2016

“The Suicide” at the National Theatre

There are some interesting ideas lurking within Suhayla El-Bushra’s new version of Nikolai Erdman’s comedy. The basis is brilliant – when a man announces he will take his own life he becomes hounded by those looking to use his death for their own ends. You might guess that the production updates the action to modern-day London (doesn’t everything?). More surprisingly, the satirical target is moved from Soviet Russia, not to the greed and inequality in our own times, but to left-leaning well- meaning folk. And El-Bushra replaces the State with social media – a neat move that offers insight and great satirical potential (after all, you can’t exaggerate online excess). Unfortunately, neither of these twists actually makes the play funnier than its original premise.

Mocking a desperate group of people living on a council estate is in questionable taste, aside from coming close to sitcom or reality TV show territory. More importantly, the treatment just isn’t witty enough. The script has a few risqué jokes but hardly any big laughs and a reliance on bad language for punchlines that is offensive in being so lazy. Director Nadia Fall doesn’t help, using a great-looking set (by Ben Stones) in a cumbersome manner and adding music and dance – presumably to appeal to a young audience – that may be good, but slows things down. There are frantic scenes, which the cast are well choreographed for, but the energy is wasted as stops and starts ruin the pace.

The collection of stereotypes that come to hassle our hero Sam aren’t all badly written. There’s a café-owning ex-PR girl, a teacher-performance-poet, local councillor, mental health worker, an old friend trying to hide an affair and assorted local youths. It’s a long play. All look for Sam to take the blame for something and to make a ‘statement’. But there’s an inverse relationship between characters where the satire has real bite, such as a despicable documentary filmmaker, and disappointing performances. Jokes are wasted with one-note delivery. Then some strong comic potential (Lizzie Winkler and Ayesha Antoine) isn’t given enough to do. It’s tempting to see an element of bad luck for El-Bushra here.

My intention was attend the scheduled press night, which was then postponed due to the indisposition of the lead, Javone Prince – surely the biggest misfortune for the show. However, the poorly presented main character is reduced to little more than a foolish bore, while scenes of Sam’s home life with his wife (a hard-working Rebecca Scroggs) and mother-in-law (the always excellent Ashley McGuire) achieve little. Yet the role was a triumph for Prince’s understudy, Adrian Richards, who gave a performance that has made me want to post this review despite it being, strictly speaking, about a preview. Richards’ comic timing is among the best of the night and he managed to give Sam a lost, youthful, appeal. Richards’ valiant efforts lifted the atmosphere for the whole evening. Luck at last, but little to do with the show’s actual merits.

Until 25 June 2016

www.nationaltheatre.org.uk

Photo by Johan Persson

2016

“In the bar of a Tokyo Hotel” at the Charing Cross Theatre

With the benefit of director Robert Chevara’s intelligent handling, here’s an unmissable opportunity to see a rarely performed late work by Tennessee Williams. This startlingly innovative play, which ruthlessly examines a broken marriage, shows Williams’ unique and challenging voice in a new light.

Mark is a successful artist who believes he has made a breakthrough with his painting, with a new style that has clear parallels with Williams’ writing. According to his sexually ferocious wife Miriam, he has simply gone mad. Aggressive advances toward a barman fill Miriam’s time as she waits for Mark’s agent to arrive and take him away – she’s had enough of him and his art.

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Andrew Koji

These are tough roles that Chevara supervises carefully. David Whitworth is entirely credible as the (literally) unstable, dying artist. Andrew Koji and Alan Turkington, playing the barman and gallerist, appreciate the piece’s humour perfectly. Linda Marlowe has the star role, delivering a mesmerising performance that establishes Miriam as another leading lady in the Williams canon.

In this hugely difficult text, few lines of dialogue are completed – a treatment that toys with naturalism while being extremely stylised – so it’s forgivable that the delivery isn’t quite perfect. And yet the stilted language has a distinct and demanding beauty. Key words are isolated and repeated for weight, creating a rhythm to the piece that carries into Miriam’s witty insults, desperation and, finally, transcendental ideas.

Inspired by Japanese poetry, the sensibility is still Williams, making a fusion of East and West that’s often disorientating and exquisitely reflected in the production’s video projections. There are times this play feels like an out-of-body experience – characters describe actions we can clearly observe – compounded by suggestions that Mark and Miriam are really two sides of the same character (get your head around that one). A weird and wonderful play that stands alone and proud.

Until 14 May 2016

www.charingcrosstheatre.co.uk

Photos by Scott Rylander

2016

“Sunset Boulevard” at the English National Opera

Glenn Close’s London stage debut, in a role she won acclaim for on Broadway, comes close to its advertising claim as ‘the theatrical event of the year’. Playing Norma Desmond in Andrew Lloyd Webber’s musical, Close reminds us how important acting skill is in musical theatre – a great performance isn’t about hitting the right notes as much as revealing character and convincing us of the story the songs are telling. Close serves the show superbly and provides a stirring portrayal of a former silent movie star living as a recluse.

There are campy, crowd-pleasing moments. A first kiss with a toy boy lover is a vampiric embrace, complete with bandaged arms from a suicide attempt, which could hardly avoid being histrionic. The forgotten star is a larger-than-life character and has the quotable lines to prove it. Yet, beyond  Close’s thrilling costumes (designed by Anthony Powell), her detailed portrayal of instability and vulnerability adds a credible tension. This is a sad story about a lonely character, whose delusions are more than a source of humour.

Michael Xavier and Siobhan Dillon
Michael Xavier and Siobhan Dillon

And Close isn’t the only thing recommending this production. The ENO’s orchestra make the score, well, symphonic – revealing a depth to Lloyd Webber’s writing he must be happy with. The sound boosts the ensemble to great heights, and does the same for Siobhan Dillon, who plays Norma’s love rival and sings beautifully. As Norma’s younger lover, Michael Xavier sounds great and brims with charisma. Xavier is clearly thrilled to be working with Close, and who can blame him? Add to this the legion of fans that have taken over the Coliseum, and you have an atmosphere that’s as fantastic as the performances.

Until 7 May 2016

www.eno.org

Photos by Richard Hubert Smith

2016

“Miss Atomic Bomb” at the St James Theatre

The critics have not been kind to this new musical from Adam Long, Alex Jackson-Long and Gabriel Vick. With the action framed by the 50s enthusiasm for nuclear testing in the Nevada desert, including beauty pageants to entertain tourists coming to see the mushroom clouds, this show feels like an unfinished canvas. Not sharp enough to be a satire, nor energetic enough to be an extravaganza, the romance is too funny and the comedy too lame.

The shame is that the talent on stage is fantastic, with some of my favourite performers. Dean John Wilson and Florence Andrews are the young leads, playing an army deserter and a sheep farmer who fall in love – and they both sound great. The same can’t be said about the songs. Too generic and forgettable, there are maybe three fun tunes. Furthermore, poor pacing stubbornly deflates the show’s momentum.

Dean John-Wilson and Simon Lipkin
Dean John-Wilson and Simon Lipkin

Then there’s Simon Lipkin and Catherine Tate, playing a hotel manager threatened by the mob and a wannabe fashion designer. What these talented comedians manage to salvage out of so little is astonishing. Lipkin can command a stage and Tate have them rolling in the aisles by sheer force of personality. Which is what they have to rely on here. The laughs they generate come mostly from adlibbing.

Florence Andrews, Daniel Boys and Catherine Tate
Florence Andrews, Daniel Boys and Catherine Tate

There’s an excellent performance from Daniel Boys as well, as a banking villain, but why some of the incidental numbers weren’t sacrificed to give him another song is a mystery. The ensemble are committed (if thin on the ground) but over amplified, making listening hard work. The convoluted lyrics are sometimes clever but mostly not worth the effort.

Nearly every line, let alone most of the numbers here, is just that little bit too long. There’s a plot about a Soviet spy and a character or two that could be cut. A harsher hand is needed from co-directors Long and Bill Deamer. But the bigger problem remains the question of what Miss Atomic Bomb really wants to say. There’s an anarchic streak – a song crazily connecting sheep and hope and a good second act opener about the Cold War – that point out potential. Unfortunately there isn’t enough oddity. Inspired moments fail to detonate anything big.

Until 9 April 2016

www.stjamestheatre.co.uk

Photos by Tristram Kenton

2016

“X” at the Royal Court

Don’t look at the script beforehand – the pages of Xs and blank spaces in ‘A_ct Two’ (sic) give the impression that Alistair McDowall’s new play is pretentious. Fear not, this latest head scratcher at the Royal Court is a spooky sci-fi that’s hugely entertaining.

Set in a research base on Pluto, after environmental collapse on Earth, the abandoned crew is going mad. The characters aren’t entirely successful: cynical captain (Darrell D’Silva works hard at this) and autistic scientist (Rudi Dharmalingam) are a little flat. Better written are younger, amusingly annoying crewmates, played by Ria Zmitrowicz and James Harkness. The most demanding role is for Jessica Raine. Alongside Harkness, she deals with the most challenging scene (those Xs again) admirably, and her vulnerability is an asset to the play.

It’s what happens to these astronauts that counts and, as with any good thriller, tension comes from simple events: the clock controlled from Earth goes wrong, there’s a nightingale flying around and a terrifying figure outside the window! Along with a goosebumps-generating soundtrack from Nick Powell, and a good sense of humour, this show is fun.

How time connects to memory, thus identity and even reality are the serious themes. With no sense of passing days, the crew collapses into paranoia and they, like the audience, can trust nothing. Director Vicky Featherstone pulls out all the stops, and adds a necessary ruthlessness to that printed script. As the crazy delusions mount, you come to dread each blackout and what might appear next. X has plenty of cinematic references and a filmic feel that make it easy to watch. McDowall messes around with everyone’s heads with terrific skill.

Until 7 May 2016

www.royalcourttheatre.com

Photo by Manuel Harlan

2016

“Beacons” at the Park Theatre

“A beach, a bench and an ice-cream van” are the setting for Tabitha Mortiboy’s sensitive new play. Despite the protestations of the van’s owner, Julie, there is magic in this place – theatrically anyway – with a story of three lonely people making their own kind of family.
Sick of it being just “Me and Mr Whippy”, Julie takes to online dating, reluctant to recognise the attentions of her friend Bernard. In attendance is a young girl called Skye, an “old Romantic”, keen to shake things up but with a secret that haunts her.

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Emily Burnett

Great credit goes to Tessa Peake-Jones for making the heroic Julie so believable. And to Paul Kemp, whose Bernard is a rich, three-dimensional figure. The finest written part is Skye, and Emily Burnett excels here – playful and wounded by turn, she is an intriguing and poetic figure.

Mortiboy’s writing has a lyrical gentility and understated power. This is a sweet love story but contains two scenes of resolution that are forcefully dramatic. Suffice to say the ice creams are sold on suicide hot spot, Beachy Head, and that Julie patrols the cliffs at night helping those in trouble.

This well-written play is served superbly by spot-on direction from Philip Wilson. A thrust stage takes over the space and emphasises Park 90’s intimacy; the sightlines are impressively managed. Wilson understands the tone of the piece, avoiding the bombastic (as the text indicates he should). Mysteries aren’t overstated, the out-of-season seaside feel perfect, and the result enchanting.

Until 16 April 2016

www.parktheatre.co.uk

Photo by Scott Rylander

2016

“A Flea In Her Ear” at the Tabard Theatre

A cast of six share 15 characters in this French farce, which provides much of the fun in a fresh and foul-mouthed adaptation of Georges Feydeau’s classic, translated by Sacha Bush and directed by Alex Sutton. With its doppelgänger plot line, costumes and accents summarise characters and performers stand in for colleagues, creating a conspiratorial air to the ooh la la comedy that gets the audience as high as the Montgolfier brothers by the interval.

The second act is a disappointingly bumpy ride, with too much running about and far too much fainting. The production’s strengths are in the details. Fun songs comprised of random French words are a highlight, along with camp touches, knowing glances and fun with national stereotypes, ‘Allo ‘Allo! style.

Dominic Brewer and Haley Catherine play (mostly) the couple whose rupture conjugale drives the plot, seldom dropping a beat. Rachel Dawson is superb as their posh friend Lucienne, likewise Richard Watkins as their nephew with a (sorry) funny speech impediment. Good taste often leaves the stage – especially in scenes at the Pussy Cat Hotel with Watkins’ Austin Powers-inspired manager – but this team lands the laughs.

Jamie Birkett is a natural comedian, getting a great deal from her doctor character’s moustache on a stick. For sheer variety of accents, she is neck and neck with Clark James, who plays a violently jealous Spaniard and a Brummy insurance clerk. Just to even things out, Birkett and James share the cameo of the one Brit to appear (in Union Jack underpants, of course). Minor set malfunctions are taken in James’s stride – showing how focused as well as funny his performance is – he and the flaky wallpaper panels aren’t the only brilliant moments in a très jolly night out.

Until 23 April 2016

www.tabardweb.co.uk

Photo by Tom Bezant

2016

“Les Blancs” at the National Theatre

Lorraine Hansberry’s ambitious play, unfinished at the time of her early death, has been polished to perfection for director Yaël Farber’s stirring production. Combining theatrical realism with a yen for Greek theatre that makes the Olivier auditorium a perfect venue, this is a political drama that goes to the dark heart of human nature.

There’s a lot going on and the play is long. A white reporter and a returning local chief’s son arrive in an unspecified African country under colonial rule and become embroiled in a struggle for independence, trapped by their sense of responsibility – one to write a truthful story, the other to fight for freedom.

This isn’t a new play, so, the arguments against colonialism and exploitation are depressingly familiar. It’s in the debates intelligent presentation that the work becomes urgent while the passionate delivery makes the production excellent. The Whites of the title are impressively nuanced: centred around a hospital, doctors (engaging performances from James Fleet and Anna Madeley) wait for the return of their missionary leader, along with his wife, a magisterial role for Siân Phillips. Their opinions leak out under the journalistic gaze of Mr. Morris. In an angry performance by Elliot Cowan how much Morris has in common with the well intentioned Westerners is clear, but there’s a suspicion more subtlety could be plumbed.

The focus is the story of Tshembe Matoseh, a reluctant rebel fighter, “ravaged” by history, superbly portrayed by Danny Sapani. His two brothers (well delineated by Tunji Kasim and Gary Beadle) provide more perspective on the complexity of colonial rule. The anger and violence that overwhelms their family is firmly controlled by Hansberry’s text. A non-speaking woman, depicted impressively by Sheila Atim, accompanies Tshembe, allegorically adding to his burden, and the his inevitable descent into a tragic, you might say biblical, crime is shocking.

With all the argument in the play – several long speeches that could easily have defeated less able actors – it is a triumph that Farber has created such a theatrical and emotive show. Aided by Xhosa singers and Soutra Gilmour’s impressive set, we get not just politics but epic drama.

Until 2 June 2016

www.nationaltheatre.org.uk

Photo by Johan Persson

2016

“Hand to God” at the Vaudeville Theatre

Puppets, on stage and screen, often misbehave. The simple sock in Robert Askins’ play, created to perform Bible stories as part of a church project, is as foul-mouthed and frisky as any teenage boy. And that’s pretty much the drive and destination of this funny, crowd-pleasing Broadway hit. Said to demonically possess our hero Jason, the puppet, like the devil, has all the best lines, delivering outrage and a brief investigation of religion. Better still, there’s tension and tenderness as the puppet reflects his owner’s fears, a mother and son relationship and the pain of recent bereavement. Travelling with the show is director Moritz von Stuelpnagel, creating a polished, confident feel and benefitting from a heavenly cast for this devilish comedy.
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Jemima Rooper is particularly impressive as a well-meaning potential girlfriend for Jason. Also landing laughs are Kevin Mains and Neil Pearson as, respectively, a small-town bad boy and the local pastor, both shockingly in thrall to Jason’s mother. Here’s a brilliant role for Janie Dee who excels as Margery – it’s hard to pin down whether her husband’s death or his miserable life have done the most damage. It’s Margery’s son who is the focus, going off the rails in manic (and bloody) style: a star role for Harry Melling, and performed faultlessly. With precise comedy timing, superb puppetry and accomplished physicality, Melling brings an intensity to the role that carries the show – this is one actor who’s no puppet.

Until 11 June 2016

www.handtogod.co.uk

2016

“Guys and Dolls” at the Phoenix Theatre

With so many shows on offer in London, it’s unusual to see the same production twice. But the latest hit from the Chichester Festival Theatre, a brilliant revival of Frank Loesser’s classic musical of gamblers, gangsters and their gals, has a new cast that makes revisiting as joyous as the first time around.

The production is also on a parallel UK tour, and Peter McKintosh’s clever neon sign design is sure to serve the show well on its travels. A fine ensemble does justice to the choreography from Carlos Acosta and Andrew Wright, while director Gordon Greenberg gives the show a Broadway feel despite its modest size.

Gavin Spokes remains with the show to reprise his brilliant Nicely Nicely Johnson and get yet more encores for Sit Down, You’re Rockin’ The Boat. Joined by Jason Pennycooke as Benny Southstreet, this is a double act that gets the show up to speed double quick. Siubhan Harrison also remains in town, ever more comfortable in her role as Salvation Army Sergeant Miss Sarah. Playing her love interest Sky Masterson is Oliver Tompsett, who gives a fine performance showcasing a surprisingly old-fashioned voice – he’s a proper crooner, sure to acquire fans. If the chemistry and charisma you might hope for isn’t quite magical, the humour is spot on.

GUYS AND DOLLS, ,Music and lyrics - FRANK LOESSER., Book - JO SWERLING and ABE BURROWS, Director Gordan Greenberg, Choreographer - Carlos Acosta, Designer - Peter MaKintosh, Phoenix Theatre, London, 2016, Credit: Johan Persson - www.perssonphotography.com /
Richard Kind and Samantha Spiro

Greenberg’s focuses on the fun in Jo Swerling and Abe Burrows’ book. As a result, it is low-rent fixer Nathon Detroit and his long-suffering fiancée Adelaide who become our heroes. Chichester’s original casting coup (David Haig and Sophie Thompson) is, if anything, bettered. American comedian Richard Kind takes over as Detroit, adding a down-at-heel quality that makes this smalltime crook all the more appealing, while Samantha Spiro is wonderful as his eternal bride to be, with comedy skills second to none and a belting voice that makes the most of Adelaide’s Lament and brings a Dietrich spin to Take Back Your Mink.

Until 29 October 2016

www.guysanddollsthemusical.co.uk

Photos by Johan Persson