Category Archives: 2019

2019

“Mary’s Babies” at the Jermyn Street Theatre

Maud Dromgoole’s play is inspired by the real-life story of ‘Barton’s Brood’, where a fertility clinic run by Mary Barton, with her husband as one of very few sperm donors, resulted in the world’s biggest family. Updating the action to the present day and imagining efforts to reunite a complex network of siblings, some of whom don’t want to know each other, and a couple who have already got too close, provides plenty of plot that this short show manages to explore in surprising depth.

Thirty-one scenes are well-paced, and director Tatty Hennessy does a good job with their variety. Despite the help of Anna Reid’s design, which lights up characters’ names when they are on stage, things are still confusing at times. Sorry to be a bit dim. Some scenes are unnecessarily gnomic, playing with who’s who when the facts are already complicated. And although the play is funny, with Dromgoole handling sensitive issues boldly, not quite enough jokes land. Nonetheless, there’s some excellent characterisation and the dialogue sounds fresh, if not always believable. Two big puzzles come with the only characters not named: a registrar of births, marriages and deaths and, bizarrely, a grieving ventriloquist. The humour here falls flat and the motivation is a real question. Both scenes indicate an overall lack of polish.

While the script is interesting, the performances are superb. This is a play about a large number of people… with only two performers! Emma Fielding and Katy Stephens take on 17 roles each – male and female, of different ages and backgrounds (more credit to Dromgoole for how many issues this raises) and they do so impeccably. The accents do a lot of work, of course, but it’s hugely impressive to see some characters really stand out. Kieran, the “lynchpin” bringing the family together, is skilfully highlighted by Stephens, while Fielding makes a nurse who interacts with several characters a vivid role. In one party scene, nearly everyone appears, providing a heady theatrical moment where the play’s ambition and execution come together in memorable style.

Until 13 April 2019

www.jermynstreettheatre.co.uk

Photo by Robert Workman

2019

“Edward II” at the Sam Wanamaker Playhouse

While few productions at Shakespeare’s Globe lack contemporary touches, it doesn’t seem too reactionary to suggest that the venue’s glorious indoor site needs them the least. Nobody wants theatrical reconstruction – impossible anyway – but seeing a play in a manner close to that experienced by Christopher Marlowe’s original audience is a special thrill. Congratulations to director Nick Bagnall for this surprisingly traditional affair. Ironically, amidst so many interpretations and so much theory in the theatre, it makes for a refreshing change.

While Bagnall presents the story of England’s troubled king and his love affair with lower-class servants simply – making great use of the space, particularly the candlelight, and its unique intimacy – he isn’t enthralled by the text. As a strict editor, he presents a complex plot efficiently and isn’t held captive by it. Doubling – and trebling – of roles by the hardworking cast is expertly handled (special praise for Annette Badland and Sanchia McCormack), making the action clear throughout.

Plot is to the fore – it’s an interesting story, after all. Emotional impact is ensured by strong performances, primarily from Tom Stuart in the lead role, who gives us a man it’s hard not to sympathise with, despite his flaws. There’s charismatic work from Beru Tessema as Edward’s first love, Gaveston, and a superb performance from Colin Ryan as the replacement in the king’s affections, Spencer. Cleverly, there’s little eroticism in the production – the men’s concern is with status more than sexuality – and, arguably, Bagnall takes us closer to Marlowe’s concerns than contemporary ones.

A focus on the action does deprive us on one point, though. While it’s clear an effort has been made to make the role of Edward’s queen central, Katie West struggles with the part. Isabella’s own obsession with Edward, an essential counterpoint that could make her seem just as unstable as her husband, is missing. Even worse, the depths of Isabella’s relationship with the treacherous Mortimer (Jonathan Livingstone) – that they “kiss while they conspire” – are unexplored. The delivery of these fascinating characters is far too flat.

This is a close study of the play, which has resulted in careful insight. Polly Frame’s Kent has a wonderful final scene: as the shock of the character’s execution dawns, her role comes into focus magically. And there’s terrific work from composer Bill Barclay. Bagnall deals superbly with a text that, while containing wonderful poetry – delivered especially well by Stuart and Tessema – also has a lot of narrative detail. Constant direct appeals to the audience (making us Edward’s judges many times) and a remarkable dynamism in the performances all add to a solid, quality production.

Until 20 April 2019

www.shakespearesglobe.com

2019

“Fiddler on the Roof” at the Playhouse Theatre

It’s great to see the Menier Chocolate Factory back in the West End. Tickets for this revival of Jerry Bock and Sheldon Harnick’s musical sold out quicker than a Brick Lane beigel for its home run near London Bridge, so a bigger venue means a welcome chance to see this excellent show. One word of warning, though – behave as if you were a rich man and treat yourself to a good seat.

Under Paul Bogaev’s musical direction Bock’s music sounds great, Sheldon’s lyrics are always a treat and director Trevor Nunn has a careful appreciation of Joseph Stein’s book: the structure is kept tight, the characters vivid and the jokes are great. Famously recounting the story of Jewish life in a Russian village just before the revolution, the lead role of Tevye has been career defining before and, taking the part here, Andy Nyman does not disappoint. The poverty-stricken patriarch struggles with his wife (a strong performance from Judy Kuhn) and the marriages of his three eldest daughters. Taking these roles Molly Osborne, Nicola Brown and Harriet Bunton do a fabulous job of injecting youth and energy into the show, and their opening number is a real delight. Each of the troubled romances convinces, mixing sweetness and poignancy with strong songs.

It really is worth splashing out on a posh seat, though. While Robert Jones’s set design – evoking Chagall but with a restrained colour palette appropriate to the piece’s surprisingly somber tone – deserves praise, projecting the stage into stalls causes problems. A lot of seats have been sacrificed (hence the ticket price?) but little account taken of the view from the balcony. Nunn should know better than this. Thankfully Matt Cole’s choreography, based on Jerome Robbins’ original work, is still strong enough to thrill; not just the acrobatics but the way dance is used to illustrate the close community and the struggles with modernity that it faces.

Fiddler on the Roof really fascinates. It’s funny, a simple story, well told, that feels solidly old fashioned. But, while focused on tradition, the theme of the show is actually change. New and old are both present in the 1964 piece itself. Much of the first half seems very Broadway – the format is conservative and almost predictable. But, as a concern for history takes over, the show become bravely dark. As the approaching Cossacks move from a threat to a reality, Tevye shows the limits of his own tolerance (Nyman is an excellent here). There’s a combination of pain, incomprehension and dignity in the characters and the story that the production embraces, moving us from high-class entertainment to a questioning and emotionally turbulent finale.

Until 2 November 2019

www.fiddlerwestend.com

Photo by Johan Persson

2019

“Downstate” at the National Theatre

If your life has been even vaguely touched by the tragedy of child abuse, then this new play by Bruce Norris will be difficult to watch. The scenario of four men on the sex offenders register in the US living together on probation is an unpalatable subject matter for most. But theatrically Norris and his team from Chicago’s prestigious Steppenwolf Theatre have achieved the improbable – creating a kind of sympathy for these men and making great drama as a result. The provocative strategy has a further use – creating an empathy for people we find repulsive allows big questions to be asked with challenging clarity.

Justice, with the dichotomy of punishment versus vengeance, is the theme. And it’s complicated by the need to continue to protect children that the men now live near. We see two sides of contrition, in the roles taken by Eddie Torres and Francis Guinan, both equally questionable and powerful. All this might be considered a timeless dilemma. But Norris also addresses a particularly topical concern – ideas about trauma and victimhood particular to our times – with remarkable bravery. Giving a voice to the abusers is a bold move. The reasoned arguments, presented with wit or religion respectively by the characters K Todd Freeman and Glenn Davis so brilliantly portray, are remarkable. The tension with our distrust of these men is wonderfully handled.

Cecilia Noble and Eddie Torres

Along with these personal debates, we encounter the judicial system, represented by probation officer Ivy, brought to the stage so vividly by Cecilia Noble. There are practical touches and legal constraints to Ivy’s generally sympathetic approach to the men, as well as utterly credible touches of exhaustion. But the play’s real originality comes with scenes of a victim confronting his abuser. Andy, played with such care and skill by Tim Hopper, shows a brittle calm presenting rote-learned arguments arrived at via his therapy. It’s almost unbearably tense at times and incredibly sad but, importantly, thought provoking.

The writing is close to flawless, so it’s a shame that one plot twist is over prepared and therefore not quite as shocking as intended. Meanwhile, the performances are perfection and director Pam MacKinnon deals with the actors and the subject matter with utmost care. Without degrading Andy’s trauma, and getting considerable dramatic tension from the idea that we cannot trust these convicted felons, Norris leaves open a judgement as to a statement that victims don’t lie, with the suggestion that there are degrees of trauma that victims as much as the law fail to take into account. It’s a suggestion uncomfortably out of kilter with our times and surely important to raise for that very reason.

Until 27 April 2019

www.nationaltheatre.org.uk

Photos by Michael Brosilow

2019

“Circa” at the Old Red Lion Theatre

As this is his first full-length play, it’s tempting to assume that Tom Ratcliffe is a young man. Regardless, his writing contains prodigious insight. There are so many intelligent observations in Circa that it might be thought of as a wise play, one that stays with you and makes you think. Following one man at three different life stages to explore the theme of loneliness, Ratcliffe seems capable of writing for any age, with dialogue that is consistently strong and often funny. Issues that could have hashtags and heavy debates about heteronormativity are delivered with ease. The neat conceit of covering three decades in its protagonist’s life is ultimately mishandled, and the play ends terribly but, with the aid of director Andrew Twyman, Circa is a particularly impressive failure.

As a young man, our hero encounters sexual violence. In his 30s he tries to settle down, no matter what the compromise. Then in later life he ends up dating online. All this is sensitively performed by Daniel Abelson, Thomas Flynn and Antony Gabriel. And they are ably supported by Joseph Rowe as two very different love interests. Twyman’s efforts to provide space for all this are admirable but there are too many issues touched on too quickly. While the play isn’t without surprises (which includes a fantastic role for the excellent Jenna Fincken), the tone is too insistently melancholic.

The biggest problem is also Ratcliffe’s boldest move – to take us strangely out of time and focus on characters. The isolated emphasis on emotional motivation in the play is sharp, but other considerations are too stripped back. It leads to confusion and a disappointingly hollow feel as a whole. There’s little background for our hero, more but not much for some of his sexual encounters. For all the time we spend with the guy, and the three performer’s efforts to make him appealing, the poor fellow doesn’t even get a name. It’s an interesting point of contrast – many plays with gay characters take obsessive care over the community’s history while here the past seems deliberately avoided. It makes Circa novel but, as the title indicates, it also makes positioning the play in time a frustrating, distracting difficulty. Ratcliffe could argue that it is not his focus – fair enough – but he contradicts himself; with a final scene set in the future in which the piece crashes to a conclusion. The idea that the problem of loneliness is getting (inevitably?) worse is sprung on us with surprising ineptitude. A piece that felt so personal flares out pointlessly and ends up insubstantial. It’s a shock when so much else about the play is admirable.

Until 30 March 2019

www.oldredliontheatre.co.uk

Photo by Lidia Crisafulli.

2019

“The Phlebotomist” at the Hampstead Theatre

There is a great excitement around playwright Ella Road and her first impressive play. After a sell-out premiere last year and a transfer from the venue’s studio space into the main house – with an Olivier nomination under its belt – congratulations are in order. Road’s ear for dialogue is sure and the production strong. It’s a shame that control of the subject matter is lost in this sci-fi romance. Ultimately, the genre ends up manipulating the writer, rather than the other way around.

The scenario is that a system of genetic ratings based on blood tests changes our not-too-distant future. Road has no shortage of ideas, and a series of films crowds the show with news reports or fake adverts. But none of this is particularly novel or hard to foresee, so the play as a whole becomes predictable. While the testing is initially to assist in healthcare, its application in jobs, dating and then eugenics appears quickly. Each could be the focus of a play in its own right but, crammed together, the topics feel thinly explored. There are too many questions and some silly inconsistencies, while tacking on environmental concerns doesn’t help either. There’s a reason sci-fi has so much detail – without the geeky touches, the future world we find ourselves in fails to convince.

Road escalates outrage at a steady rate but with little change of pace in the structure of her scenes, so the show feels slow. By the time we’ve got the legalisation of “post-natal abortion”, attempts to challenge the audience feel more than desperate – they are naïve. Tasteless or provocative? That might depend on your view of human nature. But it seems fair to suggest it’s a dramatic own goal to curtail a plot about the fight again “rateism” so quickly. Only one figure (and a couple of news snippets) attempts to challenge this nightmarish system. A subplot about dealing in blood is carefully contained as a matter of financial corruption. The characters are worryingly lacking in morality or even agency.

For all the problems with the plot, the production is good. Road benefits from ambitious direction from Sam Yates and a superb cast that laps up her well-written lines. Mark Lambert makes for an intriguing impartial observer in his role as a hospital porter. Kiza Deen does sterling work as a protestor who develops Hodgkin disease during the course of the play. The Phlebotomist is essentially a love story between Angus – played by Rory Fleck Byrne, who reveals his character marvellously – and Bea. She holds the occupation that gives the play its title, and the role shows Road’s strengths. A brilliant performance from Jade Anouka – who demands both our sympathy and revulsion – makes her the highlight of the night.

Until 20 April 2019

www.hampsteadtheatre.com

Photo by Marc Brenner

2019

“The Rubenstein Kiss” at the Southwark Playhouse

Inspired by the case of Ethel and Julius Rosenberg, who were executed for treason in 1953, James Phillips’ play about politics and betrayal is a weighty drama. Creating a fictional parallel to real life events focuses the themes of individual responsibility and ideology. Setting the action over three decades allows an extrapolation on the legacy of events. This new production from director Joe Harmston makes the most of viewing two generations – the traitors and their children – resulting in a strong revival of a rich and complex play.

Harmston’s direction is luxurious. It feels as if equal time is given to the three couples: Jakob and Esther Rubenstein, her brother David and his wife Rachel and also their heirs, Matthew and Anna. The stories mingle effectively. Harmston might make a little too much fuss over scene changes and his traverse staging add less than desired but the issues of loyalty and hope are clear, while justice is done to a text full of argument and emotion. Best of all, Harmston has secured tremendous performances from his cast.

Ruby Bentall and Henry Proffit play the lead couple and inject an impressive energy into their political discussions. Sean Rigby takes the part of Esther’s brother and betrayer. Rigby develops his role well as the character becomes “haunted” by unwanted fame and he is ably supported by Eva-Jane Willis as Rachel who is consistently superb. The four are convincing as a family unit and the love each couple have for one another is utterly compelling. It’s a bit of a puzzle why the younger roles end up in a sexual relationship as well, surely an unnecessary complication? Nonetheless, Katie Eldred saves her weaker written character of Anna, whose suicide attempt is poorly handled by Phillips. And Dario Coates is excellent as Matthew, the impassioned son of the Rubensteins, who decides to fight to clear the family name.

Dario Coates (Matthew) & Katie Eldred (Anna)

The influence of Arthur Miller and his McCarthy inspired 1953 drama The Crucible lies heavy on the text – it is explicitly referenced and cerebrally employed. Proffit makes Jakob a powerful surrogate for Miller’s hero John Proctor. Stephen Billington’s FBI Agent, who interrogates and then tries to save Jakob and Esther, is an efficient take on the previous play’s Reverend Hale and points us towards interesting questions. The fanatics vision is brought into focus; Bantall’s eyes as she faces her martyrdom in the electric chair are mesmerising. Phillips appreciates that the “gift of empathy”, discussed as an inspiration that can cross generations, is also a danger and can be poisonous. The Rubenstein Kiss provides salutary insight reached through care and intelligence.

Until 13 April 2019

www.southwarkplayhouse.co.uk

Photos by Scott Rylander

2019

“Alys, Always” at the Bridge Theatre

Harriet Lane’s novel about an unassuming sub-editor called Frances, whose life becomes entangled with a famous author after a car accident, is a quality page turner. Bringing the story to the stage, Lucinda Coxon retains its strong plot and much of the book’s flavour: an air of Daphne du Maurier with a Ripleyesque lead make for a sturdy combination. There’s a stumble over the humour in the piece – Lane has a wry eye that Coxon has blurred – but the show is never less than entertaining.

With a strong cast, including Robert Glenister as the writer Laurence and Joanna David as his agent, there’s insight into London’s literati. But too many stabs at the middle classes become a problem in the role of Polly, Alys’ daughter. This spoilt rich girl is too broadly painted and easy to laugh at – a shame as Leah Gayer, who makes her professional debut in the part, clearly has the ability to make the character more sympathetic. Instead there’s less tension surrounding Frances manipulating the younger woman than there should be.

Even worse, too many jokes set in Frances’ workplace show the parallel plot of her blossoming career being mishandled by Coxon. In place of presenting another side to our heroine’s burgeoning ambition, we get a checklist of woes about the modern media that are both too familiar and unconvincing. Again, the gags have the detrimental effect of making many roles too slight. Frances’ editor and rival colleague Oliver see Sylvestra Le Touzel and Simon Manyonda struggling to fill out their parts.

Thankfully Alys, Always is more drama than comedy. And director Nicholas Hytner has always been good with suspense. He knows how to pace a text and place a body so that a glance between characters crackles with tension. There’s little overt confrontation, but its potential bubbles under in many scenes (Sam Woolf as Alys’ son is especially good). And there’s an impressive eye on the intricacies of class, revealing aspirations that become the catalysts for Alice’s actions. Bob Crowley’s set may be minimal but, along with Christina Cunningham’s costumes and Luke Halls’ video design, the details are precisely focused.

Frances, the unfairly ignored central figure, is key to the novel, which she narrates, and she fits comfortably on the stage thanks to a fine performance from Joanne Froggatt. Ever the underdog, sympathy is won quickly but, as this good Samaritan becomes a sinister gold digger, Froggatt still keeps us on side. From lies that might have a noble motivation, through to tasteless if harmless kleptomania for “talismans”, a combination of worry and repulsion surrounds her. The plots and emotional manipulation intrigue and excite. Even when Frances becomes ruthless, there’s the thrill that her plans might work and a quiet cheer for this special heroine.

Until 30 March 2019

www.bridgetheatre.co.uk

Photo by Helen Maybanks

2019

“Come from Away” at the Phoenix Theatre

Good news stories are few and far between, so any positive coverage from the tragedy of the terrorist attacks on 9/11 is all the more precious. Recounting the generosity of the people of Gander in Newfoundland to those stranded when flights were diverted on that dreadful day becomes a testament to the better part of human nature – making this musical from Irene Sankoff and David Hein truly inspiring.

One of many winning elements here is the strong sense of place created for the island called ‘The Rock’ that the audience, like the stranded passengers, find themselves visiting. Careful research and the Celtic-inspired music, performed superbly, make the location convincing without even a set. Firmly rooted in the chaos of events and ensuing emotions, the score perfectly reflects the drama and diverse reactions to it.

Depicting residents and visitors are a cast of just 12, although it’s hard to believe at times. Transformations are achieved with simple costumes and brilliant acting. Come from Away is a true ensemble piece – another big tick – very much to the credit of director Christopher Ashley, whose attention to detail is clear at every moment. The story is led, slightly, by Clive Carter, who plays the town’s mayor with affable energy, and Rachel Tucker, who plays a pilot and gets the most rousing solo, delivered with incredible passion. Among the many stories, two couples anchor the show with relationships beginning and ending, making meaty roles for Jonathan Andrew Hume, David Shannon, Robert Hands and Helen Hobson.

Rachel Tucker

If Sankoff and Hein’s lyrics are at times prosaic, and the humour a little broad, the book is outstanding. Injecting tension into a story that’s literally about people stuck somewhere is a remarkable achievement. The sheer range of issues tackled in the show is prodigious, coming as close as possible to do doing justice to the big events of that day, while never losing focus on a small world full of intimate stories. Realism is the key, and the show never shies away from less than noble fears and prejudices – there’s more than one confrontational moment in the chaos and confusion of events. Racism and religion are deftly handled, and a number unifying the different faiths among the passengers is a real triumph.

Life-changing repercussions from the terrorist acts, and the extended stay while air space remained closed, are explored in depth. But it is a question of balance that makes the show special. Of course you expect an episode of painful grief. This comes with the case of a mother who has lost her son (a role Cat Simmons excels in), where the candid and respectful handling of the story is impressive. But there’s also the figure of a young man who finds himself more at home away from home. Nathanael Campbell holds his own in this far less dramatic role, and its intriguing inclusion shows the scope of the impact of events with quiet intelligence. Focusing on ordinary stories and regular people is the key, and it’s all perfectly pitched to emphasise each story’s power and importance.

Until September 2019

www.comefromawaylondon.co.uk

Photos by Matthew Murphy

2019

“The Twilight Zone” at the Ambassadors Theatre

Bringing an iconic TV series to the stage must be a daunting project. Rod Serling’s show ran from 1959 to 1964, a third revival will air on American TV later this year, and cult status has to be a factor. Taking the stories seriously alongside their kitsch attraction is a balancing act. But acclaimed playwright Anne Washburn, who has previously used The Simpsons as inspiration, approaches the project cleverly, with a campy air that makes her script often funny and consistently enjoyable.

The production is in the capable hands of director Richard Jones, who adds further wry touches that complement a period feel and gets the most out of running jokes about cigarettes and the moralistic narration that signed off each TV episode. Along with Paul Steinberg’s star-splattered set design, with a crew of stagehands dressed to almost but not quite blend in, this is a stylish affair that keeps eyes peeled and deserves its transfer from the Almeida Theatre.

There are eight stories performed by ten actors. Jones ensures they are a disciplined team and there’s a great deal of fun in spotting the swiftest changes (I think Nicholas Karimi gets the prize for that) and most dramatic transformations (I’ll go for Oliver Alvin-Wilson). Meanwhile, Adrianna Bertola stands out playing a series of younger characters very well and Natasha J Barnes gets to use plenty of her skills, including a great singing voice, in roles that might be the most varied.

Washburn’s big moves are to interweave the tales and try to make them various. If the focus is on missing people and space, with Cold War preoccupations and aliens aplenty, then at least the tone alters. The fruition of a story about an imminent nuclear attack gets very serious, very quickly (Barnes is excellent here), while an astronaut’s return from a 50-year mission is made surprisingly moving by Alisha Bailey.

A meta-theatrical epilogue, which praises the audience’s “can-do” approach for using our imagination to make so many fantastic situations work, is sweet if a touch predictable. Which takes us to a big problem. Even if you don’t know the stories here exactly, the scenarios are the stuff of urban mythology and staples of pop culture. That’s what interests Washburn. It can be reassuring to see them again (reruns have an appeal), but there’s a lack of tension and suspense in the show, and therefore a limit to how creepy it can get. In short, it can’t surprise. This is a strong production full of smart touches but, for all the effort and talent, these spacey trips into other dimensions aren’t going to rock anybody’s world.

Until 1 June 2019

www.TwilightZoneThePlay.com

Photo by Marc Brenner