Category Archives: 2015

2015

“Les Liaisons Dangereuses” at the Donmar Warehouse

It’s odd that Christopher Hampton’s hugely successful adaptation of Choderlos de Laclos’s epistolary novel is receiving its first West End revival since it opened back in 1986. Josie Rourke’s production provides an opportunity to see a brilliant transformation to the stage that shouldn’t be missed. Hampton’s delight in the plots of seduction, betrayal and sexual politics, along with the exquisite characters and dialogue, are blissful.

It’s a testament to the strength of this text that Rourke’s direction disappoints by not getting the maximum from it. Arch plotters Valmont and Merteuil, planning love affairs for fun and revenge, are played by Dominic West and Janet McTeer. And, it should be stressed, they are played very well indeed. West brings a forceful sexuality to the role that makes it easy to believe in his character’s success as a lothario. McTeer’s is a more layered performance, having a great deal of fun as she uses Valmont’s sex, as a weapon, against himself. McTeer is playful, a cunning coquette, but when she needs to, reveals the uncomfortable truths Laclos highlighted about the position of women in society. So where’s the problem? Very much star vehicles, West and McTeer dominate the production too much.

True, the other characters are creatures in their games, but smaller parts, especially their main victims Cécile and Madame de Tourvel, should stand out more. Morfydd Clark and Elaine Cassidy struggle to leave a mark, creating surprisingly little sympathy as their characters’ respective innocence and piety are broken. The production makes it hard to believe that Valmont finally falls in love and is uncomfortably blasé about the creepy seduction of a 15 year old.

LES LIAISONS DANGEREUSES BY HAMPTON, , WRITER - CHRISTOPHER HAMPTON, Director - Josie Rourke, Designer - Tom Scutt, Lighting - Mark Henderson, The Donmar Warehouse, 2015, Credit: Johan Persson
Dominic West

Which indicates another problem, albeit an unusual one – the production is too funny. The deliciously wicked Valmont and Merteuil gain plenty of laughs. It’s superbly done – Valmont’s brazen hypocrisy is a delight and McTeer makes nearly every line a quotable gem of bitchy cynicism. But there’s a penalty for this, with little tension between the two of them and too little time for the play’s darker overtones. Nearly all end badly but, rather than tense, the evening is simply deflating. Though much of the production is brilliantly done, these liaisons aren’t really dangerous enough.

Until 13 February 2016

www.donmarwarehouse.com

Photos by Johan Persson

2015

“The Lorax” at the Old Vic

Legendary children’s author Dr Seuss’s environmental fable, of the titular forest creature who tries but fails to save trees from a fanatical businessman called The Once-ler, is a surprisingly joyous and thought-provoking piece. With inventive theatricality, director Max Webster’s production should please the widest of audiences with puppetry, songs and spectacle, all in rhyme, with both laughs and tears along with way.

If there’s a fault, you wouldn’t describe Charlie Fink’s effective and eclectic songs as quite top notch. But The Lorax isn’t quite a musical. And it would be hard not to focus on David Greig’s adaptation for the stage. The expanded script is in the Seuss spirit – you can feel the great man smiling down on Greig – with lovely modern twists. The inventive and intricate language keeps your attention, with smogulous smog-polluting factories replacing the truffula trees – felled to produce useless thneeds – this show is biggerer than Christmas.

Comfortably short of preachy, the important message is delivered intelligently. Greig’s masterstroke, aided by Simon Paisley Day’s energetic performance, is to show The Once-ler’s argument. Progress has a point and though The Once-ler brings disaster, his motivations aren’t all bad. We get to see how he is corrupted, and the show’s best number is with his lawyers, McCann, McGee and Von Goo. As for wider complicity, there’s the media and consumers who become distracted from The Lorax’s protest by a pop-fuelled fashion show.

Of course it’s The Lorax who is the star and guaranteed to win hearts. Performed by Laura Cubitt, Ben Thompson and Simon Lipkin, who also voices the character, this is a hero remarkable for his sensitivity and simplicity, as well as (hurrah), age and moustache. The puppetry in the show, masterminded by Finn Caldwell, is superb, perfectly matching Rob Howell’s clever design. The Lorax speaks loud and proud to all and it is to be hoped that many get to hear him.

Until 16 January 2016

www.oldvictheatre.com

Photo by Manuel Harlan

2015

“Hapgood” at the Hampstead Theatre

Receiving a first London revival since a 1988 première, Tom Stoppard’s spy spoof has a reputation for being a difficult play. What’s new? An unashamedly intellectual writer, Stoppard here mixes espionage and particle physics with his usual panache. It’s a satisfyingly challenging piece that’s also hugely entertaining.

Fun is had with the spy genre itself. Stoppard plays with stock scenarios – the opening scene has not one but three suitcases being swapped around – and laughs at the often clichéd language used, including Alec Newman’s charming Russian quintuple agent whose cover has been “blowed”. The Cold War tension is deliberately deflated; the secrets at stake here aren’t worth much in the end.

Alec Newman and Tim McMullan

Newman also carries the weight of explaining a lot of the science (complete with a checklist of big names) that’s the real theme of the play, and does exceptionally well to inject passion into the parallels between plot and physics. Secret agents are just a “trick of the light” and how light behaves is influenced by the very act of observation. Hapgood is thought provoking and original.

It’s the central character of the titular spymaster that pleases most. In a brilliant performance, Lisa Dillon shows her understanding of Stoppard’s layered text. Dealings with the big boss Blair (Tim McMullan in a role he was born for) along with no nonsense about her high achievements are understated comic marvels. There are canny observations on class throughout the play.

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Lisa Dillon as Hapgood with her son (Adam Cansfield)

When it comes to carrying the tension, Dillon gets even better. Introducing twins, surely not too much of a giveaway, Stoppard further combines the science and spies. Hapgood’s role as “Mother” provides emotional weight when her son becomes embroiled in the spying game. Common to lots of high-quality genre fiction, the complexity of our hero is used to terrific effect.

The play benefits from director Howard Davies’ experienced hand – the pacing, when it comes to explaining the science, is perfect. And the plot is presented in a visually clear fashion thanks to Ashley Martin-Davis’ stylishly simple set and effective video backdrops from Ian William Galloway. Above all, the script should please any Stoppard fan and Hapgood deserves to be part of his canon.

Until 23 January 2016

www.hampsteadtheatre.com

Photos by Alastair Muir

2015

“Good King Richard” at the White Bear Theatre

The market for Ian Dixon Potter’s play is clear. If you like your history, you’ll enjoy this show. As writer and co-director (with Courtney Larkin), Dixon Potter’s sense of purpose is dogged: to rehabilitate Richard III and set the record straight. If the monarch’s maligned reputation gets you riled, your passion should be satiated here.

For everyone else, the play has problems. Pretty much the whole script is exposition. We have Richard addressing the audience as troops, before the battle of Bosworth, as well as two sniffing soldiers, acting as a chorus – but no action. Too many facts and too much back story are compacted into the characters’ speeches. Some lines are so clunky, I felt like cheering the cast when they got through them. Credit where it’s due, though: the politics are clearly presented and the detail scrupulous. Unfortunately, it’s all closer to a history lesson than a play.

More seriously, Dixon Potter fails in his aim of making us think again about Richard, by recreating him as an unbelievable goody two-shoes. Nicholas Koy Santillo bravely tackles the title role, showing the king’s cold legalistic mind, but is given little to work with and a very bad wig.

It’s often said the devil has the best lines, which isn’t saying much here, but the most interesting characters are those who take over from the King as villains. There’s a vain and duplicitous Buckingham, who Ben Harper adds a fun camp touch to, and, better still, two great roles for women.

Catherine Dunne is superb as Elizabeth Woodville, running rings around the men who step into her path, with a sensual edge that adds tension to her scenes. Zara Banks gives a similarly delicious performance as a Machiavellian Margaret Beaufort, bringing her lapdog son Henry Tudor to heel. Whether these women really had the power Dixon Potter supposes is the starting point for another debate. Dunne and Banks certainly lift the play. It’s a shame that their scenes are the only time that you feel you are leaving the classroom.

Until 20 December 2015

www.whitebeartheatre.co.uk

2015

“Macbeth” at the Young Vic

Working with choreographer Lucy Guerin, director Carrie Cracknell has created a dance-infused version of Shakespeare’s play. This isn’t one for traditionalists but, remaining agnostic about how much the accomplished dancers really add, the production isn’t quite the love-it-or-loathe-it affair you might suspect. Cracknell’s focus on Macbeth’s internal turmoil creates its own coherent, if surreal, power.

Much of the credit is down to the startling design by Lizzie Clachan. Reminiscent of Allies & Morrison’s pedestrian tunnel at King’s Cross, the production has a consistently claustrophobic feel. Nightmares are the preoccupation and the witches (played by Anna Beatriz Meireles, Jessie Oshodi and Clemmie Sveaas) are creators of this nasty dream. Mannequin-like manipulators in a very literal sense, they lay the banqueting table and double as the children in the play.

The witches’ relationship to Macbeth is particularly intimate, toying with the idea that much of the action is in his mind and through his perspective. Appearing as pregnant on some occasions, the witches hint at trouble in the Macbeth marriage and highlight his preoccupation with Banquo’s progeny. Tellingly, it is Macbeth’s own voice that delivers prophecies when he visits them for the last time.

This is a Macbeth about personality rather than politics – despite the gruesome Abu Ghraib aesthetic employed – and there are sacrifices made because of this. Anna Maxwell Martin’s Lady Macbeth suffers most, her role feeling truncated and leaving little impact. For all the ghosts and ghouls, Macbeth’s hallucinations feel distant from the supernatural, making his a modern nervous breakdown of unsettling intensity.

Relying so much on the lead actor, Cracknell is fortunate to have cast a performer as talented as John Heffernan. Taking the strange musical interludes in his stride, Heffernan anchors us in the text and sounds simply wonderful. Few can speak Shakespeare as effectively and Heffernan alone makes the show worth watching. But with one important warning – appreciating what Cracknell is doing needs a strong knowledge of the text. Even with a work as famous as this, it means the production isn’t for everyone.

Until 23 January 2016

www.youngvic.org

2015

“You For Me For You” at the Royal Court

American playwright Mia Chung’s work, for the Royal Court’s wonderfully intimate upstairs auditorium, is the tale of two sisters, Minhee and Junhee, who try to defect from a North Korean regime so sinister it is rendered surreal.

Minhee fails, becoming trapped inside a well, beginning a bizarre journey inside her own consciousness and the national identity that has psychologically entrapped her. Wendy Kweh gives a convincing performance as a tortured soul.

Brilliantly visualised and staged by designer Jon Bausor and director Richard Twyman, a vault-like stage with mirrors and projections creates a visual kaleidoscope of action and paranoia. There’s even a bunny rabbit hanging around.

As a technique for understanding the despotic state, the magical realism employed fits well with Chung’s observations on time. You might feel the need for more raw data about North Korea (although that’s hardly the playwright’s job), but the bureaucratic nightmares experienced are depressingly predictable.

Katie Leung and Daisy Haggard
Katie Leung and Daisy Haggard

Junhee’s experience is only slightly less fantastical, and America becomes a subject for Chung’s play, as she ostensibly explores the ’other’. The electrifying stroke is to show the experience of learning English – encountering Daisy Haggard in a variety of roles –moving from speaking gibberish to gradually becoming comprehensible. The technique allies us with Katie Leung’s powerfully performed Junhee, while Haggard gives a literally breath-taking performance.

A fast-paced play, this sibling story doesn’t move as much emotionally as it might. Maybe the sisters’ devotion is taken too much for granted. Possibly Minhee’s tragic backstory is revealed just a little too slowly. But the production is superb and the play highlights the desperation of refugees, from anywhere in the world, with more than its fair serving of poetic moments.

Until 9 January 2016

www.royalcourttheatre.com

Photos by Tristram Kenton

2015

“Around The World In 80 Days” at the St James Theatre

A rip-roaring comedy adventure that’s a thrill a minute, Laura Eason’s adaptation of Jules Verne’s story makes perfect family entertainment. Phileas Fogg’s race around the world – the result of a bizarre bet based on his confidence in Bradshaw’s guide and Victorian travel – is an extravaganza that keeps kids of all ages enraptured.

As an English gent of the Empire era, Fogg, a character created by a French novelist and adapted by an American playwright, provides laugh-out-loud moments for grown ups. A master of understated observation, Robert Portal is perfect in the lead, with the “mathematical precision” his character lives by making a romance with Mrs Aouda (Shanaya Rafaat) all the more endearing. Fogg is more interested in whist than tourism, taking derring-do in his stride. And all in a top hat. There’s plenty of fun with accents and just four actors take on all the extra roles – bravo! But it’s the superb physical comedy that marks the show. Fogg’s valet Passepartout’s punches alone make Simon Gregor a big hit.

There are escapades on an elephant, jungle rescues, sledges and a shoot out in the American Wild West. In the background, providing even more jokes, is a warrant for Fogg’s arrest following him around the world. Tony Gardner is superb as Inspector Fix (the clue’s in the name) observing that Scotland Yard has sent its best man to solve a robbery at the Bank of England… “as well as myself”.

Director Lucy Bailey inspires awe with her talents. Revelling in the mechanics of theatre, with trapdoors and tricks to make the show magical, her craft is clear to see. Showing us the world, while emphasising the theatre’s intimate scale, Bailey co-opts our own imaginations marvellously. Speed is of the essence, and Eason brings out the pace, but it’s Bailey who is in charge of punctuality here and, like Fogg, she is spot on time.

Until 17 January 2016

www.stjamestheatre.co.uk
Photo by Simon Annand

2015

“Linda” at the Royal Court

Best wishes – also commiserations – to Kim Cattrall, originally cast in the title role of Penelope Skinner’s new play, who withdrew for health reasons at the last minute. Instead, Noma Dumezweni gets the chance at a brilliantly meaty part and wins huge admiration. Although performing with the script close by, Dumezweni’s is a towering rendition that gets to the nub of Skinner’s grand efforts with precision.

Linda is a woman who has it all: career, kids and “the same size ten dress suit” from 15 years ago. But she’s 55. Employed by the beauty industry, enjoying plenty of predictable irony, Linda isn’t safe, despite her success. It could all be a standard, if satisfying, drama with important issues and depressing topicality. But it’s far from that. Michael Longhurst’s direction is smooth and Es Devlin’s budget-busting set a two-tier rotating triumph, combining work and home, with a moat for extra symbolism. And, excitingly, Skinner takes risks with her script that stops the show being too polished.

For much of the first act, Linda is the only well-rounded presence. Other characters are oddly transparent – a brave move – making them cringe-worthy vehicles for Skinner’s toe-curling humour. The men come off especially badly: a new-age hipster intern (Jaz Deol), insulting boss (Ian Redford) and mid-life crisis husband (Dominic Mafham). Can men really be this crass? Don’t answer. But best of all is Linda’s new rival at work, a younger woman, naturally, who you’ll love to hate, with Amy Beth Hayes’s performance guaranteed to make your blood boil.

Karla Crome and Imogen Byron
Karla Crome and Imogen Byron

It’s when flesh is put on the bones of other roles that the play falters. Mother and daughter relationships are insightfully probed, with clever Shakespearean nods. And as Linda’s daughter’s, Karla Crome and Imogen Byron grow up impressively before our eyes. But by now we just want Linda. It’s her late realisation that she has “ta’en too little care” outside the office, rather than her daughter’s plights (these alone could make another play) that interest. Despite Longhurst’s valiant efforts, searching deeper issues slows the pace too severely. Thankfully, a final flourish of outrage shows Skinner as outlandish once more. She is surely not a writer to be messed with.

Until 9 January 2016

www.royalcourt.com

Photos by Johan Persson

2015

“Little Eyolf” at the Almeida Theatre

A marriage not so much on the rocks as already wrecked is the focus of Ibsen’s 1894 play. Alfred and Rita are an odd couple of obsessive personalities struggling to share their lives and loves. Along with a ‘sister’, Asta, who creepily shares a pet name with their son, this is a peculiar, unstable love triangle that’s intense from the start. When their only child dies, pressure mounts and the play doubles as an examination of grief.

This is Richard Eyre’s third time adapting and directing Ibsen at the Almeida. Living up to the reputation of his Hedda Gabler and Ghosts, the production is made all the more remarkable by Tim Hatley’s stunning set – never has mid-century modern felt so claustrophobic – and some strong performances. Jolyon Coy and Lydia Leonard take the leads. Coy gives a nimble performance, on the surface a repressed academic, cold and plotting for his wife’s money, yet toying with the idea he might be our hero. Leonard is the sexiest Ibsen heroine you’re likely to see. Embodying a sensuality that has a serious point, she displays a moving, almost scary raw emotion. Eve Ponsonby’s Asta has the trickiest job – doting on the family while the tension surrounding her own desires builds magnificently.

The honesty between this trio is unrelenting and shocking. Home truths that would destroy any family are shouted out – it’s difficult to hear a mother say she wishes her son hadn’t been born. The observation that the parents are “vile and cruel” feels like an understatement. And Ibsen’s view of the human condition –reinforced by a book Alfred is writing on the “law of change” – is pretty grim. When hope enters the play, it feels natural and welcome. This hope may be only a glimmer, an exhausted sigh after all the crying, but it arrives just in time to secure the show’s status as a triumph.

Until 9 January 2016

www.almeida.co.uk

Photo by Hugo Glendinning

2015

“The Drunken City” at the Tabard Theatre

For a chance to check out the work of acclaimed Canadian playwright Adam Bock, head to Turnham Green’s pub theatre. The Drunken City is a comedy love story, set around a hen night that goes wrong. It’s a twisty romance about the power of the metropolis, which almost becomes a character in its own right, changing lives with the help of some nifty projected artwork that sets visiting revellers quite literally off balance.

Meticulously directed by Vik Sivalingam, a gaggle of girlfriends are depicted by Kristina Epenetos and Tanya Lattul, with Sarah Roy as bride-to-be Marnie. The giggling is great and fittingly infectious. They hit the spot less surely when it comes to quieter moments, brief, tantalising soliloquies aren’t delivered with the same confidence. Still, it works well as a comedy and the trio sensibly steers clear of parody.

For the boys, Josh Hayes appeals, despite his flatly written Frank, the source of Melissa’s cold feet when they meet and kiss on the streets. The role is a puzzling slip in the script’s standard. The focus instead is on another couple, Bob and Eddie, engagingly drawn by Max Wilson and Michael Walters respectively. More world weary, if not worldly wise, their romance blossoms as the girls gain their independence and grow up a little.

Too much feelgood all round? Perhaps. But Bock has an impressive ear for dialogue that Sivalingam makes the most of, with perfectly timed exchanges. Looking at how you might “learn” to fall in love, alongside the importance of being honest, may give rise to clichés and predictability but, let’s admit it, we all like something a little sickly sweet now and again. The writing’s skilled observational humour and quirky, probing sense of purpose are enough to bring out the romantic in anyone.

Until 5 December 2015

www.tabardweb.co.uk