2015

“Farinelli And The King” at the Sam Wanamaker Playhouse

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Any trip to the gorgeous Sam Wanamaker Playhouse is exciting. And it’s commendable that the programming for the venue includes brand new plays. You can see why Claire van Kampen’s work, Farinelli And The King, seemed like a good idea: it’s about the famous castrato who sang for Philippe V of Spain and is perfect for highlighting the venue’s terrific acoustics. The Playhouse doesn’t just look enchanting, the sound here is flawless, unforgiving, actually – you can hear a sweet being unwrapped from any seat. Iestyn Davies and William Purefoy have been drafted in to sing, and are joined by some fine musicians, but unfortunately the play they accompany isn’t strong enough to outshine the venue.

Mark Rylance, Van Kampen’s husband, ensures the play is a hot ticket and gives a masterful performance as Philippe, with a seemingly instinctive grasp of what the space needs. His is a remarkably understated and hugely engaging king, but the role is written far too much for laughs. Philippe’s bipolarity, dramatised as simple lunacy, fails to move emotionally. Sam Crane is wasted as Farinelli, whose the role is grossly underdeveloped – a problem shared with one-dimensional secondary parts. At times, the play is more about Philippe’s relationship with his queen, an impression bolstered by a fine performance from Melody Grove. The opportunity for a triangle of relationships is opened up too late.

John Dove’s direction is swift and forceful but the script is just not good enough, being an inconsistent mix of biography and pretension satisfying neither history nor ideas. The bare bones of Farinelli’s fascinating life are delivered dismissively, particularly at the end when the play really runs out of steam. Far too many highfalutin speculations are made about space, time and morality but none is dealt with in any depth. Throw in some lofty theorising about art and you approach incoherence. The obvious comparison with Alan Bennett’s The Madness of King George III is an unfortunate one for this first attempt at playwriting from Van Kampen, who has contributed so much in her capacity as composer for the theatre. Sadly, this is one production to avoid.

Until 8 March 2015

www.shakespearesglobe.com

Photo by Marc Brenner

2015

“Little Write Lies” at the Vault Festival

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With its nightclub vibe and efforts at subterranean cool, the Vault is not the most pleasant place to be on a cold, wet Sunday afternoon. But the aims behind the eponymous festival, located underneath Waterloo Station, are commendable, with a youthful feel and eclectic programme offering something for everyone.

Putting aside the comedy and music on offer, I chose three short plays, packaged as Little Write Lies, written in response to a festival highlight, Yve Blake’s Lie Collector. The pieces, all on the theme of deception, are a great opportunity to enjoy new writing and acting talent.

Doug Dunn’s Brixton Sunrise goes straight to the point, imagining a chance encounter in a McDonald’s, to show the lies ambitious Londoners tell themselves and others. The other two works suffer slightly from their aspirations – setting up more than can be delivered in such a short time. Tom Wright’s I, We, Me is the story of an online hook-up, full of disturbing twists, that leaves you wanting more. Victoria Gimby’s, Forget-Me-Not, tackling the subject of mental health, has a creepy edge that makes it cry out for elaboration.

All the acting is of a high standard. Catherine Dunne gives a nuanced performance as a world-weary young woman, developing her character with perfect pace alongside Shane Noone as an appealing road worker with hidden aspirations. Leonie Marzecki and Amy Murray give careful turns as potential lovers in Wright’s play, dealing skilfully with their multiple online personas. Gimby’s work is a good vehicle for the talents of Alex Khanyaghma and Sallyanne Badger, while Aaron Gordon adds a haunting presence.

Another trilogy is to be presented this Sunday, 1 March.

www.vaultfestival.com

Photo by Jack Abraham

2015

“The Nether” at the Duke of York’s Theatre

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A welcome transfer from the Royal Court, Jennifer Haley’s play The Nether is a taut sci-fi thriller that dissects the power of the internet in the (near) future. In a parallel world of virtual reality ‘realms’, so intoxicating are the dark fantasies acted out that punters threaten to become ‘shadows’ – volunteering to give up their lives to live online instead.

One online realm, catering to paedophiles, is envisioned by Es Devlin’s remarkable design, supported by Luke Halls’ video work. Those tasked with policing the line between the sick fantasy world and reality become caught up in an uncomfortably exciting journey.

Skillfully directed by Jeremy Herrin, The Nether is well performed, with Amanda Hale as Detective Morris, joined by David Calder, Ivanno Jeremiah and Stanley Townsend as troubled participants of the online investigation.

The Nether is a play of big ideas and important questions. What effect do online personas have? And how can fantasies online, between consenting adults, become illegal? Suspicions about technology are defined forcefully by Morris. Yet alternative arguments are presented with a conviction that makes you queasy. There’s the fascinating potential for corporate corruption, as the programming that creates the super sensory realm could prove lucrative for those that host these worlds – is our detective interested in the crime or the code?

Haley takes sci-fi seriously and, as a result, so do we. The Nether is a convincing world with minimal jargon that serves as the perfect base for difficult themes. Even better, the play is a gripping drama: a strong detective story, structured around exciting interrogations, with twists and tensions that leave you unsettled.

Until 25 April 2015

www.royalcourttheatre.com

2015

“Ruddigore” at the King’s Head Theatre

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A happy birthday to the Charles Court Opera, which celebrates ten years with a cracking production of Gilbert and Sullivan’s Ruddigore. I confess to being a fan of G & S and, while this work is not their best, this excellent company glosses over this. And anyway, Ruddigore has enough silliness, with plenty of tongue-tying lyrics and improbable plots, as well as enough sweet tunes, to still sparkle.

This is a standard G & S story of smart maidens and unusual heroes, full of topsy-turvy and pleasing satire. A witch’s curse on the house of Ruddigore means its baron has to commit a crime everyday. No one is happy about the legacy. The heirs try to abscond, fiancées are driven mad and the local village bridesmaids have a tough time celebrating hymen.

Though the production is a faithful one, director John Savournin is suitably strict, so proceedings are snappy. The musical adaption by David Eaton, who performs on the piano, is admirably sprightly. James Perkins’ design brings a nice touch of the pier postcard to proceedings, while silly supernatural antics from the Ruddigore ancestors enhance the levity.

RUDDIGORE Guiltily Mad - Sir Despard (John Savournin) Photo Bill Knight
John Savournin directs and performs

Best of all are the first-class performances on offer. Matthew Kellett and Savournin both sound great as as the brothers who battle over a baronetcy – whether in hiding, committing crimes or repenting misdeeds – and Savournin steals a couple of scenes with great comic panache. Rebecca Moon plays the virginal Rose with a beautiful voice, while as bridesmaids desperate to fulfil their duties, Susanna Buckle and Andrea Tweedale give astounding value, standing in for a large chorus. A cast this strong means fans and newcomers, both to G & S and this work, are guaranteed to leave happy.

Until 14 March 2015

www.kingsheadtheatre.com

Photos by Bill Knight

2015

“Gods and Monsters” at the Southwark Playhouse

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Horror film director James Whale, who created many iconic monster movies, had a fascinating life, which inspired the novel Father of Frankenstein by Christopher Bram, filmed in 1988 as Gods And Monsters. Russell Labey now brings the story to the stage in a divine adaptation. Gods And Monsters makes a strong piece of theatre out of a sensitive journey to the end of one man’s life.

Having written sound roles, Labey gets the best from his cast with precise direction. Will Austin, who spends most of the night with his shirt off, has the physique for the part of Whale’s gardener, an object of lust who becomes a model and then confidant. Austin gives an understated performance that shows he has brains as well as brawn. Will Rastall and Joey Phillips take smaller parts but there’s nothing minor about their performances, especially when doubling as Whale during flashbacks to his time as an art student and a soldier. Lachele Carl, who plays a devoted servant, gives depth to a nicely rounded character. But the main accolade has to go to Ian Gelder as Whale. It’s a careful performance of a complex man, full of passion and intelligence, that’s as good as any I’ve seen on stage.

Gods And Monsters takes one life story, a particularly urbane and witty one, and elaborates it richly. It’s a play of gay history, from Hollywood hedonism to the ‘lavender scare’ of McCarthyism, and broader social themes that include Whale’s experience of war and the class system as a Brit. But, above all, it’s a human story of a battle against the brutality of ageing and illness that all can connect too. Gelder presents Whale’s pain vigorously, travelling to dark places while balancing the erotic tension to create a sensitive play full of potent themes.

Until 7 March 2015

www.southwarkplayhouse.co.uk

2015

“How To Hold Your Breath” at the Royal Court

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Zinnie Harris’ new play, How To Hold Your Breath, may sound like it provides answers but instead is ambitiously determined to raise questions. A future financial apocalypse is envisaged and a woman has an affair with the devil, in a work combining current affairs and questions of worth in a puzzling fashion. A modern morality play, with a Faustian twist, it’s a work that intrigues but doesn’t satisfy.

The set up has the confident liberal Dana, clumsily presented as an arch capitalist, enduring the traumatic breakdown of European civilisation. At the start it seems Dana’s mistake was to have a one night stand with a demon – and refuse payment when he mistakes her for a prostitute. Then we see Dana is naïve about the world and human nature. There’s humour in the play’s ridiculous moments but any message or satire is far too blunt.

Directed in workmanlike fashion by Vicky Featherstone, even strong acting can’t save the night. Maxine Peake takes the lead giving a magnetic performance of fantastic stamina and adding a depth to Dana that holds the whole play together. Michael Shaeffer is charismatic as the demon and Christine Bottomley superb as Dana’s sister, who joins a desperate descent through a disintegrating Europe. There’s also a librarian who pops up along the way, played by Peter Forbes, who offers self help books to Dana. I am not sure why.

When Harris strikes an emotional chord it’s powerful, the language and imagery unforgettable (black semen…thanks Zinnie). Dana’s devotion to her sister is moving and a scene of miscarriage harrowing. There’s almost a nasty edge to the play’s relentlessness. Events get grimmer and grimier and the result too predictable. By the end, one of the librarian’s instructional books is entitled Which Charity You Should Give To To Make You Feel Better, so it’s clear we should be feeling pretty bad about our self indulgent lives. As for How To Get A Good Seat In The Theatre? Ouch. A gamble, that, with the all too obvious answer – pick a good play for a start.

Until 21 March 2015

www.royalcourttheatre.com

2015

“She Loves Me” at the Landor Theatre

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A favourite soundtrack, I’ve never seen performed, the stakes were high for my trip to the Landor Theatre for Jerry Bock and Sheldon Harnick’s She Loves Me. The musical lovers’ musical, it’s a piece that shows how the often-maligned genre of romantic comedy can really work. The course of love, for a shy couple who write each other anonymous lonely heart letters yet work in the same shop, runs sweet and funny, if not smooth. And the songs are to die for – a brilliant collection of stirring and amusing numbers, each of them a treasure.

She Loves Me, Landor Theatre, 4th February - 7th March 2015, courtesy Darren Bell-34
Joshua LeClair and Ian Dring

The setting is Maraczek’s perfumery and the staff all have love lives and ambitions worth a song. Emily Lynne makes an exciting London debut as Ilona, struggling with the caddish Kodlay, played super smoothly by Matthew Wellman. Ian Dring has a busy time as the store’s cuckolded owner, also stealing a scene where he doubles as a waiter. Meanwhile, Joshua LeClair’s Arpad only has eyes for the job, tackling the role with a level of perkiness that forces you to smile along.

She Loves Me, Landor Theatre, 4th February - 7th March 2015, courtesy Darren Bell-28
John Sandberg as Georg

Taking the lead role as Amalia is Charlotte Jaconelli who seems undaunted by the big shoes previous performers have left her to fill; her tremendously powerful voice is a thrill to hear. Possibly Jaconelli might have played the role with more humour – a tactic that works for Amalia’s love interest Georg, played by John Sandberg, whose affable presence is easy to warm to.

While I imagined Robert McWhir’s direction would have been speedier, the second act is faultless. Performed on piano with a couple of strings accompanying, I’d still like to hear a full orchestra perform the score but this production didn’t disappoint my high expectations. She Loves Me is quaint and comfortable, as it should be, but full of tenderness and brimming with gentle humour. As well-served customers at Maraczek’s have sung to them – thank you, thank you. And I would love to call again. Thank you.

Until 7 March 2015

www.landortheatre.co.uk

Photos by Darren Bell

2015

“Joan of Arc” at the New Diorama Theatre

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Inspired by The Faction’s The Talented Mr Ripley, also playing as part of its 2015 season, I was drawn to the company’s next show Joan of Arc. Mark Leipacher’s adaptation of Friedrich Schiller’s play, co-directed with Rachel Valentine-Smith, is another strong piece that I urge you to see.

Joan of Arc isn’t an easy play. A highly fictionalised version of the French heroine, who fought the English in the Hundred Years’ War, the production embraces the different opinions of a peasant girl who comes to lead armies. A fascinating figure, who is by turn inspirational and loathed, Joan never questions her mission from God and is no fraud – a fact that doesn’t make her easy to portray or relate to.

The direction is bold. A minimal stage is enlivened by Chris Withers’ lighting design, while the ensemble create tableaux, using their bodies to stand in for trees or thrones, for a couple of visionary scenes. Battles are choreographed adventurously, instilling a mythical feeling best summarised by Joan’s plastering her hair with clay slip to create her own helmet, engendering an earthiness and a sense of the supernatural at the same time.

Anchoring the ethereal proceedings are fine performances. Kate Sawyer takes the title role admirably; convincingly abstracted, using what little vulnerability her character has to great effect and even, I’d swear, blushing on cue. Christopher Tester plays Joan’s father and the invading Talbot superbly. Best of all is  Natasha Rickman who doubles as the Dauphin and his mother, the violent Isabel, with breathtaking skill.

This innovative show about a warrior inspired by religion feels hauntingly topical. The Faction has certainly found a convert to its work in me.

Until 28 February 2015

www.newdiorama.com

Photo by Holly Wren

2015

“Molly Wobbly” at the Leicester Square Theatre

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Born and bred in Belfast and a hit in Edinburgh, Paul Boyd’s Molly Wobbly is a raucous, irreverent musical that’s rude and laugh-out-loud funny. Clearly influenced by The Rocky Horror Show, music hall and Carry On films, yet camper than any of these, Molly Wobbly proudly stands out as good, clean, smutty fun.

The unhappy marriages of the residents of Mammary Street are changed after a radioactive Romanian plastic surgeon moves into their town of Little Happening. Mr Ithanku, performed with style by Russell Morton, hears the dreams of three couples – but is obsessed with his own agenda of the ultimate makeover. There are hot flushes, magic potions and murderous intentions – beauty comes at a price.

Molly Wobbly credit Darren Bell
Alan Richardson and Conleth Kane

The three women bravely abandoning their blouses are splendid, with Jane Milligan having the most to, ahem, offer. Among the husbands, Conleth Kane stands out as he’s barely able to move (or should that be mince?) without getting a laugh. And there’s a great performance from Alan Richardson, who milks his unrelentingly filthy number about one-night stands, along with a small walk-on as the best dancing nun I’ve ever seen. And I’ve seen plenty.

Some of the direction, also from Boyd, might be speedier. I could have done without the malapropisms – they seem a little too easy – although they went down very well. More music, please: this is a strong collection of songs with fine, clear lyrics. What Molly Wobbly really needs, and deserves, is a bigger venue. Of course it’s great to see a show in intimate surroundings, but the impressive projections really suffer, and I’d love to hear the score performed live. Molly Wobbly is just as strong as several recent big West End offerings and has a lot more guts – it should be massive.

Until 14 March 2015

www.leicestersquaretheatre.com

Photos by Darren Bell

2015

“Dara” at the National Theatre

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With Behind The Beautiful Forevers still running – and well worth watching – The National Theatre offers another, very different, view of the Indian subcontinent with Dara. Adapted for a Western audience by Tanya Ronder, from Shahid Nadeem’s play, this historical epic shows the battle between Shah Jahan’s sons for the Mughal Empire. It’s a riveting story, all the more exciting if you aren’t familiar with the history (imagine the Tudors without knowing Henry had six wives); a family drama boasting an ambitious sense of scale that makes it topical too.

Nadia Fall’s quick-fire direction stages the action with speed, while Katrina Lindsay’s design and a large cast creates a sumptuous feel. Though a wide span of time is covered (the play is long, but never droops) and some roles are feel curtailed, Vincent Ebrahim manages to give Shah Jahan great depth, and Nathalie Armin is superb as his daughter, Jahanara. Zubin Varla takes the title role, a hugely satisfying character, saintly yet very human and ferociously intelligent. Dara’s fate is to be tried for apostasy – his own defence in court is fantastic theatre.

daradrop-Dara-credit-Ellie-Kurtz
Sargon Yelda and Anjana Vasan

Dara is as much about Shah Jahan’s other son, Aurangzeb, who claimed the throne and rejected both Sufism and the religious toleration that Dara explored. A tyrannical figure, Sargon Yelda’s performance as Aurangzeb is wonderfully layered. A brief, exquisitely crafted scene with his Hindu lover, ably played by Anjana Vasan, really helps. Aurangzeb isn’t just a villain and the play’s exploration of the need to choose between “faith or family” makes it great drama. It’s Dara’s religious content that makes it feel so urgent – presenting the “broken prince”, a figure to revere despite his fall from power, it provides a different view of religion at a time when one is so desperately needed.

Until 4 April 2015

www.nationaltheatre.org.uk

Photos by Ellie Kurttz