Category Archives: 2015

2015

“The Motherf**cker In The Hat” at the National Theatre

A play that comes with its own stars, albeit an excessively modest two of them, Stephen Adly Guirgis’ Broadway hit may have a title that fits uncomfortably with the National Theatre’s augustness, but The Motherf**cker In The Hat is a quality play that London should welcome. Detailing the struggles and affairs between a drug addict on probation, his ‘sponsor’ and their girlfriends, the work’s vigorous language belies its old-fashioned enquiry into morality.

Jpeg 1Ricardo Chavira plays Jackie, a troubled convict following a plan to free himself from addiction with a suitably cynical edge, making our hero hugely appealing despite his faults. Flor De Liz Perez (pictured) performs as Jackie’s partner, delivering vicious tirades with verve. Also from the States comes Yul Vázquez as Cousin Julio, delivering a marvellously understated, original performance. Completing this strong cast, directed flawlessly by Indhu Rubasingham, are Nathalie Armin as the unfortunate wife of the rehabilitated Ralph, the philandering sponsor with a PhD in persuasion, depicted brilliantly by Alec Newman as a devil who firmly believes he has all the best lines.

It can’t be denied that the play is reminiscent of a soap opera (or should that be a telenovela?), but the sordid plot twists, while predictable, are expertly handled and feel believable. Likewise, the bad language and lurid insults play their part, not just in making the script very funny, but in creating characters you really fall for. For all the shouting on stage, this is a work that quietly ensures we take seriously the questions it’s asking – about how to be good.

The play is calmer, less surreal, than Adly Guirgis’ other works seen in London. It’s tempting to say it feels more grown up, as that’s clearly one of the themes here; the talk of prayers and pharmaceuticals both play a part in questioning responsibility and relationships. Jackie and Ralph are just young men, with more than enough faults and few excuses. But Jackie has a heart and the potential for goodness that feels realistic and makes this play an unusually sharp comedy.

Until 20 August 2015

www.nationaltheatre.org.uk

Photo by Mark Douet

2015

“Communicating Doors” at the Menier Chocolate Factory

If anyone can deal with that tricksy genre – the comedy thriller – it’s playwright Alan Ayckbourn. And as if combining chuckles with tension weren’t enough, this sci-fi story of murder and time travel challenges the cerebellum as well. As Lindsey Posner’s studied revival of the 1994 play shows, Ayckbourn comes as close as anyone can to cracking such an ambitious juggling act.

As you’d expect, there’s plenty of running around rooms, the twist being that it’s one hotel suite at three different times. And while doors aren’t slammed, creeping around between the decades, with the threat of bumping into a murderer, provides a couple of good jumps. There’s a dominatrix call girl for laughs and an officious security guard (nicely paced by Matthew Cottle). Be patient with the comedy, as it gets stronger in the second half.

It’s fitting that only the women in the story can use the eponymous portals. Ayckbourn has written three fine roles for women that mischievously outshine the play’s male characters. The ruthless Reece (Robert Portal) and his henchman Julian (David Bamber) manage to be threatening, with Bamber’s toupee and dastardly laugh deserving their own credit in the programme, but it’s the women – working out time travel and taking control – that make the show.

Rachel Tucker’s tart-with-a-heart manages to be believably frightened and feisty by turns. Lucy Briggs-Owen and Imogen Stubbs play Harold’s former wives, both murdered, with suitable flashback appeal. Stubbs is particularly strong at carrying the scenario, with a no-nonsense approach aiding the surprisingly credible edge of this entertaining evening.

Until 27 June 2015

www.menierchocolatefactory.com

Photo by Manuel Harlan

2015

“Hang” at the Royal Court

I am confident all would agree that debbie tucker green’s new play for the Royal Court is a powerful one. The play’s force comes from the performances and its poetry. The acting and dialogue are of such a high standard you can see those reviewers’ stars mounting up before your eyes. But what feels very much an intellectual exercise doesn’t quite deliver: pointless is too strong a word to use about such a quality piece, but don’t expect anything persuasive behind this focused examination of a dilemma.

The scenario is simple yet tense: the victim of a crime gets to decide the method of executing the perpetrator. But there are no arguments about the death penalty, rather, a bureaucratic meeting with officials who obsessively follow procedures to enact the execution. Claire Rushbrook and Shane Zaza are well studied in these roles, dealing with the economy of the writing and creating a comedy of compromises. It’s a pity that these well-meaning characters are a little too ineffectual and ill prepared, with the “transparency” they aim for becoming one of many heavy ironies.

The struggle to vocalise trauma is painfully acknowledged; nobody has “the words, the stomach, the imagination” to empathise with the carefully undisclosed crime discussed. Marianne Jean-Baptiste’s performance as the articulate victim given a potent voice is stunning, creating a depiction of pain shocking in its distance from platitudes. tucker green’s direction is taut as a bow but the explorations of revenge, justice and the systems we rely on to deliver the law don’t satisfy. It’s a puzzle to have no real target aimed at with such skill.

Until 18 July 2015

www.royalcourttheatre.com

Photo by Stephen Cummiskey

2015

“The Legacy” at the Hope Theatre

Reminiscent of David Mamet’s work, Angela Clarke’s new play, The Legacy, is strong and exciting writing. A simple story of two sisters, reunited for the reading of their father’s will, there’s a dark secret to be revealed in this tightly constructed, character-driven drama, which is well observed and full of tension.

The cast gives careful performances, each character ripening from an instantly recognisable acquaintance into a thought-provoking, well-realised figure. Lucinda Westcar’s Rebecca has a frozen compliance with her suburban existence that becomes febrile when events threaten her Farrow & Ball lifestyle. Her successful husband Adam is easy to dislike, but Jim Mannering gives him an angry edge that, disconcertingly, invites sympathy. As a depiction of that infamous ‘squeezed middle’, the couple makes you stop and think about this much derided demographic. Finally, while I trust we’d all agree with prodigal activist Esther’s politics, Claira Watson Parr’s calm and clever performance shows how irritating the character might be and plays with suspicions we might have about her motivations.

It’s the turbulent ride of repulsion and sympathy for these characters, so deftly handled by director Michael Beigel, which impresses most. Along with expertly placed plot reveals, there’s a respect for the audience’s intelligence that engenders a mutual respect. Clarke raises serious feminist issues, with potential to expand into a longer piece, creating a trio of characters I sincerely hope to meet again in another theatre for a longer run.

Until 13 June 2015

www.thehopetheatre.com

Photo by Ben Broomfield

2015

“Fanny & Stella” at the Above The Stag Theatre

A true story that’s a gift to a dramatist, Victorian transvestites Ernest Boulton and William Park, with their inspiring friendship, risqué love affairs and dangerous brush with the law, are truly fascinating. Playwright Glenn Chandler’s masterstroke is to have the characters’ eponymous drag personas present their own story in a music-hall style that makes for great entertainment.

Charles Miller’s accompanying Victoriana songs are a wicked delight that I’d have like to have heard more of. And the whole cast is superb. Phil Sealey, whose character represents the manager of the venue uneasily hosting Fanny and Stella’s performance, takes on numerous roles in the retelling of their shocking story. Along with the ladies’ attempts to outshine each other, there’s a faux improvised humour that adds charm as well as laughter. As for the rest of the many jokes, some gags positively creak and the plentiful innuendo isn’t exactly sophisticated, but it’s all great fun.

While the history forms an effective questioning of Victorian attitudes, there’s a purposefully contemporary feel to the show, seen most clearly in the two leads. Robert Jeffery and Marc Gee Finch, in the title roles, are both fine performers, great with the songs and even better with the show’s bitching – sorry, ladies, I daren’t pick a favourite. Camping it up for all their worth, yet capable of providing space for more sombre moments, it’s always funny to see characters milking applause when they are so clearly already commanding the spotlight.

The second half, dealing with Fanny and Stella’s scandalous trial and cruel imprisonment, drops off a little. There’s a touch of preaching to the choir and wish fulfilment – I am not convinced the story shows an early ‘victory’ over prejudice – but the show knows its audience; as the UK’s only full-time professional LGBT theatre, receiving no public subsidy, Above The Stag can’t afford not to. It’s a tribute to the show’s strength that I think the company is selling itself short. I’d love to see the show in a bigger venue (what about Wilton’s Music Hall?) and believe Fanny and Stella have the potential to appeal to all – they deserve to be massive stars.

Until 14 June 2015

www.abovethestag.com

2015

“Heartbreak Hotel” at The Jetty

A stay at the Heartbreak Hotel will be a disappointment for those who love the current trend for immersive theatre. The show is really only immersive if your definition of such is shuffling around a pre-fab cluttered with bric-a-brac. And flagging the play as ‘unique’ only serves to highlight that other theatre companies have used real hotels far more effectively. The performers’ valiant attempts at interaction simply feel like fillers between sketches.

There’s nothing wrong with Sam Curtis-Lindsay’s direction of the actual scenes, which are neatly presented and well acted, especially by Will Harrison-Wallace, as the hotel’s owner, and Natalia Campbell as an “open and honest” dominatrix who uses one of the rooms. But there’s a frustrating lack of coherence. Is this a conventional domestic drama, albeit one that is a little dull? Or are there pretentions to make it some kind of memory play? Neither element is explored and the inspiration for a lot of the staging isn’t that original.

Something, too, has gone awry with the play’s script, possibly edited into incomprehension, with established characters disappearing and mooted ideas quickly abandoned. The weakest element is a feeble satire based on a twisted self-help programme called A.C.H.E. – Achieving Creative Heartfelt Experience. The idea is thin enough to be insulting but hasn’t got off the ground before everyone is traipsed up to the roof (which admittedly has a lovely view) for a “keynote speech” from its charisma-less developer. We have been given only a “glimpse” of the project, we didn’t need telling that, but this is a recruitment drive that I don’t think anyone should check-in for.

Until 30 August 2015

www.heartbreakhoteljetty.com

Photo by Ben Hughes

2015

“Oresteia” at the Almeida Theatre

A sterling start to the Almeida’s Greek season, Robert Icke’s new version of the Oresteia is a mammoth achievement, presenting all three plays in one spirited and, at times, gruelling evening, where the trilogy’s themes of society and justice come alive in a stirring, contemporary fashion.

Agamemnon comes first, the king powerfully portrayed by Angus Wright as a politician, military leader and man of faith, who sacrifices his daughter Iphigenia before setting out for Troy. The murder occurs onstage, which some will find objectionable in itself, but for me the clinical approach of feeding the young actress some pills makes the scene so brutal I cannot say I fully support the decision to show it.

After a break that is strictly timed by a countdown on television screens, Clytemnestra comes to the fore. Consummately controlled, plotting to kill her husband as revenge, Lia Williams is mesmerising in the role, her exclamation that “the war came home” emphasising the consequences of battle abroad on the families left behind.

For the second play, The Libation Bearer, we see Orestes avenge his father by killing his mother. Previously presented as undergoing therapy, he joins forces with his sister Electra, with Jessica Brown Findlay making a forceful stage debut, the highlight of which forms a meditation on mourning. The fate of Electra later brings a penny-drops-twist from Icke that doesn’t deserve a plot spoiler.

The Eumenides sees the judgment upon Orestes for his matricide. Wright and Williams, reappearing as legal council, aid high emotions, and issues of gender are satisfyingly forefronted. But the scene rests too heavily on Luke Thompson’s fraught performance in the title role. At least those countdowns make sense – it wasn’t just to hurry people’s G&Ts – we have been watching a re-enactment in real-time. Instead of being treated, Orestes was being cross-examined.

It’s possible the production is too stylish for its own good. Hildegard Bechtler’s design, with its ghostly sliding glass that becomes opaque, looks so great that, combined with the moody background soundtrack, it becomes slightly distracting. And having live recordings played back onto screens may illustrate the public nature of this family, but it’s becoming a bit of a theatrical gimmick.

Reservations are small compared with the scale of Icke’s accomplishment. The dialogue is modern and easy to follow, with references to Whitman and even G&S. Icke is obsessive about retelling these stories, which justifies the liberties he has taken but also aids the coherence of his production; the omnipresent reiteration of concerns for signs, stories and interpretation is clear, convincing and engaging.

Until 18 July 2015

www.almedia.co.uk

Photo by Manuel Harlan

2015

“Death of a Salesman” at the Noël Coward Theatre

Gregory Doran’s revival of Arthur Miller’s Death Of A Salesman fully justifies the director’s claim that this is the greatest American play of the 20th century. Although rooted in post-war US society, Miller’s family tragedy and critique of capitalism transcends time and place. Perhaps recent economic woes make this powerful play freshly pertinent: the loss of job security for long-serving salesman Willy Loman rings alarm bells for us all. And perhaps, too – aided by our increased awareness of dementia – Willy’s tragic decline has added poignancy. Just as likely, the play is simply a masterpiece.

Antony Sher is confident and controlled in the lead role. Clearly passionate about the part, Sher projects an intensity that enfolds you. It’s an exceptionally subtle and intelligent delivery: for all Willy’s faults, we see why his family loves him, he isn’t made an underdog and there are no excuses for his behaviour – but he still retains our sympathy. Willy’s confidence seesaws constantly, moments of self-doubt are carefully hinted at. When Willy is presented with the gas pipe he plans to kill himself with, Sher’s whole body becomes frozen. It’s a tremendous theatrical moment.

Backed by Harriet Walter as Willy’s wife, with Alex Hassell and Sam Marks as his sons, the family struggles with the delusions of success and excess of optimism that construct their dreams. This is an unbeatable quartet of performances. The fight to see facts instead of fantasy is a relentless focus. Willy’s memories, possibly false, presented as the consequence of his age and misfortune, slide into the action dynamically. The downward spiral of the whole family in the second half is gut-wrenching and miraculously suspense-filled. We can all predict what’s coming but Doran makes it riveting, obeying the play’s demand that “attention must be paid”.

Until 18 July 2015

www.rsc.org.uk

Photo by Ellie Kurttz

2015

“The Railway Children” at the King’s Cross Theatre

Boasting a purpose-built theatre and a real-life steam train, York Theatre Royal’s adaptation of E Nesbit’s children’s classic is an extravagant family treat. Even the waiting area is a delight – a retro theme-park-style refreshments room that serves as a place for youngsters to let off steam. There’s no bad behaviour inside, though. I can report that this clever adaptation is a hit with the kids.

The work of Mike Kenny, the show isn’t just a question of nostalgia – and a big tick for that. The story of three youngsters, whose father mysteriously goes away after a visit from some policemen, forced into poverty and a move to the country, is told with clarity. Damian Cruden’s direction uses the railway platforms and moving stages on the tracks to great effect: the cast is constantly on the move.

There’s a lot of waving.

It must be dispiriting for any performer to be upstaged by a steam train, but it has to be admitted that the locomotive is impressive. Nonetheless, Serena Manteghi, Jack Hardwick and Louise Calf play the children skilfully. They engage their audience conscientiously and have stronger roles than the adults in the piece.

To be fair, the humour is very much aimed at children. There’s little effort to create a wider appeal – unusual nowadays – but it’s a consistently applied decision that pays dividends. A room full of attentive under-tens is not to be underestimated and a calculated price worth paying for leaving adults a little restless at times.

www.railwaychildrenlondon.com

Until 8 January 2017

2015

“The Beaux’ Stratagem” at the National Theatre

A Restoration comedy of love and manners, so steeped in cynicism that its heroes plot to marry for money, George Farquhar’s classic is a snapshot of 18th-century society that brims with life and adventure. Replete with desperate gentlemen, crooked innkeepers and comedy highwaymen, Simon Godwin’s revival feels credible and fresh.

Samuel Barnett and Geoffrey Streatfeild make appealing leads as Aimwell and Archer – the “marksmen” out to hunt rich women. Pippa Bennett-Warner and Susannah Fielding are similarly engaging as their love interests. Fielding carries the part of the miserably married Mrs Sullen well – tricky in a production that seems extravagantly enamoured of her. Mrs Sullen is pivotal, yes, and Fielding embodies her with sense and sensuality, but the production halts, shouting “This is important” so loudly that it becomes patronising.

Jpeg 16. Geoffrey Streatfeild (Archer) and Samuel Barnett (Aimwell)_The Beaux' Stratagem_credit Manuel Harlan
Geoffrey Streatfeild as Archer and Samuel Barnett as Aimwell

There are some great insults in The Beaux’ Strategem: I look forward to being able to use “prostrate engineer”. And Farquhar’s similes are superb, describing marriage as “two carcasses joined unnaturally together”. The cast, along with music, provide nice comic touches, but Godwin blunts the play’s momentum: smaller parts aren’t tamed enough and the initially impressive set by Lizzie Clachan becomes cumbersome.

There’s a great swashbuckling fight where we see how Archer “fights, loves, and banters, all in a breath” and for a moment the show lifts off. But we’re back to down to earth, with added sentimentality, as our heroes become disarmed by love. Maybe it’s Godwin’s ponderous build-up to these unexpected changes of heart that has slowed things down? If there is a strategy here, it has failed. The whole show feels too… thorough. That should be praise, but a lack of spirit and spontaneity means that the production just isn’t funny enough.

Until 20 September 2015

www.nationaltheatre.org.uk

Photos by Manuel Harlan