2015

“Everyman” at the National Theatre

Chiwetel Ejiofor returns to the National Theatre, after 15 years, with a spectacular aerial descent onto the Olivier stage. This casting coup sets the tone for Rufus Norris’ first show as the National’s new boss: gritty, garish, Everyman aims for a broad audience.

Having debuted at the Olivier with Market Boy back in 2006, Norris knows how to use this space: the show is energetic and extravagant at every turn. It’s on trend, too, with Tal Rosner’s arty video design and William Lyons’ fusion score of club anthems and medieval instruments.

High-profile collaborations boost credibility, namely Javier De Frutos’ macabre choreography and Carol Ann Duffy’s new text, which is crammed with cursing and recasts Everyman as a City slicker for our secular times.

Strong acting from Kate Duchêne, as a downbeat God, and Dermot Crowley, as an enthusiastic Death, head up a hard-working ensemble, while Sharon D Clarke bolsters the singing formidably as Everyman’s mother.

The final guarantor of the show’s success is, of course, Ejiofor, whose performance embodies the immediacy that’s Norris’ hallmark style. The attempt to reinvigorate a medieval morality play, Britain’s earliest theatrical form, inevitably suggests Norris’ wish to start afresh, promising exciting times to come.

Until 30 August 2015

www.nationaltheatre.org.uk

Photo by Richard Hubert Smith

2015

“Light Shining In Buckinghamshire” at the National Theatre

History buffs look out; Caryl Churchill’s English Civil War play is a different kind of story about past times, concerning common people and heavyweight ideas, rather than Great Men.

Lynsey Turner’s punchy direction has design supremo Es Devlin’s work as a backdrop, moving from sumptuous to stark. A community company of local residents, whose participation fits the spirit of the play, mean this an enormous cast. Turbulent history, with “men in a mist”, is evoked by scale.

JPEG 3
Ashley McGuire

Trystan Gravelle and Nicholas Gleaves’s stand out, as two soldiers in Cromwell’s army, with increasingly divergent ideals, forming one of few traditional story arcs. Ashley McGuire and Amanda Lawrence impress by giving their roles an immediate power. Many of  the short scenes most of the play is made up of are strong but the culminating effect is underwhelming.
With politicians all around at the moment, do we need to hear canvassing from the seventeenth century? Levellers with manifestos, proto-Communist Diggers in, of all places, Weybridge and Ranters, reinforcing the period’s religious fanaticism. The ideas are radical at least. And Churchill makes these thoughts from the past live…for the most part.

When her exegesis falls it’s disastrous. A scene on the Putney Debate, where soldiers argued with Cromwell, is so boring it’s likely to be the most memorable thing about this, overall, commendable work.

Until 22 June 2015

www.nationaltheatre.org.uk

Photos by Marc Brenner

2015

“Ah Wilderness!” at the Young Vic

Leave a comment

Small-town family life, along with youthful ideals and romance, are the subjects of Eugene O’Neill’s Ah Wilderness! Infused with poetry and memory, Natalie Abrahami’s sensitive revival adds a melancholic edge to this surprisingly gentle coming-of-age story.

This is O’Neill in an uncharacteristically good mood as he dwells on domesticity, reminisces about youthful rebellion and speculates about parenthood. Tinged with nostalgia and filled with ardour the play has an almost whimsical feel that’s quite charming.

George_MacKay_in_Ah_Wilderness_at_the_Young_Vic._Photo_by_Johan_Persson
George MacKay

Ah Wilderness! is also a memory play and a work very much for fans of O’Neill, who feels like a huge presence in this production. Set directions can be heard in the background and O’Neill’s younger alter-ego, Richard, performed vibrantly by George Mackay, is followed around by David Annen, who slips into smaller roles while taking notes and observing the action – suggesting a ghost at the feast – with great economy.

There are also strong performances from Martin Marquez and Janie Dee as Richard’s parents, while Yasmin Paige tackles well the uncomfortably written role of a prostitute. But the star is Dick Bird’s eye-catching set: a mountain of sand, cascading from expressionist doorways, that contains hidden props. This serves to emphasise time and is a sardonic hint at an unhappy future.

This production has a lot going for it, but, sadly, its stories of lost love and innocence are not quite interesting enough. It’s a shame that, for all the care, attention and ideas, the play itself is a little dull. It may be a quality affair with no shortage of insight – and I doubt anyone will be disappointed by attending – but this doesn’t feel like essential viewing. Sorry.

Until 23 May 2015

www.youngvic.org

Photo by Johan Persson

2015

“Clarion” at the Arcola Theatre

Leave a comment

Having previously worked as a newspaper journalist, Mark Jagasia has the credentials for writing a satire about the media. With direction from Mehmet Ergen, as well as a cast a first-time playwright would kill for, Clarion is a seriously funny play that had the perfect audience at yesterday’s press night – I’ve seldom heard critics laugh so much.

Set over a day in the offices of the titular newspaper, Jagasia’s scoop is two great comic creations, performed to perfection. Claire Higgins is faultless as the indomitable Verity, a former war correspondent and “mother” of the newspaper in the Medea mould. Greg Hicks plays editor Morris, who carries around a Roman centurion’s helmet and delivers an outrageous combination of articulacy and filth that redefines egomania. Depending on whether or not you’ve worked in the media the play delightfully embraces exaggeration or serves as an accurate documentary. Either way you’ll laugh.

You can take the man out of Fleet Street but Jagasia isn’t afraid of a good pun, a cheap gag or a taste for shocking. Clarion isn’t for the sensitive “milquetoasts” Morris so despises. The depiction of a younger generation – a dispirited young journalist who works as immigration editor and a young intern (ably performed by Ryan Wichert and Laura Smithers) – has just as much venom and laughs, but might strike you as a little ungenerous.

The foul-mouthed viciousness offers insights into an industry in decline. Racing to find a celebrity’s missing dog, a disappearance eventually blamed on travellers, Morris describes Hampstead Heath as a “homosexual wilderness surrounded by Keynsians and men hiding in poofta bushes” – and for him that’s pretty mild. And yet the pace isn’t quite maintained. As Jagasia becomes more serious, ironically, the play becomes too fantastical. And the darkening themes of consequences and responsibility, which might have been more fully extended into the private lives of the characters, are slightly overwhelmed by the play’s comedy. But the headline is clear: Racist Red Top Exposed.

Until 16 May 2015

www.arcolatheatre.com

Photo Simon Annand

2015

“Gypsy” at the Savoy Theatre

Leave a comment

Believe the hype. Jonathan Kent’s triumphant revival of Gypsy, coming from the Chichester Festival Theatre, deserves every one of the many stars critics have lavished upon it. And, as for stars, Imelda Staunton’s much lauded performance in the lead really is a triumph, attracting every superlative imaginable.

Of course, it helps that the musical itself is wonderful. Jule Styne’s score has hits and a satisfying coherence that builds power in a symphonic fashion. Arthur Laurents’ book is perfection: powerful family relationships and fundamental emotions elaborated through the story of a pushy showbiz mother, touring America’s dying Vaudeville circuit, and the bitter success of her daughter becoming the burlesque queen Gypsy Rose Lee. Stephen Sondheim’s lyrics are justly legendary, from ‘Have an Egg Roll Mr Goldstone’ to the phenomenal ‘Everything’s Coming Up Roses’.

This production of Gypsy has the highest standards. It feels like a bit of Broadway in the West End. Kent’s handling is loving – he knows he’s crafting a gem and creates a tremendous energy. The show sounds gloriously brassy, which is just right, while the detailed, mobile sets from Anthony Ward embody a ‘Hi, ho the glamorous life’ of travelling performers. There are strong performances from Gemma Sutton and Lara Pulver as Momma Rose’s long-suffering daughters, especially Pulver and she blossoms into the striptease sensation that is Gypsy.

Against this flawless backdrop, Staunton excels as Momma Rose. Surely there can be few roles more daunting – remember, the critic Frank Rich described the part as musical theatre’s unlikely answer to King Lear. And think of what big shoes there are to fill. Staunton’s comedy skills are the best around and, in Gypsy, her acting shines. When Staunton wants a laugh – she got it. But Momma Rose is grown with subtlety, her fragility well established before her final breakdown. This makes the famous scene of ‘Rose’s Turn’ startlingly brave and painfully real.

Curtain up until 28 November 2015

www.thesavoytheatre.com

Photo by Johan Persson

2015

“A Level Playing Field” at the Jermyn Street Theatre

Leave a comment

If school is a long time ago for you, it can be a challenge to enthuse about a play with kids taking exams. It’s an important topic, yes, but it takes strong writing to grab you. Happily, Jonathan Lewis’s A Level Playing Field holds its own alongside the impressive group of plays set in schools (and whoever included a copy of Julian Mitchell’s Another Country as a prop gets extra marks). Plenty of such plays have aims, but this one really convinces that the pressure youngsters are under nowadays, within a pernicious school system concerned only with grades, is a serious problem.

Any play about education will touch on broader themes, but Lewis’ focus is concentrated and controlled. It helps that his group of pupils, held in isolation between exams, are a fairly obnoxious private school bunch, who are at times difficult to warm to. The observations feel spot on, with intimate insight that avoids the mistake of making anyone too articulate (sorry, but The History Boys were just too clever by half).

The large cast are well differentiated, although I’d suggest three parts could be subsumed. Best of all is the strong ear for group dialogue that Lewis has a talent for (he wrote the hugely successful Our Boys). The students make a convincing group of peers and the dynamics between them is a neat study with plenty of laughs. As they slowly start to reveal their fears and aspirations, monologues that relate to their university applications form pithy vignettes.

When a teacher finally arrives – Joe Layton as the production’s only professional actor – it brings even more drama. As the play darkens, the humour develops and there are some touches of farce – a good idea that doesn’t quite succeed. But A Level Playing Field continues to serve as a terrific vehicle for its young cast of 18- and 19-year-olds. It’s against the spirit of the piece to grade anyone, but India Opzoomer and Elsa Perryman Owens both seem to inhabit their characters the most fully, while AJ Lewis takes the lead as Zachir with gusto. Both Jack Bass and Jojo Macari impress with their comic skills.

Indeed, the whole cast, for who this marks a first engagement, show more than just promise in a production that deserves much success. And the timing couldn’t be better. A Level Playing Field is surely essential viewing for anyone sharing space with a hormonally charged Sixth Former about to embark on their A level exams.

Until 9 May 2015

www.jermynstreettheatre.co.uk

2015

“Carmen Disruption” at the Almeida Theatre

Leave a comment

When you enter the Almeida Theatre for Simon Stephens’ latest play, Carmen Disruption, it’s via the stage. It seems part of a campaign by the Islington venue to shake up its audience and perfectly embodies this innovative and imaginative play’s spirit. If you’ve bought a ticket, congratulate yourself and take a bow… but be careful not to walk into an animatronic bull on your way in.

It doesn’t get any less weird. The play follows the nervous breakdown of a singer, who performs the role of Bizet’s Carmen all over the world, interweaving monologues from others, cast as archetypes from that opera, accompanied by a real singer as a chorus. Carmen Disruption clearly has enough arty touches to make plenty of eyes roll. But it works. Stephens’ magical touch creates a world of pure theatre – visionary and inspiring.

Stephens’ work can’t be easy for the actors but the performances are uniformly good. Viktoria Vizin, who has sung Carmen in 17 productions, has a voice that blows you away. Sharon Small, as The Singer, is superbly believable; I bet she’s been chatting to Vizin a lot about the pressured nomadic lifestyle of an opera star. Playing Stephens’ version of the title character, recast as a narcissistic rent boy, Jack Farthing is especially strong.

Michael Longhurst directs the production marvellously, with a control that gives Stephens’ text perfect space to breath. Lizzie Clachan’s design, along with stunning lighting by Jack Knowles, matches the poetry of the piece. Vitally, the whole team seems convinced by the power of the play.

Stephens’ motif is loneliness. His characters are isolated, desperate and frustrated, using whatever they can, mostly sex, to connect with others. Yet, despite some extreme behaviour and extravagant lifestyles, we can always connect with them. And no matter how strange the play feels, it is rooted. Much is sure to be made of the technology in the play – phones are plentiful and often commented upon – which gives Carmen Disruption its contemporary commentary, but the play’s power comes from universal themes.

Until 23 May 2015

www.almeida.co.uk

Photo by March Brenner

2015

“The Glass Protégé” at the Park Theatre

Leave a comment

A scandalous affair between two leading men in 1940s Hollywood, with the wicked studio system spoiling true love, is the subject of Dylan Costello’s The Glass Protégé. Even if you haven’t seen the play in its previous incarnation, entitled Secret Boulevard, the story seems the familiar stuff of gay folk law. While I don’t doubt the sincerity of the project, it’s clearly a labour of love, but what could be a serious story of passion feels trivial and sometimes dull.

David R. Butler plays Patrick Glass (the name a too transparent metaphor), an Oxford-revisited Englishman matched as a stereotype by a red-necked Texan, performed valiantly by Stephen Connery Brown, with whom he falls in love. Despite brave performances, the script doesn’t allow the leads to convince as film stars or lovers, with a romance that goes from tortured angst, via a Mae West impersonation, to a romp and betrayal, far too quickly.

Joining them, Emily Loomes works hard as Candice, a blonde starlet who isn’t dumb at all (are they ever?), while Mary Stewart, who can clearly hold a stage, has little to do as a bitchy gossip columnist who is, well, just a bitch. The play is fussily structured around flashbacks from the near-present day, which are more satisfactory than the potted history, as the older Patrick (Paul Lavers) deals with his demons and his son (Roger Parkins), along with the play’s only intriguing character, an East German immigrant, played well by Sheena May.

While the cast struggles with the script, director Matthew Gould doesn’t help, showing little thought about the small space worked in or the pace of the piece. The biggest problem, though, is the dialogue. The actors’ lines, surely meant to reflect the ‘garbage’ film they are working on, consist of clichés, platitudes and repetition (Hollywood is nasty – we get it). Exposition is clunky and characters merely vehicles. Attempts at profundity ring hollow time after contrived time and the play’s portentousness becomes tiresome.

Until 9 May 2015

www.parktheatre.co.uk

Photo by Krisztian Sipos

2015

“Oppenheimer” at the Vaudeville Theatre

Leave a comment

The RSC’s transfer of Tom Morton-Smith’s new play immerses us in the history of the first atomic bomb and the mind of its maker, J Robert Oppenheimer. It’s a story with overwhelming potential – a rich mix of documentary and speculation – and the play is fascinating, if over ambitious. Angus Jackson’s direction deserves credit for inventive staging that aids dryer moments, using Robert Innes Hopkins design, and an impressive injection of music from Grant Olding.

Overall, strong performances balance some over enthusiastic accents – émigré scientists drafted onto the project to build the bomb prove too much of a temptation – so acting that benefits the script sits alongside some delivery that’s tricky to comprehend. The women in the piece stand out, both Hedydd Dylan and Catherine Steadman, as Oppenheimer’s love interests, do well with roles that come perilously close to tokenistic.

There are passages of writing that make it clear how talented Morton-Smith is. But he seems in thrall to history and detail, so the play ends up too long. Are this many characters really needed to explain the allegation that Oppenheimer turned his back on friends and ideals to win fame? And difficult though the science is, I’ve seen better attempts at explaining complex theories on stage. The biggest problem is knowing where to end the story: the bombs’ impact on all our lives might be a whole other play – tacking it on to this one doesn’t do the phenomena justice.

Nor does Morton-Smith make it easy for his leading character. Oppenheimer is a man of iron, cold and remote, yet forced to reveal enough trauma for any lifetime. His affairs, childhood, politics and philosophy are all tackled and none of it is simple. All the more credit, then, to John Heffernan in the title role. Seldom have I seen a show rest so heavily on its leading man. Heffernan’s performance confirms his status as one of the finest actors around – conveying the complexity of the physicist, making all that history and politics seem manageable and even convincing us of his character’s particular charisma. A stunning performance that gives this show enough bang to counter the occasional whimper.

Until 23 May 2015

www.rsc.org.uk

Photo by Keith Pattison

2015

“The Three Lions” at the St James Theatre

Leave a comment

One of the funniest plays I’ve seen in a long time, William Gaminara’s The Three Lions imagines the meeting of David Cameron, Prince William and David Beckham, as they campaign for England to host the 2018 FIFA World Cup. Every ounce of comic potential in the scenario is exploited and the play opens up to be about far more than football – politics, power, celebrity and compromise – all perfect sport for excellent satire.

The material is superb and the demanding mix of one-liners and farce played expertly. Ably supported by Antonia Kinlay, as Cameron’s gushing PR, and Ravi Aujla, as a suspiciously effusive hotel employee, the three leads give a winning hat-trick of performances. All embrace the caricatured, public faces of these famous men, so the portraits convincingly duplicate what we think we know about Cameron’s slickness, William’s blandness or Beckham’s intellect.

Tom Davey has the hardest job as Prince William, a generic nice-but-dim, but reveals a taste for practical jokes perfectly. Cameron comes out well, with Dugald Bruce-Lockhart’s careful study of a leader new to power and struggling with it already. A scene where Cameron swaps trousers with Beckham caused so much laughter I missed some lines. Stealing the show is Séan Browne’s Beckham. And not just because of the casting coup of an uncanny physical resemblance. As soon as Browne opens his mouth he has won the audience and there are countless times when Beckham’s idiotic replies are deftly handled.

While Gaminara’s targets might be easy, there’s nothing mean spirited about The Three Lions. And there’s a healthy undercurrent of anger about the abuses of power that are the play’s real concern. The text has a mass of gags and it’s Philip Wilson’s direction that ensures its success. There must be a football metaphor for how sure his work is: never taking his eye off the ball and scoring with each line. Simply insert your favourite football manager here to praise his work. Not that an interest in the game is needed to enjoy this beautifully crafted piece: huge fun, superbly done, Premier League stuff.

Until 2 May 2015

www.stjamestheatre.co.uk

Photo by Craig Sugden