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“Much Ado About Nothing” at the National Theatre

Simon Godwin’s solid production of Shakespeare’s comedy is perfect for the summer. Setting a play about confusion and miscommunication in a hotel add a farcical, holiday vibe. With live music and an intelligent nod to the play’s self-referentiality, it all adds up to a fine show. The casting of John Heffernan and Katherine Parkinson makes the evening well above average.

Heffernan and Parkinson are great as the enemies-to-lovers Benedict and Beatrice. From the start, Benedict’s man-about-town act as a confirmed bachelor is only skin deep – which adds to the humour. Heffernan ensures we can tell Benedict is a sweet cynic. As surely everyone’s favourite Shakespearean heroine, Parkinson is suitably spiky but brings an interesting edge to the role. Together their “merry war of words” is fantastic.

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Ioanna Kimbook and Phoebe Horn

It may be ungenerous to point out that the leads’ comic timing is considerably better than the rest of the cast – but it is noticeable. There is firm support for them, especially a good Don Pedro in Ashley Zhangazha, who makes plans for mischief believable. The play’s second love story has a sweet Hero in Ioanna Kimbook and her maid manages ever better – Phoebe Horn makes the most of Margaret’s every moment.

It’s all jolly and it looks great – Anna Fleischle and Evie Gurney’s set and costume designs are a pleasure – but it might be a little slow? A lot of pace is lost with Dogberry, a head of security here, despite David Fynn’s efforts. (And if you want better malapropisms, then head next door for Jack Absolute Flies Again.) The curtain for the interval falls at the moment of the play’s nasty deception, when the marriage of Hero and Claudio is put at risk by the plotting villain Don John. This can be the point where you lose patience with the play (or is that just me?).

Happily, and unusually, the action then takes off. Heffernan is very good at Benedict’s macho moments and Parkinson shows us how deeply Beatrice feels. Kimbook also comes into her own (especially during a scene change).

It’s still not clear why Hero’s lover Claudio, who has treated her so badly, is forgiven (Eben Figueiredo, who takes the role, seems puzzled, too). I guess that’s really Shakespeare’s fault. Godwin deals thoughtfully with the play’s flaws. After the tension, the relief of a party works well. Even Dogberry, recast as a lounge singer, is welcome. The celebration may be brief but as a finale it’s fantastic.

Until 10 September 2022

www.nationaltheatre.org.uk

Photos by Manuel Harlan

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“The Southbury Child” at the Bridge Theatre

The nice surprise in Stephen Beresford’s new play is that it isn’t just a vehicle for Alex Jennings. Taking the lead as wayward vicar David Highland, Jennings is – as always – excellent. But the show boasts a superb ensemble, impeccably directed by Nicholas Hytner, who all make the most of a play that tries very hard.

The scenario comes (deliberately?) close to silly: the vicar puts his foot down about balloons in his church for the titular child’s funeral. All the fuss (about hot air) becomes serious because of social media. Threats are made and Beresford does well with menace. It turns out the real issue is “integrity” – unfortunately, it’s Jennings and not the script that makes this convincing.

It’s a neat enough central dilemma to work a drama around, in the style of Ibsen. Highland is a flawed character but still wants to take a stand. His long-suffering family, the church and the wider community are quick to accuse him of hypocrisy. Of course, that doesn’t change the strength of his argument. I’m just not sure the argument is that good in the first place.

Beresford looks at balance, questioning and compromise – or at least his characters say they want all this. These aims shouldn’t be a surprise… this is the Church of England. But too much time is taken over disgruntled views of the modern world and ‘woke’ culture. To be generous, it seems the motivation is comedy. But that humour is a problem.

There are laughs in The Southbury Child. Quite a few, actually. But the jokes are painfully effortful. The treatment of Londoners, the politically correct or class differences are all clichéd. You can see every punchline a mile off. And, when in doubt, Beresford just makes the vicar swear. Jokes are forced on characters and into a script that so wants to be funny it feels desperate.

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Phoebe Nicholls

Beresford tackles plenty of issues. All the characters are given a chance as adoption, adultery, alcoholism and gay marriage are mentioned. These lead to strong performances from Racheal Ofori and Jo Herbert as Highland’s daughters, while his wife, played by Phoebe Nicholls, is stunning. There are stumbles with the working-class characters (the family whose child is to be buried) but further excellent work from Josh Finan and Sarah Twomey, who take the parts. The acting is five-star quality.

Yet it feels as if characters are assigned problems to represent – so that we come close to ticking off a plan of action. It’s not that any of the scenes are bad, more that they add up to something both confused and rigidly planned. The play loses focus and spends a long time looking for topicality and offering cheap gags. There’s a point made – that life is messy. But the vicar wants to make a claim not for mess but – nuance – and The Southbury Child lacks that very quality.

Until 27 August 2022

www.bridgetheatre.co.uk

Photos by Manuel Harlan

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“South Pacific” at Sadler’s Wells

The fantastic songs in Rodgers and Hammerstein’s 1949 musical make any revival a must. The love between plantation owner Emile (Julian Ovenden) and army nurse Nellie (Gina Beck), with war as a backdrop, is hopelessly romantic. Get ready to swoon. Does the show’s message against racism make up for its misogyny and militarism? Well, no. But there are moments in this production when I thought Julian Ovenden’s singing could solve all the world’s problems.

Daniel Evans’ production, from the Chichester Festival Theatre, tries hard to focus on the indigenous characters of the islands that the action takes place on. Strong choreography by Ann Yee helps.

Bloody Mary, who sells tourist tat to the troops, becomes a forceful character in Joanna Ampil’s portrayal. Her desperation to marry her daughter off to a rich American is moving. The focus for the show’s second romance becomes Mary and her daughter Liat (Sera Maehara) rather than the suitor, Lt. Joseph Cable. That’s a shame for Rob Houchen, who does a good job in the role, but it’s a deft shift of focus.

Joanna Ampil, Sera Maehara & Rob Houchen in SOUTH PACIFIC Photo Johan Persson
Joanna Ampil, Sera Maehara & Rob Houchen

The show’s humour is a problem, though. The role of maverick sailor Luther Billis is an unhappy one – I guess the intention was to be endearing? As it stands, the part just makes the book (by Hammerstein and Joshua Logan) seem flabby. Evans downplays the show within a show (I wonder if the idea was a stab at realism), which is disappointing if understandable – there’s a lack of action overall, so the show can drag.

As for the nurses stationed with the troops… these “dames” are nothing more than a chorus (albeit a good one). It’s only Beck’s quirky delivery that raises any smiles – she’s good at this – while her fear of miscegenation is depicted in a suitably shocking manner. You couldn’t call Nellie a well-rounded character, but Beck does a good job with her.

It is with romance that South Pacific wins. And this production knows that. Beck enforces Nellie’s charm and she sounds wonderful. As for Ovenden – his voice has never been better and the role should surely be career defining. Every rendition of Some Enchanted Evening gave me goosebumps. This Nearly Was Mine is a long and difficult song, but I hoped for an ovation. It’s a surprisingly understated performance that comes from tremendous confidence and power. Ovenden’s expressive voice makes the whole production not be missed.

Until 28 August 2022

www.sadlerswells.com

Photos by Johan Persson

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“Straight and Narrow” at the Above the Stag Theatre

Jimmie Chinn’s sweet sitcom-style play is a pleasure. A closeted gay couple, Bob and Jeff, having fallen out on holiday, have to patch things up in front of their family. Sisters and brothers-in-law all provide laughs, as well as Bob’s formidable mother, Vera, who doesn’t even realise the men are together.

Written and set in the late 1980s, and a West End hit in 1992, the play has dated in an interesting way. Chinn was (over)keen to present the men as “normal and naïve”, you might even use that first word from the title to describe them! They are, in effect, married and share the same problems as other couples. Yes, there was a time this was an important point to make! Tension comes from the narrowness of their lives… Jeff is getting bored.

Further drama proves tricky and slows the play down: be it coming out or considering – gasp – becoming a parent. Nor does the play even mention bisexuality. And knowing how to end the story seems impossible: was Chin issuing a challenge to his audience? I’d love to know what ‘Generation Heartstopper’ makes of it all and hope the production gets the diverse audience it deserves.

First-time director Mark Curry and his designer David Shields are smart to play on nostalgia, and the show has a comfortable, campy air. Making an appearance before the start of the press night, Curry explained that rehearsal time had been limited and asked indulgence for performances with the script. Nobody should be worried. While there were moments that need tightening, most will surely come naturally. The production and the script are sound – Curry and his cast are to be commended.

The play’s structure has charm and there are good twists. Where Straight and Narrow has dated best is with its fine comedy. Chinn wrote some very good punchlines. Lewis Allcock’s Bob benefits from direct addresses to the audience that approach stand-up comedy. Todd Von Joel grows into his role as Jeff nicely. It’s an irony that the best laughs come from the women. Bob’s two sister are great roles for Kerry Enright and Harriett Hare, while his mother is a firm comic creation brought to life by Carol Royle: this “wily”, deliciously blunt and downright rude character is easily recognisable and a pleasure to giggle at. Curry has a clear ear for comedy and the play is straight up full of big laughs.

Until 28 August 2022

www.abovethestag.org.uk

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“Monster” at the Park Theatre

Abigail Hood’s disturbing play works hard at being hard hitting. Tackling so much trauma – including the death of a child – ensures the drama is powerful. And the show is well performed, despite the bumpy script. But be prepared, the show is not for the faint hearted.

Kayleigh and Caitlin (Hood and Zoe Douglas) are schoolgirl lovers, and their affair is well depicted. Although they are both old for their age, with difficult backgrounds, Hood manages to remind us that they are still children. The girls are endearing and the humour is strong. But laughs stop quickly, and the play explodes in an exaggerated fashion.

An episodic structure, handled at a breakneck pace by director and dramaturg Kevin Tomlinson, feels horribly rushed. There’s little wrong with any of the scenes but all are so short that none quite satisfies. Secondary characters suffer. Although well performed by Gillian Kirkpatrick and Emma Keele, Kayleigh’s mother and a well-meaning schoolteacher do not convince. The former is a religious maniac/prostitute and the latter another victim of abuse seeking to “save” the young girl. Grim is fine, but sketchy proves frustrating.

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Kevin Wathen

There is a welcome change of pace after the interval. A calmer approach brings more depth. Set after Kayleigh’s release from prison, the aftermath of her crime is examined in more detail.  The scenario is contrived and the dialogue clunky, even clichéd. But observing how events have changed all the characters leads to good performances (and, since he hasn’t been mentioned yet, Kevin Wathen has a superb scene).

Might there be a too much sympathy for the monster of the title? Kayleigh is a fascinating character, from a smart girl with “no filter” to a woman genuinely haunted by what she has done. Hood conveys all this superbly, with a depiction so determined to be empathetic that it becomes bold and raises interesting questions. Despite problems in the script, which never hold the cast back, it’s interesting and brave to face the monstrous like this.

Until 20 August 2022

www.parktheatre.co.uk

Photos by Ben Wilkin

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“The Tempest” at Shakespeare’s Globe

Sean Holmes’ new production of Shakespeare’s late work puts forward the comedy and romance in the play. With eye-catching, crowd-pleasing touches, this tempest is light and fun.

The storm that starts the play is brief – it looks good but I barely heard a line. The magical island the action happens on is akin to a holiday resort, populated by inflatables and palm trees, with Prospero and Miranda sunning themselves. Caliban is the staff – he even has a badge.

So, lots of silliness and not much time for the scholarly debates that surround the play. Instead the productions strongest moments come with getting laughs. There’s a fine Trinculo and Stefano (Ralph Davis and George Fouracres who make a great team). And unusually, Ciarán O’Brien’s Caliban gets laughs. Peter Bourke makes the pompous Gonzalo funnier that I’ve seen before.

Ralph Davis, George Fouracres and Ciaran O'Brien in The Tempest at Shakespeare's Globe (credit Marc Brenner)
Ralph Davis, George Fouracres and Ciarán O’Brien

The humour is hard work though – the comedy effortful. And it isn’t particularly original: including the crowd is something directors at the Globe can never resist and it seems a pop song in Shakespeare is obligatory (even if the selection of Three Lions is topical). The jokes land and a lot of additions (delivered in an adlibbed style) are good. Yet it is Rachel Hannah Clarke’s Ariel who stands out for being understated and still funny. The irony that Ariel grounds the production is, like Clarke’s fantastic performance, the subtlest thing in the show.

The play’s romance is strong too. Miranda and Ferdinand (Nadi Kemp-Sayfi and Olivier Huband) make a sweet couple – they get giggles as well. But the price paid for the fun is predictable. There’s little tension or suspense. And when Holmes tries to do more than have fun, the production stumbles. Take the masque scene for the newlyweds (always tricky): any suggestion of challenge is lost in laughs. The production’s high spirits mean the supernatural in the play is only a side show.

Ferdy Roberts’ Prospero is still interesting. This mage is more than a touch mad and Roberts manages dignity despite spending much of the show in Speedos. But the idea that Prospero is enjoying his revenge becomes overpowering. When depth or emotion is needed, despite Roberts’ skill, it jars. A partying Prospero just doesn’t work – while the execution here deserves praise, the idea does not.

Until 22 October 2022

www.shakespearesglobe.com

Photos by Marc Brenner

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“101 Dalmatians” at the Regent’s Park Open Air Theatre

While adults like lots of shows that are aimed at kids, giving children’s theatre a broad appeal isn’t a necessary condition for praise. This new musical from Douglas Hodge, based on Dodie Smith’s book, deserves plenty of stars but is aimed so firmly at youngsters it doesn’t offer much to anyone over 12.

Even the average teenager could get restless with the frantic energy in Timothy Sheader’s production. With Toby Olié’s strong puppetry and Colin Richmond’s shouty set, the feeling of a cartoon or Saturday morning TV show fills the stage. If you’re as old as I am, you might end up with a headache.

Which is not to say that the show shouldn’t earn your respect.

There are clever lyrics and jaunty, if not particularly memorable, songs. A stronger second half includes good numbers for children in the cast. It just isn’t a soundtrack you would want to listen to at home. Johnny McKnight’s book (from a stage adaptation by Zinnie Harris) is a touch too crammed and could move quicker – but it is fun.

There’s a great villain too, of course, in Cruella De Vil. Updating the furrier’s best friend into a social media influencer is a great idea. Willing to risk “eternal Dalmatian” in hell to get a coat of puppies is a pun that was the highlight of the night for me. Kate Fleetwood takes the role (and a pair of very high-heeled boots) in her stride and gives a performance to be proud of.

In short, there’s little to fault in the production. Cruella’s accomplices make a pair of nicely old-fashioned crooks for George Bukhari and Jonny Weldon. And there are appealing performances from the dog’s “pets”, i.e., their owners, played by Eric Stroud and Karen Fishwick. Singing for the dogs and being literally a part of the puppet means that Danny Collins and Emma Lucia get even more points. The performances are bright and bouncy; even addressing the audience is done with an eye on their age.

There is a reservation it seems fair to raise – the venue itself. The Open Air Theatre has a tradition of work for children but this gorgeous location doesn’t seem particularly well used. Howard Hudson’s lighting design further on in the show gives an idea of what we are missing. And it is late at this time of the year. With a 7:45 start time for a relatively long show, most of the target audience are well past their bedtime by the time they get home.

Until 28 August 2022

www.openairtheatre.com

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“Yeast Nation (The Triumph of Life)” at the Southwark Playhouse

If quirky is what you want Mark Hollmann and Greg Kotis’ show can’t be beaten. A “bio-historical musical” set in primordial soup, its characters really are yeast and the conflict revolves around how they evolve. So, top marks for crazy. The score tries hard and the production is enthusiastic. But the musical is, ultimately, just an oddity.

Credit where it’s due – the ideas are fine. With hints of Greek tragedy and Shakespeare, the oldest yeast (a king, of course) battles against change. As the organisms encounter greed, ambition and love – for the first time in history – the chance to examine abstract concepts is embraced.

Regrettably, adding meta-theatrical touches proves distracting and predictable. It leads to a weak role for a narrator character, who comes too close to a very odd schoolteacher despite valiant efforts from Sarah Slimani. Being both self-consciously silly and serious is an interesting mix, but not a successful one. The joke of taking such absurdity as profound ends up repetitive.

A focus on romance (which buoys the second act) allows the performers who become the first multi-cellular organism (Stephen Lewis Johnston and Hannah Nuttall) a chance to shine. But despite plenty of spirit the show drags. The originality is only single-cell deep – we always know what’s coming next and it doesn’t come quickly enough.

Hollman and Kotis are too keen to tell a “dark tale”. Maybe the fear is that serious questions are needed to justify the bizarre premise? Maybe it’s part of the joke? Either way, the best of the humour comes from the production. There’s strong work from Shane Convery and Mari McGinlay as ‘the Wise’ and ‘the Sly’ as well an unwitting accomplice to courtly intrigue, played by Marisa Harris. All three performances are committed.

It’s director Benji Sperring’s work that shows Yeast Nation in the best light – inventive touches that add charm and fun too often missing from the script and lyrics. Lucie Pankhurst’s work on movement is strong, suggesting amoebas in a fashion that proves oddly hypnotic. In addition, while it probably shouldn’t – and while I can’t explain why – setting the whole thing in Yorkshire adds immeasurably. After all, why not? The accents become the anarchic touch the piece itself craves for but misses.

Until 27 August 2022

www.southwarkplayhouse.co.uk

Photo by Claire Bilyard

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‘Prima Facie” from NTLive

A sell out in the West End and due to travel to Broadway, Suzie Miller’s play is also a hit in cinemas thanks to this live recording. The neatly written monologue is motivated by a powerful sense of injustice surrounding sexual offences. The statistics shock – check out the website. The play’s important message benefits from an excellent production.

When criminal barrister Tessa becomes a victim, in a case like many she has defended, the stage is set to put the system on trial. The intelligence of the script is clear. Let’s submit as evidence the protagonist’s own position of privilege, which is used to great dramatic effect. She knows the difficulties to come, and the piece highlights an important point – if Tessa can’t get justice, what chance does anyone else have?

Miller’s writing about the law is dynamic. At first, Tessa’s excitement about her job being a kind of game is palpable, and it makes the transformation to frustration more powerful. The thrill of being a barrister might be overstated, but it works for the stage.

A slight nag cannot help but be reflected in the excellent performance from Jodie Comer. There’s a breathlessness to the first scenes that’s uncomfortable. And Tessa’s humble origin story might be more convincing. Nonetheless, Comer creates an appealing character and has a comic touch an audience can warm to.

The energy in this long monologue is consistently high – more credit for Comer. Powerful imagery guarantees applause for director Justin Martin and designers Miriam Beuther and Natasha Chivers. A bold approach is less successful when it comes to the overpowering soundtrack (composed by Self Esteem’s Rebecca Lucy Taylor and designed by Ben and Max Ringham). 

Seeing theatre in the cinema is never quite the real deal and Prima Facie is a good case in point. Comer is playing for a house, so views of her face at traumatic moments don’t seem quite fair – no seat could get that close. It’s a brave performance throughout and really cannot be praised enough.

Best of all, the show is wonderfully theatrical. Direct addresses to the audience about those statistics become so urgent you wonder if Comer herself is speaking to us. As the lights rise, do we move from drama to debate? Could the show have ended already? There is a conclusion to the story, but it is the lesson that Miller wants to teach that gives the play its power.

www.primafacieplay.com  

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“Give Me the Sun” at the Blue Elephant Theatre

Mamet Leigh’s neat new play has a father and son taking “time to talk”. In just an hour, Baba and Bashir, admirably performed by Aso Sherabayani and Joseph Samimi, discuss their deceased wife and mother, their lives in the UK and their future. What preoccupies the young Bashir is their past in Egypt. That his father is just as keen to avoid family history sets up the drama nicely.

The relationship is tentative at first, with a nervous teen and an anxious parent who quickly endear themselves to us. Director Majid Mehdizadeh builds tension in a fashion appropriate to the strong detail and sensitive touches of the script. And there’s a plot twist regarding Baba’s health, which becomes increasingly effective as the play goes on.

Baba’s soliloquies, directed at his wife’s photograph, are less convincing, and Sherabayani struggles in these difficult scenes. Leigh also stalls before the play’s finale – it’s too much of a surprise to hear Baba accused of being “full of hate”. Generally, though, the characters are interesting, and the controlled performances make for a fine study.

But a study of what? While Bashir wants to talk about Egypt – and even return there – Give Me the Sun says little about the experience of immigration: Baba is too tight lipped, and his son’s second-generation experience isn’t detailed enough. The play’s appeal is broader, and it is as a family drama with generational conflict that we see its strengths.

Does Baba withhold too much? Surely working in Tesco rather than as the doctor he is qualified to be, as well as rejecting his culture with such determination, needs more explaining. Or is his son too harsh? It’s easy to see Bashir romanticising the past and speaking from a position of ignorance. But whose fault is that lack of knowledge? Leigh’s concern for the younger character’s identity politics and the elder’s resistance to this are a worthwhile contribution to an ongoing debate.

Until 30 July 2022

www.blueelephanttheatre.co.uk

Photo by Lidia Crisafulli