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“Public Domain” from the Southwark Playhouse

With so much of our lives spent online, a musical about the internet seems apposite to our lockdown times. The twist for this show, from Francesca Forristal and Jordan Paul Clarke, is that it is a verbatim piece. All the words spoken or sung are taken from the internet. The result is a snapshot of a recognisably confusing world, refocused and clarified with considerable talent.

Forristal and Clarke are a gifted duo. Their music is pop-inspired, electronic and generally perky. While sampled speech is not to my personal taste, it is integrated well. Blissfully, the show is streamed live. That more than makes up for some technical glitches on the first night. Forristal and Clarke’s voices are strong, their acting, taking on different characters, commendable. Adam Lenson’s direction aids clarity.

The subject matter is wildly ambitious. And there are missteps. Like plenty of online content an edit would help. Touching on Facebook’s treatment of outsourced employees makes for a great number but is an issue that needs more time. Similarly, the topic of censorship feels tacked on – it deserves a show all of its own.

Francesca Forristal in Public Domain Photo The Other Richard
Francesca Forristal

Overall though, the book for Public Domain is impressive. The words, chosen for interest and importance rather than inherent musicality, flow remarkably well. Focus comes, first, from two fictional YouTubers (SwaggyWan and Millies Fitness). Made from several sources, they are credible creations that show us the positive and negative approaches to life online. Both prove funny and moving and leave you wanting to subscribe.

There’s another ‘pairing’ in the show: those YouTubers alongside Facebook mogul Mark Zuckberg and his wife Priscilla Chan. Television interviews or congressional hearings (which might remind you of the Donmar’s show, Committee) provide insight into a very different world from the struggling influences. It’s a strong, thought-provoking, contrast that works well.

Jordan Paul Clarke in Public Domain Photo The Other Richard
Jordan Paul Clarke

When it comes to how these different sets of people are presented, Forristal and Clarke gain further respect. The music provides a sincerity and emotive power to plenty of glib comments (it’s the internet, remember). Due attention is paid to the positives of the social networking; it helps people feel “a little less alone” and an unexpected finale emphasises this important point. Yet an underlying cynicism shows an intelligent approach. No matter what happens, our YouTubers want you to follow them!

The web is worldwide but at their best, Forristal and Clarke catch most by casting a narrow net. It’s easy to imagine Public Domain as a project as much as a finished piece. The subjects covered are so topical, further versions could surely be developed. And I know I’d watch.

Until 16 January 2021

www.southwarkplayhouse.co.uk

Photos by The Other Richard

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“Phèdre” from NTathome

After its generous offering of shows for donations during the first lockdown (thanks again) the National Theatre now has a streaming service. It’s a great deal: choose a monthly subscription, with exclusive content, or rent shows individually. And the broadcasts are those for cinemas, so of the highest quality. Joining up sounds like a good New Year’s Resolution to me.

The first show

There’s plenty of choice – more will be added each month – but I’ve started at the beginning, with the first NTLive broadcast dating from 2009. Nicholas Hytner’s production of Jean Racine’s version of the Phèdre myth, with Theseus’ wife in love with his son, is a show I’ve long regretted missing.

The first triumph for the production is Ted Hughes’ text. The script is packed with memorable lines. This is glorious poetry. The story is clear and the telling captivates the ear, no matter how complex the psychology.

Hytner’s direction matches Hughes’ direct appeal. There’s nothing fancy here – it’s not needed. Nothing distracts from the characters’ passion and turmoil, with their flaws and the “inexorable Gods” balanced as explanations of why tragic events unfold.

Famous faces

Helen Mirren takes the lead role and gives a performance that deserves to be described as mythic. Phèdre is “the monster in this riddle”, a “diabolical” woman, who can be truly scary. But it’s Phèdre’s agony that Mirren makes palpable. The “constellations of torment” over love for her stepson Hippolytus are various. There’s guilt aplenty and it’s plenty moving. At first, Phèdre is a “dying woman wanting only to die”, and Mirren conveys this exquisitely. But there’s also anger – an address to Venus is magnificent. As Phèdre becomes a “woman in a frenzy”, speculation escalates as to what will come next.

Ruth Negga and Chipo Chung in Phedre credit Catherine Ashmore
Ruth Negga and Chipo Chung

Phèdre is Mirren’s show. But there’s a superb supporting cast here. The play’s love triangle, with Hippolytus enamoured by enemy of the state Aricia, is not to the fore but makes a strong role for Ruth Negga. Aricia’s “thrill” at conquering the chaste Hippolytus gives her character an edge. While Dominic Cooper’s Hippolytus has presence (his chemistry with Negga is great and he’s generally good with torment!) there are some shortcomings. A description of him as “the most loveable of men” doesn’t match Cooper’s performance and even the character’s oft-repeated flaw of pride isn’t conveyed.

Back to the best bits. A trio of attendants populate the play, commenting on or contributing to psychology or action, and all three performances are fantastic. Margaret Tyzack is remarkable as Phèdre’s nurse Oenone, her complete dedication rendered utterly convincing. Both John Shrapnel and Chipo Chung, attendants of the younger lovers respectively, admire and admonish by turns. These roles are effective in making us question how much Phèdre is really “the cause of everything”.

Dominic Cooper and Stanley Townsend in Phedre credit Catherine Ashmore
Dominic Cooper and Stanley Townsend

Gods aside, there are moments when each of those in power seems easily played. And nobody appears more manipulated than the ‘hero’, in classical terms, of the piece – the legendary Theseus. Stanley Townsend manages to make the king successfully human. Cursing his son, and calling in a handy favour from Poseidon, is an electric moment that reflects the dichotomy surrounding personal motivations and divine interventions perfectly.

Up next…

Shows missed and much-loved productions that can be watched again have a place on NTathome. Olivia Williams’ play Mosquitoes was tricky to get a ticket for (it stars Olivia Colman), so is next on my list. Dara, Othello and The Cherry Orchard are all excellent shows I’m tempted to revisit. Once again, the National Theatre is going to be a huge help during lockdown.

www.ntathome.com 

Photos by Catherine Ashmore

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“Sunset Boulevard” from the Curve Leicester

This is a Christmas treat for theatre lovers that, thankfully, is carrying on into the new year. Director Nikolai Foster’s production of the Andrew Lloyd Webber musical is produced especially for a lockdown audience and has the clever idea of using all areas of the theatre for filming. Foster gives us a great show and makes you want to visit his venue at the same time.

Like all good revivals, Foster reminds us of the show’s strengths – in particular, what a sturdy piece of musical theatre Sunset Boulevard is.

The strong story, based on the Billy Wilder film, makes a drama of a former movie star, Norma Desmond, in later life. Sophisticated lyrics from Don Black and Christopher Hampton take us deep into the character and motives of Norma and her new beau, Joe. Lloyd Webber’s score is both adventurous and lush, and musical motifs powerfully build while stand-out songs are plentiful.

Sunset Boulevard Photography by Marc Brenner

Them there eyes

From such a firm base, Foster benefits from a fantastic cast. Both Ria Jones as Norma and Danny Mac as Joe know these roles well, and it shows. The casting (David Grindrod) is superb: Jones looks great in a turban and them there eyes are perfect for the number With One Look. Mac’s matinee idol air fits the Hollywood scenario.

Jones is angry and serious – not easy with such a camp character. Mad, sad Norma is to be pitied for her “folly” and her “scrambled brain”, but Jones provides moments of imperiousness to confirm that Norma is a figure to be reckoned with. And she provides magic. When it comes to the power of the movies and imagination, the years slip from her face, and Norma becomes an innocent ingénue.

This is Mac’s show, though. Joe is a great role, a partial narrator (think Nick Carraway) who becomes a victim: his claim to be an observer of Norma – “watching her sunset” – raises questions from the start. Mac’s mix of his character as an “uppity hack” and “stony-hearted” is balanced by moments that show an ambition for an artistic career that hasn’t, really, disappeared. And Mac’s singing is simply wonderful.

Both leads are aided by superb foils. Molly Lynch’s Betty provides a perky love interest that is intelligent and complex for Joe. Adam Pearce’s bass voice is a knockout and his role as Max Von Mayerling is developed magnificently.

Molly Lynch and Danny Mac 'backstage' Photography by Marc Brenner
Molly Lynch and Danny Mac ‘backstage’

Ready for your close up?

There’s no way to not enjoy this show or these performances. But a reservation has to be raised about the filming.

Seeing the orchestra (performing from the stalls) and camera staff at work adds an element of theatricality – nice – but the editing is sometimes manic. Points of view syncopated to the score is fair enough. But too many cuts to different cameras make it hard to appreciate the work of choreographer Lee Proud (in my experience, that’s a shame). Split screens also confuse. Graphics overlaid on to the action are just unnecessary.

Such caveats fade when considering how Foster has used his theatre. Taking the action into the auditorium works well. Setting scenes ‘back stage’ makes for great moments. Posing Joe in a bank of seats, watching events, then joining in the action is a perfect reflection of his ambiguous role. And to have Norma alone in the circle for her entrance and finale is a stroke of genius.

For a filmed show, Sunset Boulevard makes you crave to get back into a theatre in 2021. And you’ve got to love that! There’s a sense of pride in this very smart-looking venue that makes me regret never having visited it. Given other strong work, such as My Beautiful Launderette and What the Butler Saw, that Curve has shown during lockdown, a trip to Leicester might be my resolution for a sunnier 2021.

Until 9th January 2020

www.curveonline.co.uk

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“The Dumb Waiter” at the Hampstead Theatre

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First praise here goes to whoever prepared this venue for a socially distanced audience. Instead of depressing signs telling you where not to sit, photographs from previous performances are used on empty seats. What a lovely, colourful, touch. A nod to heritage is appropriate, given Hampstead Theatre’s 60th anniversary celebrations, which this Harold Pinter classic is a part of. And I get to say that I sat next to Anna Maxwell Martin in the theatre… kind of.

Of course, any theatre deserves praise for putting on a show at the moment. But getting to see this short piece, between long lockdowns and tier adjustments, is especially welcome as it is directed by the talented Alice Hamilton. It’s a story of hired killers, waiting for… something. Hamilton’s direction is confident and expert, respecting Pinter’s nuance and drama and appreciative of the playwright but not intimidated by him.

Shane Zaza and Alec Newman in The Dumb Waiter at Hampstead Theatre credit Helen Maybanks
Shane Zaza and Alec Newman

Hamilton has secured fine performances from a talented duo: Alec Newman plays “senior partner” Ben, seemingly in charge of Shane Zaza’s Gus. Seemingly, as he knows as little about what is going on as his more anxious colleague. Through their skilled performances, the audience shares their confusion. A vague sense that whatever organisation they work for, and the enigmatic Wilson who is in charge, is being “tightened up” is compounded by bizarre messages the two men receive. What’s going on, and what’s happened previously, is never fully revealed, but glances at the men’s history prove chilling.

The production never overplays the more surreal touches from Pinter. That someone is playing “games” with Ben and Gus becomes more sinister as a result. The sense of menace is aided by James Perkins’ set, the “windowless dump” all action takes place in. We’ve all spent a little too long indoors lately, but under Hamilton’s steely control the claustrophobic tension in The Dumb Waiter builds marvellously – this is a director very much in charge.

Until 20 January 2020

www.hampsteadtheatre.com

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“Overflow” at the Bush Theatre

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Trans activist Travis Alabanza’s new play is set entirely in a toilet. Given that public conveniences are currently contested places the location is, if a little depressing, appropriate enough. But what Alabanza does within this limited space, and what is achieved with the play’s careful focus, is remarkable.

A theatre blog isn’t the best place to discuss trans rights. Like the Twitter comments Alabanza’s character Rosie decries, the issues are complex and emotive. And this play certainly manages to speak more eloquently about them than I could. Theatre, in Alabanza’s hands, proves a stirring forum: the argument put forward is intelligent and elaborated with a human experience that makes for a powerful show.

Reece Lyons in 'Overflow' at the Bush Theatre
Reece Lyons

The key is Rosie, a well-written character brought to life in a strong performance from Reece Lyons, ably directed by Debbie Hannan. Smart, sharp and often witty, Rosie proves a fascinating guide as we learn her history – fun and fraught – through different toilets. From hiding as a child, to school pranks, then discovering her identity in night clubs, the space performs more functions than I at least ever imagined. The smallest room was a place of sanctuary… until recently.

Alabanza provides an essential dramatic twist for Overflow. For it seems that Rosie’s experience of toilets has got worse as society commends itself for being more liberal. The show is punctuated by knocks on the door from men waiting outside; Rosie is under threat. There are also discussions of how women have become more hostile to Rosie, making the space she considers her own one that she now wants to wreck.

The rage that culminates in the destruction of Max Johns’ clever set – the circular shape recalling an arena, adding to the drama – becomes understandable and also moving. And touches of bravado to hide her fear deliberately fail to convince: this isn’t what Rosie wants, rather the wish is to “swim not drown” in these metaphorical waters. It’s Rosie’s address to women – an appeal to sisterhood – carefully drawn together as the piece culminates, that provides Alabanza’s strongest points. And a hope for a kinder future.

www.bushtheatre.co.uk

Until 16 January 2021

Photos by Sharron Wallace

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“The Pirates of Penzance” at the Palace Theatre

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Sasha Regan’s all male productions of Gilbert and Sullivan operettas have a loyal following. For full disclosure, I consider myself such a fan so an effort at an impartial blog is tricky. And after such a terrible year for the theatre, seeing one of Regan’s shows is an especial treat. A theatrical highlight of 2020, well, that isn’t saying much… but this show is perfection any year.

The genius behind Regan’s productions (I told you I was biased) is a sense of fun and innocence. The shows are stripped back to basics with fantastic charm. Robyn Wilson-Owen’s design has make do and mend creativity. The brilliant costumes aren’t really drag; they deliberately look like something grabbed from a costume box. And the music comes from just a piano, with Richard Baker’s fantastic musical direction making the most of Sullivan’s tunes. 

That ‘g’ word

A campy sense of humour works with Gilbert’s topsy-turvy scenarios and distinctive satire. We can laugh at the Victoriana… but remember, that’s what Gilbert was doing too. It’s unusual to see a radical version of a classic that will appeal so to traditionalists. I feel like using the ‘g’ word again.

The special treat for this event is seeing the show in such a large venue. Regan’s base is the tiny Union Theatre and although the shows have successfully toured, and found a second home at Wilton’s Music Hall, the majestic Palace Theatre is a much larger venue. There’s a fantastic appeal in seeing a piece that deflates pomposity in such a grand setting. Given that the high tech set for the Harry Potter blockbuster is still visible, the feeling that a troupe have cheekily sneaked on to the stage is enchanting.

A pretence of spontaneity to performances – offside remarks and deliberate gaffes – is, as such things have to be, cleverly rehearsed. The ensemble is enormously hard working, nearly all swapping roles at least once: adding to the fun as they play a pirate one moment and a lady the next.

The show’s leads are the final treat

The show’s leads are the final treat. It is a thrill to see them perform so masterfully on a large stage. Leon Craig as Ruth adds a touch of pantomime dame that is appropriate, while David McKenchie’s patter as the modern major general is spot on. Oliver Savile’s Pirate King is suitably swashbuckling, able to swish his coat tails masterfully.

Tom Senior’s performance as the “slave to duty” Frederic is truly special. Not only does Senior sound wonderful, he brings a sincerity to the role that demonstrates excellent acting skills. Frederick doesn’t think he’s a source of fun, even if the rest of us do. His love at first sight with Mabel ends up deeply moving as a result. As a final triumph for the show, Alan Richardson’s Mabel is breath-taking. Such an extraordinary voice is worth hearing at any opportunity. Richardson’s comic skills are a joy but, again, carefully controlled. We need to fall for Mabel just like Frederic does. That we do just that illustrates Richardson’s star quality; always at home on the West End stage and hopefully to be seen on one frequently in 2021.

Until 13 December 2020

www.nimaxtheatres.com

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“The Boss of It All” from the Soho Theatre

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While most of us have surely had enough of Zoom meetings this year, writer and director Jack McNamara uses the format to great effect in updating this show to these coronavirus times. 

Continuing the strong work this year from theatre company New Perspectives, the office-based comedy, originally a Lars von Trier film, is a clear candidate for adaptation. The result is nonetheless impressive.

There’s fun from the start as an actress, Kristina, is recruited into a scam by unscrupulous IT boss, Ravn. The jokes about Kristina’s seriousness and pretensions are solid; that she isn’t very successful is worked in well. It will be her job to take the blame for his decisions – pretending to be titular CEO. Needless to say, Kristina ends up taking the role a little too seriously, helping to make “worlds work”, then worrying about her “moral duty”.

A “visionary” IT webinar and staff appraisals follow and are both terrific. A team building exercise works less well (don’t they always?) and the finale isn’t hard to see coming. Ravn’s plot for the company, and the question of whether or not he will take responsibility, are deliberately deflated by the show’s satirical PoMo tone – but that irony is itself predictable. Likewise, oh-so-knowing narration between the scenes enforces how forced the humour is. Which is not to say that you won’t laugh…just that the script is contrived and heavy-handed here.

“Confusing, incompetent and spineless”

Adding a sense of joy and fun are strong performances that bring some lightness to the show. Josie Lawrence is excellent as Kristina. To see such an accomplished improvisor joke about the format provides an extra edge. Lawrence is joined by Ross Armstrong, as “giggling shitbag” Ravn, who is just as good. A checklist for poor leadership – “confusing, incompetent and spineless” – each is given its due to great effect. 

Those unfortunate enough to work for Ravn also aid the piece. The team has, not surprisingly, a “lot of baggage” – Yuriko Kotani and Angela Bain are especially good with their bizarre backstories. Such eccentrics, traumatised by working from home, get yet more laughs. McNamara is consistently strong with the particular trials of our times so updating The Boss of It All proves a Zoom meeting worth attending.

www.sohotheatre.com/soho-theatre-demand/

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“A Christmas Carol” at the Bridge Theatre

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Although Christmas 2020 is sure to be very different, theatres are trying their best for the festival season. There are pantos out there (at the National Theatre, the Palladium and the Hackney Empire) and plenty of other versions of Charles Dickens’ perennial favourite are on offer. But Nicholas Hytner’s venue always promises good value and this neat, concise version, adapted by Hytner himself, does not disappoint.

The production boats an excellent cast. Simon Russell Beale as Ebenezer Scrooge would be a must see at any time – he is excellent and takes the role as seriously as he would any Shakespearean lead. Joining him to narrate and perform all other roles are Patsy Ferran and Eben Figueiredo, both showing a masterful physicality and excellent portfolio of accents. The trio form such a superb ensemble, it’s hard to imagine you need more performers to bring the story to the stage.

The key to the show’s success is good old-fashioned story telling. Aided by Jon Clark’s lighting design and an effective set from Rose Revitt, there’s a cosy feel of the tale unfolding. And suitably spooky touches for each of the ghosts who arrive to teach Scrooge the meaning of Christmas. The almost obligatory video design (from Luke Halls and Zakk Hein) is good but hardly necessary with story tellers this proficient.

There’s fun (and even Christmas jumpers) as Hytner’s adaptation injects plenty of humour. Figueiredo adds some lovely comic touches throughout. But the trick is to take the show seriously; Russell Beale’s Scrooge is carefully distanced from caricature. Seeing Dickens’ complex character sincerely brought to life makes a refreshing change that adds considerable drama. 

Now is the time for comfort theatre and Nicholas Hytner knows it. Injecting just the right amount of nostalgia into proceedings strikes a fine balance of escapism into Christmas pasts just as the present one might not be so great.

Until 16 January 2020

www.bridgetheatre.co.uk

Photo by Manuel Harlan

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“GHBoy” at the Charing Cross Theatre

Tackling the topic of drug addiction among gay men, Paul Harvard’s debut play provides the perverse pleasure of seeing a piece about a health issue that has nothing to do with coronavirus. It’s escapism of a sort, I suppose, but GHBoy proves grim without being hard hitting and is, regrettably, rambling.

An impressive sincerity

Capably directed by Jon Pashley, the show is well acted. Very much a vehicle for Jimmy Essex, in the demanding lead role of Robert, there’s an impressive sincerity to the writing and the performance. But understanding or sympathising with Robert is a challenge: a middle-aged man saying he needs to grow up isn’t much of an excuse for so much bizarrely infantile behaviour.

Robert’s problems – self-medication with drugs and sex, driven by low self-esteem, abuse and his father’s death – arrive on stage in a torrent. So quickly, in fact, that there’s little time to really know the character and scant background detail. While what happens sounds dramatic – along with the inclusion of a crime story – too many rapid incidents make GHBoy confusing.

A central scene – where Robert’s conversation with his mother and his friend are interwoven – shows promise. There is a sense of mounting pressure and of a man trapped by his decisions. But this technique only works the once. Most of the time, overlapping dialogue with flashbacks and fantasies, scenes feel truncated and cinematic rather than theatrical.

Strong support

Jimmy Essex and Devesh Kishore in GHBoy at the Charing Cross Theatre
Jimmy Essex and Devesh Kishore

There’s strong support for Essex’s performance to enjoy. Robert’s youthful lover and his therapist, played by Marc Bosch and Devesh Kishore respectively, both do well and Harvard has managed to make these smaller roles effective. There’s also an impressive performance from Sylvester Akinrolabu, who plays different sexual partners for Robert with clarity.

Ultimately the play’s problems mount and prove inescapable. Harvard has taken on too much. So much so that the script seems to resort to two finales. A reprise with characters confronting Robert summarises his problems without adding drama. Then a suggestion that Robert’s art therapy may prove a solution is offered as an unconvincing parting note. Neither conclusion amounts to much despite the considerable effort taken by all involved.

Until 20 December 2020

charingcrosstheatre.co.uk

Photos by Bettina John

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“The Fabulist Fox Sister” from the Southwark Playhouse

The life of Kate Fox, the 19th-century “mother of all mediums”, makes a rich subject matter for this very funny monologue with music. Writer and performer Michael Conley imagines Fox’s final audience as she reveals her seances were really just theatre all along.

Always brash, Conley’s version of Fox as a straight-talking New Yorker is liberated by being at the end of her long career. It’s a simple device used effectively to give us a lot of history as well as an air of recklessness that adds a touch of the unexpected. When Kate proclaims,

“Fuck it, I’m retiring”

It means you’re never quite sure what will be revealed next.

Fox’s life, “famous before famous meant disposable”, was remarkable. And, along with playful period detail, the twisted justification for exploiting “rich guys with dead kids” provides some weight to the show that director Adam Lenson does well to highlight. Still, it’s really Conley’s depiction of Fox that adds the spirit to this spiritualist.

Conley’s script is full of good jokes. Fox’s mother being so stupid she couldn’t understand buttons really tickled me. Along with sibling rivalry (hence the title) and Kate’s love of one particular spirit – Jim Beam – word play, repetition and dead pan asides are all expertly delivered. Even Kate’s deliberately bad jokes get laughs: that’s when you know Conley has great comic skills.

The Fabulist Fox Sister is aided by jolly, very catchy tunes from Luke Bateman, who has a clever ear for using period touches. The songs are consistently strong, only once disappointing when a serious tone is attempted. In every other case the music adds considerably to amusement.

“believe in something”

Conley makes Fox funny but more than a figure of fun. An enormous ego, totally devoid of sensitivity toward others, which should make her revolting means her presence fills the stage. That Kate and her sisters sometimes believed their own lies adds a melancholy touch to the show. But there’s a whimsy to both script and music that works superbly. Conley makes you believe that Fox could have pulled off her incredible career. If nothing else, you end up believing in her. And having a lot of fun along the way.

Until 6 December 2020

www.ffsmusical.com

Photos by Jane Hobson