2014

“Golem” at the Young Vic

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1927’s new work, Golem, is currently showing at the Young Vic. The company, which combines live performance with animation and film, creates spellbinding works with stunning visuals and a wicked sense of the comic, both characterised by a unique style and independence of thought. Gustav Meyrink’s novel about Golems ­– clay figures that can ceaselessly follow human commands – is the inspiration for the show, and creates a springboard for a witty and insightful commentary on modern technology.

The magical Golem, who revolutionises the world, morphs from an all too anatomically correct mute to an updated version, a Klaus Nomi-styled imp, who knows what you want before you do and tells you about it. The illustrations by Paul Barritt are a marvel, and the interaction with them by the talented cast is a joy. Blink and you’ll miss the rich details. The accompanying music by Lillian Henley contributes atmosphere and humour. You’ll want to be all ears, as well, for the clever verse script by writer and director Suzanne Andrade, which I would love to take home and study.

Wry and wise, it’s the ubiquity of the Golem and its corporate owners, a chain called ‘Go’ that upsets most. The home, office and town drawn by Barritt change as Go’s logo takes over. Things become cleaner, maybe safer, but a lot more homogenised – sounds familiar? 1927 knows none of us is immune, not even the show’s punk band, Annie and the Underdogs, which is eventually co-opted (anarchy is also a lifestyle choice). But not all is gloom. This theatre company alone is contrary enough to show that all is not lost – 1927 at least wants to think for itself and does so with style. As Robert comments after the first attempt to sell him Golem, it’s intriguing, and it rhymes.

Until 31 January 2015

www.youngvic.org

Photo by Bernhard Muller

2014

“Behind The Beautiful Forevers” at the National Theatre

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David Hare’s new play is an exemplary dramatisation of Katherine Boo’s non-fiction work about the slums of Mumbai. Hare squeezes the most theatrical moments out of Boo’s Pulitzer-Prize-winning reportage, preserving the clarity of voice and retaining the objective tone that gives the book such power. Boo’s research into the Annawadi slum, whose destitute inhabitants live off rubbish generated by the nearby airport, investigates poverty in an intelligent, non-patronising and thought-provoking manner. The book and stage show are glimpses into another world – horrifying and filled with tragedy, and yet full of life and hope.

Stephanie Street - Asha Waghekar, Meera Syal - Zehrunisa Husain Behind the Beautiful Forevers image by Richard Hubert Smith2
Stephanie Street as Asha Waghekar and Meera Syal as Zehrunisa Husain

A strong cast peoples the slum effectively. One surprise is how matrifocal society in Annawadi is. Stephanie Street plays Asha, a ruthless yet complex figure aiming to control the slum, with her own shocking take on the virtues of corruption. Victims abound, including the once relatively prosperous Hussain family, headed by Zehrunisa (Meera Syal gives a terrific performance), caught in the Indian legal system after the tragic machinations of their neighbour Fatima. Thusitha Jayasundera, who wonderfully doubles as a judge, takes the part of the crippled Fatima, who burns herself to death to spite the Hussains. A parallel tale of a girl so desperate that she drinks bleach shows the prevalence of suicide in the slum as an act of self-determination – grim exercises in defiance that come to haunt the stage.

Designer Katrina Lindsay recreates the spatchcock dwellings with bold economy. Director Rufus Norris marshals activity to recreate the energy of the environment and especially among its younger inhabitants: Sunil, who becomes a thief despite the dangers, and the innocent Abdul, whose brush with the law makes him want to become ever more virtuous. Further strong performances here from Hiran Abeysekera and Shane Zaza in these roles. As Norris’ first project at the National since the announcement that he is to succeed Nicholas Hytner, Behind The Beautiful Forevers is an exciting choice. Norris uses the Olivier auditorium with confidence, revelling in its scale. More importantly, he and Hare have created one of those works of theatre that strike you as something everyone should see.

Until 13 April 2015

www.nationaltheatre.org.uk

Photos by Richard Hubert Smith

2014

“Wicked” at the Apollo Victoria

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Blockbusting musical Wicked has now been running in London for seven years. The ‘untold’ story of the witches of Oz has been heard many times. There’s a danger with a show this big, and technical, that it becomes too mechanical – more like a fairground ride than a piece of theatre. The arrival of Jennifer DiNoia in the role of Elphaba, the witch who becomes ‘wicked’, injects a fantastic energy into the show that makes this a great time to see it.

Gregory Maguire’s prequel to the Wizard of Oz is a strong idea; a clever, playful twist on a story most of us have a connection with. Giving the famous characters more depth ensures strong material for the musical, and its book by Winnie Holzman, to work with. And there’s a satisfyingly moral content. Elphaba is bullied for being different, succeeds through hard work and refuses to accept the fascist state the Wizard has made of Oz – good girl. There are plenty of intelligent in-jokes and a fresh cynicism that appeals to adults in the audience – it has a fairy tale setting, but Wicked is the Pixar of musicals.

Stephen Schwartz’ score isn’t one of my favourites, but the songs that detail the relationship between Elphaba and Glenda, the good witch, are superb. DiNoia’s performance is rousing and Savannah Stevenson, as Glenda, does a great job with her big hit, Popular. The lyrics are the most uneven thing – some smart and funny but many predictable – nowadays making the Prince Charming character “deeply shallow” is predictable. It’s the production itself that makes the show, with fantastic sets by Eugene Lee, costumes by Susan Hilferty and wigs from Tom Watson; all creating a convincing world that’s worth escaping to – or from, of course, if your name is Dorothy… but that’s another story.

www.wickedthemusical.co.uk

Photo by Matt Crockett

2014

“Assassins” at the Menier Chocolate Factory

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Many musicals – and I love them for it – push the boundaries of the genre. Stephen Sondheim’s Assassins is a great example; musically and lyrically adventurous, with notably long spoken passages and a book by John Weidman that feels defiant. The idea of a musical telling the stories of those who have tried to assassinate presidents of America, seeking out their motivations and uniting them in infamy, is brilliantly bold.

The Menier Chocolate Factory’s new production directed by Jamie Lloyd does justice to the piece’s bravery. Lloyd isn’t frightened by how mad these men and women were. A fairground setting adds a scary surrealism and the staging in traverse makes it confrontational: most of the audience ends up looking down the barrel of a gun at some point. It’s appropriate that we feel ill at ease ­– these are tragic tales and Lloyd’s gory touches ensure there’s no chance of these characters receiving the acclaim many of them wished for.

The cast, onstage watching each other throughout, is tremendous. Intense performances, buoyed by demanding monologues, show the strength of the acting. Catherine Tate plays a hapless housewife who attempted to kill Gerald Ford and Mike McShane has a stirring speech as Samuel Byck who tried to crash a plane into the White House. Assassins takes us to dark places.

A trio serves as the focus of the show. The always-excellent Simon Lipkin presides over the fanatics’ funfair. Aaron Tveit is superb as John Wilkes Booth, creating a charismatic prototype for those who followed his murder of Abraham Lincoln. Jamie Parker is marvellous, first as a balladeer presenting another side of the stories, then as Lee Harvey Oswald, embodying a contest between stability and disruption, so perfectly understood by Lloyd, who has created a show close to perfection.

Until 7 March 2014

www.menierchocolatefactory.com

2014

“Visitors” at the Bush Theatre

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After an acclaimed run at the Arcola earlier this year, Barney Norris’ Visitors is now playing at the Bush Theatre. Impeccably directed by Alice Hamilton, the story of elderly couple Arthur and Edie, she sliding into dementia, is finely written and superbly acted. It’s hard to believe this is Norris’ first full-length play, it’s so accomplished: a moving family drama full of excellent observation and real heart. The subject matter is difficult, but the play so infused with gentle humour and poetic wisdom that it’s a delight to watch and an inspiring experience.

Two younger characters, the couple’s son, Stephen, and Kate, a recent graduate employed as a carer, serve as entry points for all ages in the audience. It’s clear that Norris aims to examine not just the afflictions of old age, but also how memory links to identity, and the importance of the choices we make throughout life. Stephen’s poor jokes show how spot on the humour in the show really is and, while his mid-life crisis might be a touch predictable, Simon Muller does well in the role. Eleanor Wild is superb as the young Kate, ostensibly the visitor of the title, an intriguing and carefully drawn figure.

The elderly couple is an often uncomfortable memento mori for the younger characters. With little action in Visitors, the play reminded me, somewhat fancifully, of a Dutch still life painting; something demanding careful attention and worth treasuring. Arthur and Edie are in no way clichéd and never patronised. Robin Soanes is utterly believable as the elderly farmer Arthur and Linda Bassett’s performance one of the best I’ve seen this year. Bassett makes good lines great with assured comic touches. As Edie’s observations on life, though obscured by her illness, become increasingly poignant, each line she delivers becomes all the more memorable.

Until 10 January 2015

www.bushtheatre.co.uk
Photo by Mark Douet

2014

“The Green Bay Tree” at the Jermyn Street Theatre

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Tim Luscombe’s revival of The Green Bay Tree at the Jermyn Street Theatre offers history buffs a rare chance to see this groundbreaking and controversial play. Written by Mordaunt Shairp (great name) in 1933, the play is reported to be the first contemporary drama about homosexuality.

A love triangle between the older confirmed bachelor Mr Dulcimer and his unofficially adopted son Julian, whom he has moulded to be like himself yet who wishes to marry, isn’t presented explicitly. Instead, it is phrased as a battle of “luxury” against virtue. It’s clear enough what’s going on. There’s even a reference to men with painted faces on Piccadilly, once a notorious location for male prostitutes – and close to Jermyn Street. But, perhaps needless to say, this isn’t a positive portrayal of homosexuality so, while the play is interesting given its place in theatre history, it makes for distasteful viewing.

Luscombe’s direction is impeccable and his adaptation commendably unfussy. The set is minimal, so you miss seeing the “exquisite” room that’s supposed to reflect and condemn Dulcimer’s character. The use of modern furniture and a remote control is annoyingly incongruous in such a period piece. The Green Bay Tree is rooted in its time and place: its protagonist presented as predatory to a queasy extent and the psychology of the characters twisted by repression and class consciousness.

Richard Stirling is careful not to present Dulcimer as a victim and he has a good turn in catty lines that get a few laughs. But Stirling comes too close to making Dulcimer sympathetic; bear in mind the character paid a destitute drunkard to take away an 11-year-old boy. Poppy Drayton and Christopher Leveaux play the young lovers, fleshing out their roles well, but both their characters are annoying – one too prim, the other too weak willed.

The dilemma in The Green Bay Tree seems alien: money motivates Dulcimer and Julian’s relationship, so be it, but both are mercenary enough to admit that and the tension dissipates as a result. The angst presented – and there’s plenty of it – is performed with sincerity but the characters’ trauma seems so odd at times that it’s incomprehensible. Ultimately, the connection between homosexuality, narcissism and incest is so nasty that it overwhelms.

Until 21 December 2014

www.jermynstreettheatre.co.uk

Photo by Roy Tan

2014

“Grimm Tales” at the Bargehouse, Oxo Tower Wharf

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The first incarnation of director Philip Wilson’s Grimm Tales, in Shoreditch, now seems like a trial run for this – a bigger and better version of the show – at the Oxo Tower Bargehouse. Six different stories, adapted from Philip Pullman’s retelling of the Brothers Grimm fairy tales, are presented with enchanting insight, using every inch of the huge building as a remarkable canvas.

Grimm Tales is the best kind of immersive theatre. The location is transformed to add to the telling, but Wilson’s strong vision never loses sight of the simple power the stories have. It’s like Punchdrunk without the puzzle – challenging yet satisfying. The tales chosen are relatively obscure. Hansel and Gretel make an appearance but their story is more complex than the one we’re all familiar with. Each tale is wonderfully weird and scarily dark.

Groups of performers share the words between them, mixing dialogue and narration, creating an engaging, forceful style. The actors do a superb job conveying an underlying excitement about the stories and the telling of them, as they guide you onto the next suitably grim spectacle. James Byng stands out as the Frog King and Megan Salter is wonderful as the princess who runs away from an incestuous father to become Thousandfurs.

Pullman and Wilson bring out a great deal of humour in telling the tales and never shy away from their appalling content. Even Hollywood presents us with different sides to fairy stories nowadays, but Grimm Tales is a long way from Disney. I’d be a little wary about the eight and above age guide, the show is two and three quarter hours long for a start, but that’s probably because I don’t have children myself – I’ve heard kids can be pretty bloodthirsty.
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Most thrilling of all is the detail that’s gone into creating a unique world to tell these stories. The costumes and sets by Tom Rogers are astounding: everyday props and lo-fi puppetry belie an exciting inventiveness and a huge technical achievement. With 2,000 light bulbs above and nine tonnes of rubber crumb underfoot the scale is impressive. Yet the stripped-back bricolage aesthetic works brilliantly to focus attention and captivate the imagination.

As the stories end, the audience is free to explore other rooms; further fantastic spaces to imagine other stories in are revealed. These sets are like something from an art gallery – maybe installation theatre would be a better term for this immersive experience? One thing is for sure; once upon a time doesn’t feel anywhere near long enough to explore this magical space.

Until 11 April 2015

www.grimm-tales.co.uk

2014

“Miss Saigon” at the Prince Edward Theatre

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Miss Saigon is the biggest news in theatre this year. A massive success when it was first staged in 1989, running for a decade, the show’s arrival at the Prince Edward Theatre was keenly anticipated and has been widely applauded. The pre-publicity was big, the reviews had plenty of stars and the production itself feels gargantuan. It’s not just the story of an Asian woman and her relationship with an American that Claude-Michel Schönberg and Alain Boublil cribbed from Madam Butterfly and updated to Vietnam – the whole show has an operatic feel, with every emotion highly pitched.

This is a new production, directed with a fresh eye and fast pace by Laurence Connor. Those with good memories will enjoy an exercise in compare and contrast. The staging seems simpler, strongly relying on the lighting design – Bruno Poet’s work is stunning and a shoe-in for awards season. There’s also a new song for the American GI Chris’ wife, Ellen. And some of the lyrics have been modernised, with Michael Mahler joining Richard Maltby Jr on the credits list.

Producer Cameron Mackintosh’s timing seems regrettably impeccable – foreign wars and refugees give Miss Saigon a real edge. The show feels dark in our troubled times. Although the local pimp, who goes by the moniker of The Engineer, gets some laughs, the sex trade is depicted as truly seedy and the show’s raunchiness is suitably discomforting. While the famous helicopter still wows, it doesn’t detract from the terror of the scene where the Vietnamese who have helped the Americans are left behind to face their fate. It’s all suitably serious.

Miss-Saigon-Jon-Jon-Briones-as-The-Engineer-Photograph-by-Matthew-Murphy
Jon Jon Briones as The Engineer. Photographed by Matthew Murphy.

A deal of effort has obviously gone into the casting – a move that has paid off. The ensemble is fantastic and the leads more than fantastic. There’s very little dialogue in Miss Saigon, so the show is a real test of a musical theatre actor’s ability. All the more credit then, to Alistair Brammer for establishing our ‘hero’ Chris as a sympathetic character traumatised by the war. The Engineer, like many a devil, has all the best songs but Jon Jon Briones adds an energy to the role that is dynamite. As for Miss Saigon herself, Eva Noblezada makes both her vulnerability and determination believable, with a terrific voice. It’s hard to believe Noblezada hasn’t held the role for years. With a performance this strong, in a show this good, let’s hope that’s just what she will be doing.

Booking until the 25 April 2015

www.miss-saigon.com

Photo by Michael Le Poer Trench

2014

“Sunny Afternoon” at the Harold Pinter Theatre

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Another musical to plunder a band’s back catalogue, Sunny Afternoon uses the music of The Kinks to tell the story of this seminal Sixties band. The show is closer to its subjects than similar efforts, as the original story is by songwriter and star of the band, Ray Davies. Whether Davies’ proximity to the project is a good thing is an open question; the show has an authentic ring but leans towards bias. A big hit with Kinks fans at the Hampstead Theatre, where the production started life, the show’s move into West End will be a test of its wider appeal.

As the success of the band attests, this is an impressive list of hits to work with. Even those born the wrong side of the 60s will know many of the tunes. Adapting the songs for the stage is boldly done; an a cappella version of Days is particularly noteworthy. But pop songs and show tunes are different things and the switch to the stage isn’t entirely a success. Too many of the hits are nodded at and shoe horned in. Let’s just say I would rather buy a ‘best of’ album than a cast recording.

That said, I bet the cast recording is good, as the performances can’t be faulted – everyone involved seems to sing and play multiple instruments. The band is led by John Dagleish as Ray, who has an awful lot to do and creates an appealing central character somewhat against the odds. George Maguire is suitably energetic as his brother Dave, the world’s angriest guitar player. Ned Darrington and Adam Sopp, as band members Peter Quaife and Mick Avory, carve out roles for themselves well. There’s also a lovely part for Davies’ first wife, movingly drawn by writer Joe Penhall and performed with skill by Lillie Flynn. Director Ed Hall’s work is impeccable, creating time for exploring the whole band’s emotions, which makes the evening seem weightier than it really is.

Davies is a reluctant pop star and a miserable one too. It’s acknowledged that the woes of a celebrity puzzle most of us; they create little dramatic tension or sympathy. Amazingly, The Kinks were broke despite their success – yes, those pesky promoters and publishers are the villains. The talented Dominic Tighe and Tam Williams try hard as the toffs making money out of The Kinks but their characters aren’t three dimensional enough. More surprising is the poor depiction of Davies’ working-class father. Penhall’s book makes a stab at another story – Davies’ self-representation as a singer for the people, fighting for musical integrity. Though full of potential, claims made for the music depend on how much of a fan you are – which takes us back to square one.

Until October 2016

www.atgtickets.com

Photo by Dominic Clemence

2014

“Here Lies Love” at the National Theatre

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The National Theatre’s gone all trendy. Passing the new, stylish Understudy Bar, to the swanky refurbishment of the Dorfman (formerly Cottesloe) auditorium, you can see that plenty of money has been splashed around. And the first show in the renamed space is just as startling: a musical ‘experience’ by David ‘Talking Heads’ Byrnes and Fatboy Slim (aka Norman Cook).

To be fair, the National does its best to embrace all kinds of work and this production comes from New York’s Public Theatre. Here Lies Love is so achingly ‘out there’ it could annoy, but there’s a stubbornness to do something different that wins admiration. Something this fresh, almost innocent, has its appeal.

Byrnes and Cook aren’t known for musical theatre, rather their iconoclastic approaches to pop music. Here Lies Love is about Imelda Marcos – yet there’s no mention of her infamous shoe collection. It’s a story of revolution, like other notable musicals, but the Philippines People Power Revolution was a peaceful one; a truly inspiring story, but not automatically the greatest drama.

The dance music works surprisingly well with dramatic political events that call on the crowd. But the beat fails to deliver when a song aims for emotional sincerity, creating bathos instead. A DJ, played by Martin Sarreal, presides over events, but it’s notable that his finest moment is with an acoustic guitar rather than at a turntable.

The show is a collection of songs rather than a true musical – which is interesting, but creates some problems. Exposition comes from signs and voice-overs rather than the songs. Lyrics aren’t strong but occasions when real life transcripts are utilised are gripping. Imelda’s rags to riches story isn’t exactly wasted but it isn’t fully explored either. What depth the characters have comes from the performances.

Jpeg 4. Christopher Chung (ensemble) and Mark Bautista (Fedinand Marcos)_Here Lies Love_credit Tristram Kenton
Mark Bautista as Fedinand Marcos

And the performances are fantastic. Seldom have I seen such an energetic cast on stage, nor, incidentally, such a good-looking one.  is stunning in the lead role, making Imelda an unexpected heroine and a suitably magnetic figure. Imelda’s love interests, first the aspiring, later rival, politician Ninoy Aquino (Dean John-Wilson) and then her husband Ferdinand (Mark Bautista), both have great stage presence. All can sing and dance powerfully well – and that’s no mean feat when you are running a country at the same time.

The staging is remarkable; a huge technical treat, forcefully directed by Alex Timbers, with special ushers to marshal the crowd around a rotating stage. All this immersion is so fashionable it can seem tokenistic, but if it’s your thing you will dance and sing along. There’s a lesson in line dancing – and don’t forget the Philippines invented karaoke. Here Lies Love almost lives up to its tag line of being ‘revolutionary’. Despite connections to other musicals and theatre trends, it’s not quite like anything else – which is a pretty strong recommendation.

Until 8 January 2015

www.nationaltheatre.org

Photos by Tristram Kenton