out of luck crook, all combined to make him a catalogue of fears. There’s a twist, too – a sin that has nothing to do with him revealed as a last disorientation. Fully developing Potter’s nuanced play, without denying dangerous edges and firmly establishing it within its period, are all big achievements for this tiny theatre. With four performances as good as any you could see on a stage, this is one to grab a ticket for… quick.

Until 20 May 2017

www.thehopetheatre.com

Photo by lhphotoshots

2017

“A Lie of the Mind” at the Southwark Playhouse

Sam Shepard’s award-winning 1985 play is a slow-burning, haunting family drama. After a brutal act of domestic violence, Beth is left brain damaged and her husband Jake unhinged. Their families, aiming to care for them, become increasingly irrational, unlocking the play’s momentum and considerable dramatic power.

Gethin Anthony and Alexandra Dowling acquit themselves well as Jake and Beth. These are difficult roles and the temptation for shrillness isn’t fully controlled. Shepard is averse to sentimentality and makes it a struggle to empathise with these damaged figures. Nonetheless, Anthony and Dowling convey their characters as repositories of cumulative pain.

Gethin Anthony, Mike Lonsdale and Alexandra Dowling
Gethin Anthony, Robert Lonsdale and Alexandra Dowling

The couple’s siblings have problems too. Initially overshadowed by Jake’s instability, his brother and sister, played by Michael Fox and Laura Rogers, do well to build their roles, acting as foils for the increasing oddity around them. Meanwhile, Robert Lonsdale gives a cracking performance as Beth’s consoling and then avenging brother. Caught up in a maelstrom of metaphor, Lonsdale gives the role clarity.

Best of all are the older characters, portrayed with conviction and welcome humour by a skilled trio so that the play’s dated gender relations create fewer snags here. Shepard is too sophisticated to blame the parents for the sins or woes of the children, but a legacy of emotional repression is clear. Nancy Crane and Kate Fahy play the mothers – far too keen to have their kids back at home and infantilised. John Stahl gives a strong performance as Beth’s irascible father, whose tirade against ageing is one of the play’s finest moments.

Marshalling all this – and it’s a lot – is James Hillier’s direction. Some of Shepard’s dark humour isn’t transmitted and a firmer hand on histrionics with a little more work on accents would be welcome. But Hillier has created a stylish show, aided by live music from James Marples. The production appreciates Shepard’s extremes, giving his Americana a back seat to examine the topical subject of mental health. It’s a solid revival of a fascinating play.

Until 27 May 2017

www.southwarkplayhouse.co.uk

Photos by Lidia Crisafulli

2017

“Madam Rubinstein” at the Park Theatre

Everybody loves Miriam Margolyes. This story of a monstrous cosmetics tycoon, once one of the richest self-made women in the world, provides a larger-than-life role that brings her centre stage. One of our finest comic actresses, it’s a thrill to see Margolyes expertly handle some great jokes.

The briefest research about Helena Rubinstein shows that playwright John Misto’s depiction is motivated by the potential of caricature. So be it, making the character ruthless and miserly gives the perfect palate for Margolyes to work with. She shouts Yiddish insults from her skyscraper to rival Revlon’s, while keeping chicken drumsticks in the office safe. At least she’s kind enough to provide free electricity for those slaving away in her office. A collection of clichés yes, with malapropisms via Poland, but it’s all very funny.

While the comedy foundation is good the rest of the play’s makeup is hastily applied. Attempts at suspense surrounding espionage in the cosmetics business fail to add tension. Helena’s traumatic lifestory and emotional frigidity feel tacked on. A substitute son, in the figure of her gay bodyguard, capably performed by Patrick O’Higgins, gives rise to more good gags before becoming a dead end. Intense rivalry leads to some great scenes with the excellent Francis Barber as Elizabeth Arden (this relationship already the subject of a documentary and a musical) but the two makeup maestros’ could have more time together. Barber seems criminally wasted.

Jez Bond directs efficiently but like the no frills set from Al Turner there’s a lack of imagination that the show really needs an injection of. Listed like this, it all sounds negative. But you’ll be laughing enough to forgive. Nearly all of Turner’s jokes – and there are a lot of them – land. If the play gets as many star ratings as it has laughs its sell out run at the Park will only be the start of things.

Until 27 May 2017

www.parktheatre.co.uk

Photo by Simon Annand

2017

“Out There On Fried Meat Ridge Rd.,” at the Trafalgar Studios

Fried Meat Ridge Road isn’t the kind of place you readily visit and it has taken some desperate house hunting on the part of Mitch, expertly played by Robert Moloney, to end up here. Laid off from his job in a spork factory (they have to be made somewhere) Mitch finds himself alone in Appalachia, with only a degree in Disposable Cutlery Technology to his name and about to become motel roommates with an oddball called JD. Their budding bromance makes for fantastic comedy. JD may be a “bizarre red neck” but he’s a funny one, and assisted by Harry Burton’s sharp direction this short play guarantees long laughs.

A slice of rural Americana, with any audience prejudice cleverly subverted, the neighbours are fun too and cover plenty of comedy bases. Marlene and Tommy are a painter and poet making their lives more complex with drugs and affairs, providing a skilful riff on pretension that performers Melanie Gray and Alex Ferns do well with. The motel’s owner, Flip, is also more than your standard hick. Michael Wade might further explore some of his role’s surprises but, like all the cast, his comic timing is finely tuned. And the more out there the whole thing gets – there’s a dance number, a destroyed gazebo, and a shoot-out with the local sheriff – the better the show becomes. Like JD himself, it’s just the right kind of crazy.

There is a pilot TV show feel to things, but this won’t stop your enjoyment of the jokes – imagine a sitcom with enough well-polished stories to become a treasured box set. What’s really special, however, is playwright Kevin Stevenson’s performance of his lead role. An adorable bear of a man, his charm crosses over into his character, with a naivety that makes JD appealing and thought-provoking. The character’s openness, generosity and vulnerability are all funny, but these qualities are also strengths. JD has some secret help – let’s just say his family history means he’s well connected – leading to a sweet twist that means you leave the show on a divine high. Stevenson’s ability to make sincerity convincing and funny is miraculous.

Until 3 June 2017

www.atgtickets.com

Photo by Gavin Watson