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.
Hand-To-God-Vaudeville-302
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

2016

“Goodbye Norma Jean” at the Park Theatre

An Essex grandmother runs away from her care home to Los Angeles, where she claims to be Marilyn Monroe. She’s followed by her grandson Joe, portrayed sensitively by Jamie Hutchins, and their relationship is explored with frank humour. The star is Vicki Michelle, famous for her role in ‘Allo ‘Allo, who makes the jokes work and creates some tender moments. Michelle lights up the show and is incredibly engaging. It’s unfortunate that the material falls short of her talents.

Dylan Costello’s script, which director Matthew Gould fails to rein in, suffers from leaden lines and an excess of events. Joe, whose boyfriend is abusive, talks to an imaginary Marilyn and has a burgeoning romance to deal with. It’s not that any of these plots are bad but, when combined, the play takes on more than it can cope with. Themes of fame and self-worth are fine, the topics are rich if unoriginal, but they end up being shouted and what could be a sweet comedy ends up taking itself too seriously.

The play has unhappy roles for its secondary characters. Farrel Hegarty has a near impossible task as two versions of imaginary Marilyns (I am afraid she appears to Michelle’s character as well) and only gets to shine with a smaller role as a TV host – yet another subplot that rams home the play’s suspicion of celebrity. Even worse is the part of Bobby, played by Peter McPherson. Costello creates characterisation through backstory alone – in just one scene we see Bobby as an unstable practical joker, a prostitute, a drug addict and the lover of a Hollywood star threatening to kill him. Clearly, a life a little too crowded with incident.

As for dialogue, the script is a tiresome collection of homespun truths that shouldn’t have been allowed out of the house, let alone near a stage. Some efforts at profundity don’t even make sense, especially in the relationship between Joe and Bobby, who fall in and out of love from sentence to sentence and end up talking about opening a pizza restaurant together. Nonsense like this, including a scene where Joe gets some new trainers, slows things down dreadfully. Throwing in terminal cancer and euthanasia seems vaguely tasteless and Costello’s script continually deflates during a painful second act. Hutchins struggles valiantly and Michelle makes sure you aren’t bored, but it’s a relief to say goodbye rather than au revoir to a script like this.

Until 19 March 2016

www.parktheatre.co.uk

Photo by Mia Hawk

2016

“The Maids” at the Trafalgar Studios

Jamie Lloyd might well be the perfect director for iconoclastic playwright Jean Genet. Both share an irreverent bold approach and a Baroque intensity epitomised in Lloyd’s stirring production of Genet’s 1947 piece. The sick, twisted, sexualised fantasies of two servants, role-playing the murder of their mistress, are made “drunk, wild, beautiful” in this visually arresting and accomplished show.

Lloyd also has a way with stars, enticing exciting talent to the West End and getting the most from many a performer. The luminaries here are Uzo Aduba (from Orange is the New Black), joined by Zawe Ashton, playing the titular revolting servants. Ashton gives a fine performance, Aduba a tremendous one. Intense from the start, Ashton drags up as her mistress for a disturbed ‘ceremony’ that’s an orgy of degradation, violence and kink – her jerky movements unsettle and excite. Aduba is an astonishing presence on stage, frightening and engrossing, her intelligent appreciation of the rhythm of the text carrying you forcibly through the traumatic, suspenseful, action.

Laura Carmichael and Uzo Aduba in The Maids CREDIT Marc Brenner
Laura Carmichael and Uzo Aduba

When Mistress arrives it’s a blunt shock to find she’s every bit as bad as we’ve been led to believe. Laura Carmichael holds her own (no small achievement given the brevity of her role) portraying a superficial, doll-like rich bitch. This contemporary, recognisable, figure allows Lloyd to emphasise the play’s political content: the accents may be American but a London audience is instantly connected to Kensington.

Fun is had by Lloyd, in keeping with the work of translators Benedict Andrews and Andrew Upton. Genet’s rich themes are explored bravely but there’s also humour from some of the exaggeration here – the maids giggle more than you might expect. The language is blue (very) but I can’t imagine Genet would blush. It’s surprising you don’t see this play revived more often. Lloyd’s production is a valuable addition to the reputation of a modern classic.

Until 21 May 2016

www.atgtickets.com

Photos by Marc Brenner