2015

“The House Of Mirrors And Hearts” at the Arcola Theatre

This new ‘chamber’ musical, a project from Eamonn O’Dwyer, is a brave and exciting examination of a damaged family. The music, performed by a quartet, is haunting and stimulating, the lyrics competent and clear, while the strong story of a mother and two daughters dealing with bereavement and a love affair, gives the show its considerable momentum.

The singing in the piece might be stronger, but the acting is superb. Gillian Kirkpatrick plays the matriarch Anna with an uncanny ability to change from a caring mother to an older alcoholic, as the play’s chronology moves around. A jerky Sondheim-style number, ‘Something For The Pain’, is superbly delivered, capturing the precarious bonhomie of the drunk. Anna’s daughters show two extreme reactions to grief: Grace Rowe’s Laura is painfully withdrawn, while Molly McGuire makes Lily a convincingly dangerous extravert. An academic who finds himself lodging with this traumatised trio (and starts a romance with one of them) isn’t as well studied: not only is his treatment of the manuscripts he is working on shocking, he’s too easily dominated. The production is lucky to have Jamie Muscato in the role – he sounds great and stakes out a space for the character.

Minor misgivings pale given the play’s strong plot. The book, worked on by Rob Gilbert with O’Dwyer, is neat and novel – a mix of gripping mystery and a spooky supernatural angle well grafted onto an intricate family drama. It reminded me a little of a Barbara Vine book, with an unsettling nostalgic feel that draws you in. There’s a level of detail that director Ryan McBryde handles well and gives the show stand out from a lot of other musicals. Be intrigued and go see.

Until 1 August 2015

www.arcolatheatre.com

Photo by Darren Bell

2015

“The Importance Of Being Earnest” at the Vaudeville Theatre

Adrian Noble’s high quality revival of Oscar Wilde’s masterpiece has more to offer than its gender blind casting of David Suchet in the role of the indomitable Lady Bracknell. It has to be stressed that Suchet is brilliant and very much a star. Without those Poirot moustaches, he’s surprisingly convincing in drag. Did I detect a nod to his former role when Bracknell interviews a prospective groom for her daughter? Notes are taken in a book you can imagine the sleuth using for clues. But more importantly, Suchet has a playful coyness that brings more laughs to a character with no shortage of great lines. The ultimate snob, Lady Bracknell’s disgust at that infamous handbag is as we expect, but Suchet adds a repugnance to the location of Bayswater that should go down in theatre history.

Imogen Doel as Cecily and Philip Cumbus as Algernon in The Importance of Being Earnest
Imogen Doel as Cecily and Philip Cumbus as Algernon

Just as good as Suchet is the strong cast that Noble utilises to create a zippy production with just the right amount of irreverence towards a classic. The four young lovers do justice to the play, while adding contemporary touches. Michael Benz and Philip Cumbus play the bachelors, John and Algernon, with as many laddish touches as the text will allow. The scene of them fighting over muffins is daring – I fear for Cumbus choking one night – but pays off. Emily Barber does well to suggest how she might, as predicted, face the “tragedy” of becoming like her mother, Lady Bracknell, while Imogen Doel adds a quirky youthfulness to the role of Cecily that feels strikingly modern. This quartet, plus Suchet, live up to the freshness of Wilde’s script and are sure to please admirers of the play.

Until 7 November 2015

www.importanceofearnest.com

Photos by Alastair Muir

2015

“The Trial” at the Young Vic

Nick Gill’s adaptation of Kafka’s novel makes for a puzzling piece of theatre. Cold, confusing and frustrating (I’ll get back to that last point), it has the feel of an endurance race, not least because the action takes place on a conveyer belt, built into Miriam Buether’s eye-wateringly orange set. There’s a lot of distance covered by the famous Josef K: arrested and fighting a faceless system to discover the nature of his crime, he is forced into a painful self-examination that drives him mad. There are so many themes here, from bureaucracy, lots of yellow paper, to role of the artist (cue dance music), that the show becomes so relentless it becomes monotonous.

The cast under Richard Jones’ direction win your admiration. Hugh Skinner adds a modern sleekness to the role of Josef’s work colleague – you can picture him in the City, despite the costume. And Sian Thomas is superb as Josef’s fast-talking lawyer. Taking on six parts as the women in Josef’s life, from a lap dancer to his next-door neighbour, keeps Kate O’Flynn busy. But Rory Kinnear in the lead role gets the gong for sheer hard work. On stage for near two hours, in a gut-wrenching performance that connects strongly with the audience, he is remarkable.

Kinnear also has to deal with an unusually difficult script. Josef’s internal dialogue is presented in a novel, poetic form that, perhaps because of the set’s colour, is reminiscent of Anthony Burgess’ A Clockwork Orange. Take the first line – “An almost woke ee up one morn” – and you get the idea. The execution is visceral, the technique arresting. Josef’s sexual frustration and anxiety are captured (the connection between lust and legal problems is one of Gill’s more intriguing insights), and his articulacy seems to deliberately deteriorate as the play goes on. The dialogue certainly becomes more difficult to follow, which increasingly jars – so much so that the play’s end comes as a relief for regrettably prosaic reasons.

Until 22 August 2015

www.youngvic.org

Photo by Keith Pattison

2015

“Measure For Measure” at Shakespeare’s Globe

For all its charms, the Globe is not a comfortable theatre and at Wednesday’s press night of Measure for Measure it was pretty much like an oven. It’s testament to Dominic Dromgoole’s new production that the audience adored the show under such conditions. Exploiting the play’s bawdy background, the cast creates such riotous fun I am surprised they didn’t pass out. Every performer won my admiration.

His last turn as director in charge of the theatre, Dromgoole goes all out with the ‘groundlings’ standing in the pit; they are pushed around by pimps and prostitutes before the play’s even begun. And although there is a close-up branding of one prostitute, emblematic of the puritanical theme of justice, the overall tone is fun. Led by a boisterous Mistress Overdone (Petra Massey), with a great comic turn from Brendan O’Hea’s Lucio – and plenty of ad-libbing – the licentious lord it over this play.

Measure-006-crop
Mariah Gale and Kurt Egyiawan

The bawds make a strong contrast with what is the main thrust of the story: Angelo’s condemnation, then blackmail, of Claudio (Joel MacCormack) and his sister Isabella – offering to save him in return for sex with her. All three deliver powerfully understated performances. Kurt Egyiawan’s Angelo gave me a chill, despite that weather. He’s wonderful at suggesting anguish behind his evil impulses – the uselessness of Isabella trying to defend herself when his “false o’erweighs your true” is delivered with near resignation. Mariah Gale gives an eloquent and credible portrayal of as Isabella, making the character’s religion and integrity central.

Despite the excellent performances, Dromgoole doesn’t manage that precarious balance between scenes of comedy and tension. There’s a lack of subtlety, shown best in Dominic Rowan’s absconding Duke: a powerful actor, with first class delivery, he rattles through plot points for laughs and abandons ambiguity about his motives. But Dromgoole knows the venue better than anyone and, while the tactic is vaguely disappointing, it’s in keeping with a crowd-pleasing blockbuster of a show.

Until 17 October 2015

www.shakespearesglobe.com

Photos by Marc Brenner

2015

“The Seagull” at Regent’s Park Open Air Theatre

Given that The Seagull opens with its hero Konstantin putting on an outdoor performance, Regent’s Park feels a pretty good match for Chekhov’s play. The stunning venue is enhanced by Jon Bausor’s splendid design – a giant mirror hangs above the action, literally adding another dimension to reflect upon. Matthew Dunster’s production looks fantastic, but sadly there’s too much chasing after laughs so the play falls curiously flat.

The problem isn’t so much with Torben Betts’ new adaptation of the play – although the language is sometimes too direct, it can be good to shake up a classic. This version is easy to follow and feels modern. Rather, it’s Dunster’s emphasis on the comedy; he gets plenty of laughs but the humour doesn’t build and the play’s more poignant moments feel thrown away. Some characters suffer dreadfully: Medviedenko, the teacher, is reduced to a comedian with just one punch line, the ever-miserable Masha a wailing drunk and the young leads are simply too gauche. Matthew Tennyson and Sabrina Bartlett hold the stage as the aspiring artists Konstantin and Nina, and their naiveté gets laughs but both actors aren’t given a chance to delve deeper.

Other roles fare better. The writer Trigorin’s ego fascinates. Alex Robertson makes him funny and irritating – a petulant take on the character that’s interesting. And Janie Dee’s Arkadina manages to be at once jolly and roundly three-dimensional. Dunster is strongest with group scenes, highlighting uncomfortable dynamics as an “angel of the awkward silence” is said to descend. Also interesting are the two servants (Tom Greaves and Tara D’Arquian), who giggle at innuendo and silently respond to events.

The production also has the novel device of using a voiceover for character’s thoughts. It’s certainly startling but privileges certain players too much. Frustratingly, despite being inside their heads, we don’t feel any closer to them, and this internal dialogue is used indiscriminately and again mostly just for laughs. Nice try, but this showy device is symptomatic of a production that tries hard but doesn’t hit anything… apart from that poor seagull, of course.

Until 11 July 2015

www.openairtheatre.com

Photo by Johan Persson

2015

“Twelfth Night” at St Paul’s Church, Covent Garden

Now in its seventh year at ‘The Actors Church’, Iris Theatre has struck gold with Vik Sivalingam’s Twelfth Night. Using the gardens, making the church itself look divine and including the audience in a good-natured fashion, this show is promenade performance at its best. Crammed with comedy, the play’s contrivances, of separated twins and cross-dressed courtship, are funnier than ever.

Sivalingam’s aim is to entertain – such clarity imbues the cast with purpose. Pepter Lunkuse is a believable Viola – it’s easy to predict she’s an actress with a bright future. Nick Howard-Brown’s Feste and Julian Moore-Cook’s Orsino are commanding presences. Tony Bell and Robert Maskell, both experienced performers, play a dour Malvolio and carousing Sir Toby with vigour. Act two, scene five, with the fantasising Malvolio duped by Anne-Marie Piazza’s delicious Maria, is the best I’ve seen performed.

A wonderful sense of intimacy is created in the flower-filled gardens. Entreated to follow the actors to different scenes becomes a playful treat – it’s a great game to go wooing Olivia with Viola. And Olivia’s pursuit, when she falls for the twin dressed as a man, is full of complicit cheekiness, embodied by Olivia Onyehara. A duel between characters is conducted with an umbrella and a mop. Even the shrubbery is used as a prop.

The production’s small cast impresses, performing Harry Blake’s music, which subtly infuses the show, as well as by taking on multiple roles. None more so than Henry Wyrley-Birch, whose Sebastian is heroic, while his Andrew Aguecheek elevates a sometimes tiresome role into a central figure – seldom has so much comedy come from a cape. The brief moment when Sebastian and Aguecheek meet is something to look forward to – it’s handled with an endearing humour that’s indicative of how light, lithe and easy to love this show is.

Until 24 July 2015

www.iristheatre.com

Photo by Hannah Barton

2015

“Asking Rembrandt” at the Old Red Lion Theatre

Bringing a painter’s life to stage or film isn’t easy. Choosing the best-known master of self-portraiture seems especially brave. Rembrandt – or more accurately, the artist’s impending bankruptcy – is the subject of Steve Gooch’s new play. I don’t buy the idea. There’s too much hindsight and, even worse, it’s a poor source of dramatic tension.

Attempts to add appeal to the, to my taste, dry topic of the business of art, are numerous – unfortunately none is pursued long enough to save the play from feeling monochrome and modern vocabulary becomes clunky. And while scenes of domestic intimacy between the artist, his son Titus and live-in-lover Henni benefit from a sense of the claustrophobic community of the time, it’s that old struggle of the misunderstood artist that’s hammered away at. Scenes with Jan Six, Rembrandt’s informal fixer, increase in animosity as they wrangle over art and money in arguments that are over earnest and over rehearsed.

Jonathan Kemp’s direction has secured a capable cast and it’s frustrating to imagine what they might have done with more nuanced material. Esme Patey-Ford and Loz KeyStone make appealing members of Rembrandt’s household and John Gorick is credible as the suave Jan Six.

Liam McKenna’s bullish Rembrandt keeps you on your toes and performs valiantly, although it’s a shame the central character comes too close to the stereotype of the irascible artist. Ironically, Rembrandt’s achievements as a painter, unaided by the reproductions unveiled onstage, don’t impress. Jan Six says he doesn’t want his portrait on the wall in his “front room”. I can’t say I blame him.

Until 18 July 2015

www.oldredliontheatre.co.uk

Photo by Chris Gardner

2015

“The Motherf**cker In The Hat” at the National Theatre

A play that comes with its own stars, albeit an excessively modest two of them, Stephen Adly Guirgis’ Broadway hit may have a title that fits uncomfortably with the National Theatre’s augustness, but The Motherf**cker In The Hat is a quality play that London should welcome. Detailing the struggles and affairs between a drug addict on probation, his ‘sponsor’ and their girlfriends, the work’s vigorous language belies its old-fashioned enquiry into morality.

Jpeg 1Ricardo Chavira plays Jackie, a troubled convict following a plan to free himself from addiction with a suitably cynical edge, making our hero hugely appealing despite his faults. Flor De Liz Perez (pictured) performs as Jackie’s partner, delivering vicious tirades with verve. Also from the States comes Yul Vázquez as Cousin Julio, delivering a marvellously understated, original performance. Completing this strong cast, directed flawlessly by Indhu Rubasingham, are Nathalie Armin as the unfortunate wife of the rehabilitated Ralph, the philandering sponsor with a PhD in persuasion, depicted brilliantly by Alec Newman as a devil who firmly believes he has all the best lines.

It can’t be denied that the play is reminiscent of a soap opera (or should that be a telenovela?), but the sordid plot twists, while predictable, are expertly handled and feel believable. Likewise, the bad language and lurid insults play their part, not just in making the script very funny, but in creating characters you really fall for. For all the shouting on stage, this is a work that quietly ensures we take seriously the questions it’s asking – about how to be good.

The play is calmer, less surreal, than Adly Guirgis’ other works seen in London. It’s tempting to say it feels more grown up, as that’s clearly one of the themes here; the talk of prayers and pharmaceuticals both play a part in questioning responsibility and relationships. Jackie and Ralph are just young men, with more than enough faults and few excuses. But Jackie has a heart and the potential for goodness that feels realistic and makes this play an unusually sharp comedy.

Until 20 August 2015

www.nationaltheatre.org.uk

Photo by Mark Douet

2015

“Communicating Doors” at the Menier Chocolate Factory

If anyone can deal with that tricksy genre – the comedy thriller – it’s playwright Alan Ayckbourn. And as if combining chuckles with tension weren’t enough, this sci-fi story of murder and time travel challenges the cerebellum as well. As Lindsey Posner’s studied revival of the 1994 play shows, Ayckbourn comes as close as anyone can to cracking such an ambitious juggling act.

As you’d expect, there’s plenty of running around rooms, the twist being that it’s one hotel suite at three different times. And while doors aren’t slammed, creeping around between the decades, with the threat of bumping into a murderer, provides a couple of good jumps. There’s a dominatrix call girl for laughs and an officious security guard (nicely paced by Matthew Cottle). Be patient with the comedy, as it gets stronger in the second half.

It’s fitting that only the women in the story can use the eponymous portals. Ayckbourn has written three fine roles for women that mischievously outshine the play’s male characters. The ruthless Reece (Robert Portal) and his henchman Julian (David Bamber) manage to be threatening, with Bamber’s toupee and dastardly laugh deserving their own credit in the programme, but it’s the women – working out time travel and taking control – that make the show.

Rachel Tucker’s tart-with-a-heart manages to be believably frightened and feisty by turns. Lucy Briggs-Owen and Imogen Stubbs play Harold’s former wives, both murdered, with suitable flashback appeal. Stubbs is particularly strong at carrying the scenario, with a no-nonsense approach aiding the surprisingly credible edge of this entertaining evening.

Until 27 June 2015

www.menierchocolatefactory.com

Photo by Manuel Harlan

2015

“Hang” at the Royal Court

I am confident all would agree that debbie tucker green’s new play for the Royal Court is a powerful one. The play’s force comes from the performances and its poetry. The acting and dialogue are of such a high standard you can see those reviewers’ stars mounting up before your eyes. But what feels very much an intellectual exercise doesn’t quite deliver: pointless is too strong a word to use about such a quality piece, but don’t expect anything persuasive behind this focused examination of a dilemma.

The scenario is simple yet tense: the victim of a crime gets to decide the method of executing the perpetrator. But there are no arguments about the death penalty, rather, a bureaucratic meeting with officials who obsessively follow procedures to enact the execution. Claire Rushbrook and Shane Zaza are well studied in these roles, dealing with the economy of the writing and creating a comedy of compromises. It’s a pity that these well-meaning characters are a little too ineffectual and ill prepared, with the “transparency” they aim for becoming one of many heavy ironies.

The struggle to vocalise trauma is painfully acknowledged; nobody has “the words, the stomach, the imagination” to empathise with the carefully undisclosed crime discussed. Marianne Jean-Baptiste’s performance as the articulate victim given a potent voice is stunning, creating a depiction of pain shocking in its distance from platitudes. tucker green’s direction is taut as a bow but the explorations of revenge, justice and the systems we rely on to deliver the law don’t satisfy. It’s a puzzle to have no real target aimed at with such skill.

Until 18 July 2015

www.royalcourttheatre.com

Photo by Stephen Cummiskey