2013

“Doktor Glas” at Wyndham’s Theatre

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It’s a rare, welcome, event to have a foreign language production in the West End. Doktor Glas, based on the novel by the Swedish master Hjalmar Söderberg, owes its place in town to the presence of Krister Henriksson, famous for his role in the TV show Wallander and riding high on the trend for all detectives Nordic.

In Sweden, Henriksson is a well-known actor on stage as well as screen and he’s clearly passionately committed to this one-man show; he also directed along it with Peder Bjurman. It’s the story of a doctor’s obsessive love for a patient, hatred of her abusive husband and ambivalence towards her lover. And what should the depressed doctor do with the cyanide tablet he just happens to have made in his spare time?

Glas has an almost clichéd abundance of existential angst about him. In his profession he is “able to help others but never himself”, while in his personal life, he fears that time is passing him by. His view that sex should be something like a “ceremony”, seems a little too Fin de siècle. But Glas is still a compelling, if rarefied, character, whose plight does move you.

Henriksson makes the most out of the plays epistolary form. His impersonations of other characters are superb, injecting humour, and the touches of neurosis he brings to the character make his hypersensitivity believable. Glas’s sometimes-breathless anxiety is wonderfully executed. Indeed, Henriksson is so engaging it is hard to share your attention between him and the surtitles provided.

Doktor Glas is hard work, and not just for Henriksson. Though the lighting is superb, the staging is monotonous and the plot so clearly a device for raising philosophical issues it seems superfluous. While Glas’s anguish is portrayed with an intelligence it’s a pleasure to watch on a stage, I can’t help feeling that his predicament should be more interesting than the show allows.

Until 11 May 2013

Photo by Mats Bäcker

Written 19 April 2013 for The London Magazine

2013

“Beautiful Thing” at the Arts Theatre

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Jonathan Harvey’s iconic gay coming-of-age story, Beautiful Thing, celebrates its 20th anniversary with a new production at the Arts Theatre in Covent Garden. Despite some nostalgic nods, the play is as fresh as ever: a skilfully written comedy drama with fantastic roles and an admirably un-patronising focus on working-class life. Beautiful Thing touches on universal themes with a winning bravery.

The huge success of the play, and the subsequent 1996 film, create a special atmosphere with seemingly every audience member knowing every line. The jokes – of which there are plenty – are anticipated gleefully and the roars of laughter almost interrupt the action. Director Nikolai Foster gives the crowd what they want and his staging is a respectful affair. But it’s impressive to note his firm hand, with moments of quiet imposed as the relationship between the two young boys, Ste and Jamie, neighbours on a council estate in Thamesmead, blossoms into romance.

Beautiful Thing - Jake Davies & Suranne Jones - cMike Lidbetter for QNQ Ltd
Suranne Jones and Jake Davies

The superb Suranne Jones as Jamie’s mother shows the piece is as much about parental relationships as anything else. Playing the hard-nosed Sandra with skill, duelling with her neighbour Leah and dealing with her lover Tony (Zaraah Abrahams and Oliver Farnworth – both in fine form), Jones gives a tremendous emotional edge to the role. Through strong performances from Jake Davies and Danny-Boy Hatchard, Jamie and Ste’s shared fears about emotions and the future are presented as those of boys rather than men – an important point central to the play. Harvey’s writing and the skill of the young actors enhance the empathy and humour and ensure sure the play lives up to its title.

Until 25 May 2013

Photos by Mike Lidbetter

Written 18 April 2013 for The London Magazine

2013

“Once” at the Phoenix Theatre

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Arriving from America with eight Tony Awards to boast about, the new musical, Once, which opened this week at the Phoenix Theatre, is a fantastic show, impressive in its simplicity. This love story is a world away from the brummagem you often see in the West End. This is genuine, heartfelt stuff – and refreshing for being so.

The guy and girl are a Dublin busker and a Czech immigrant, played by talented duo Declan Bennett and Zrinka Cvitešić. They fall in love because of a shared passion for music. This is a modern affair with complications that make them chaste; their brief encounter is more about creativity than carnality, as she inspires him with the confidence to pursue his musical career.

Based on the 2006 film of the same name, spruced up with poetic moments from writer Enda Walsh, Once started out at the New York Theatre Workshop before its transfer to Broadway. It’s easy to fantasise how wonderful it would be in a small venue. But the atmospheric design by Bob Crowley, recreating an Irish pub where all the action takes place, is wonderfully intimate. The bar can be visited by the audience, and the actor-musicians, who perform marvellously, never leave the set.

Most of the songs, including the Oscar-winning ‘Falling Slowly’, are marvelled at as they are performed: by the girl when she first hears them, a sympathetic bank manager approached for a loan (Jez Unwin providing some much needed comic relief) and the studio manager as the band make their demo tape. It’s key to the piece’s charm – the invitation to revel in creativity. Behind this is the beautiful score written by Glen Hansard and Markèta Irglovà. A mix of folk-inspired tunes, performed with a raw energy that is infectious. Instantly appealing, and with the potential to grow on you – these are songs you will want to hear more than once.

Until 4 July 2014

oncemusical.co.uk

Photo by Manuel Harlan

Written 12 April 2013 for The London Magazine

2013

“Before The Party” at the Almeida Theatre

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Preparation is often the key to both a good party and a good play. Director Matthew Dunster’s impeccable staging of Before The Party at the Almeida Theatre is clearly well provisioned: a strong text, finely executed, with the highest production values.

The action occurs before two events, a teatime affair and a dinner, with the Skinner family facing increasing turmoil and scandal as they prepare for each. The fare on offer is various – this is a sharp comedy with plenty of deliciously dark-edged plot twists.

Saving the family face makes the snobby Skinners a great target for writer Rodney Ackland’s satire, but emotions break through with a genuine touch that’s truly affecting.

Heroine Laura (Katherine Parkinson) fights for her right to party despite being only recently widowed, and that’s just the start of her shocking behaviour. Laura mortifies her mother and sister (Stella Gonet and Michelle Terry in fine comic style), and infuriates her father, portrayed with suitable bluster by Alex Price.

Special mention has to go to the costumes from a team headed by designer Anna Fleischle. Spot on for a time when post-war celebrations and a touch of provincial conservatism had to deal with continued rationing, they should win an award.

In many ways, Ackland’s play (a big hit in 1949) is pretty dated: the snobbery seems ridiculous, but current financial straits find a parallel with wartime rationing and the black market exploited by the wealthy Skinners shows that we were never really all in it together. Even if you’re not one for nostalgia, Before The Party has enough hits against hypocrisy to make you glad you attended.

Until 11 May 2013

www.almeida.co.uk

Photo by Keith Pattison

Written 8 April 2013 for The London Magazine

2013

“The Thrill of Love” at the St James Theatre

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The Thrill of Love has newly arrived in London from the New Vic Theatre in Newcastle-under-Lyme. A small admission of bias – I saw (and loved) my first ever play at the beautiful New Vic, so I can’t help feeling proud of it for producing this skilful take on the Ruth Ellis story.

Ellis was, of course, the last woman to be hanged in Britain, in 1955, and the play’s focus is entirely on her – her murdered lover David Blakely doesn’t even make an appearance. She’s a complex character, who loves neither wisely nor well, abused but also admirably independent, with a drink problem and mental instability that makes you question the soundness of her conviction. It’s a dream role that Faye Castelow makes the most of, and the play’s author, Amanda Whittington, unflinchingly recreates Ellis’s milieu – the gentlemen’s clubs that served as seedy ‘trading floors’ for a ‘girl on the up’ with a misplaced sense of stardom (Hilary Tones gives a tremendous performance as the manageress of The Court Club in Duke Street).

As a narrative device, a detective attempts to fathom Ellis’ motivation for the crime. Despite Robert Gwilym’s best endeavours, it’s the weakest link in the show – odd when everything else is so sure-footed. The sound design and original music from James Earls-Davis are superb, and talented director James Dacre provides terrific theatrical moments, including a key scene where Ellis performs a disturbing striptease accompanied by a diagnosis from the prison doctors.

The Thrill of Love is not a documentary, and the most impressive aspect of Whittington’s writing is the space she makes for her own concerns about women and justice, despite the wealth of factual details. While hindsight sees Ellis as a tragic figure, Blakely was clearly a victim too, and this writing is too strong to eulogise his murderer. We hear nothing from the prosecution, but the case for the defence is thrillingly presented.

Until 4 May 2013

www.stjamestheatre.co.uk

Photo by Andrew Billington

Written 4 April 2013 for The London Magazine

2013

“Moby Dick” at the Arcola Theatre

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The Simple8 theatre company has already won acclaim for its current brief season at the Arcola Theatre. Moby Dick is its second production, following The Cabinet of Dr Caligari, another ambitious adaptation made remarkable by a back-to-basics method. With minimal props and a set erected during the action, Simple8’s emphasis is on story telling, delivering an appealingly pared-down piece of theatre.

Taking on the subject of mad Captain Ahab and whale hunting in such a rudimentary fashion works well and much of the success comes from the accompanying music, sea shanties and touching folk songs. Performances are also excellent, from Joseph Kloska as the cruelly obsessed, mutilated mariner Ahab, forever “bound” to chase the eponymous Great White, and Oliver Birch for a series of smaller roles. Taking the lead is Sargon Yelda as an impoverished schoolmaster turned sailor. If at times a touch too ebullient, he navigates proceedings admirably as our narrator.

Sebastian Armesto’s adaptation of Melville’s mammoth classic is strikingly economical and effective – qualities also commendable in his direction. Armesto superbly wrings out the action in the text using a great deal of mime and Melville’s religious concerns are downplayed. Instead, Armesto is fascinated by the allegorical use of the sea as a mirror for man’s own nature. It’s a rich seam to explore and one that gives satisfying depths to a show that provides much to reflect upon.

Until 4 May 2013

www.arcolatheatre.com

Photo by Idil Sukan

Written 3 April 2013 for The London Magazine

2013

“The Low Road” at the Royal Court

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The Low Road, a new play by Bruce Norris, is Dominic Cooke’s final production as Artistic Director of The Royal Court. It follows a long tradition at the theatre, but particularly under Cooke, of challenging new writing. Masterfully directed, with a joyous rebelliousness, as exemplified by Tom Pye’s freewheeling set design, the focus is nevertheless on the writer, and his startling text.

Norris’ last play, also for the Royal Court, was the smash hit Clybourne Park, a satire on racism and property. For The Low Road he takes economics as his subject, and more specifically Adam Smith, of The Wealth of Nations fame. The play examines the 18th century philosopher’s ideas, recounted as a fable about one Jim Trumpett: “his education, his progress and his eventual undoing”.

Smith himself appears as our narrator, played by Bill Paterson. His performance is hilarious and he’s in total command of the stage, which is appropriate given the manner in which Smith propounds his philosophy. Trumpett (played by Johnny Flynn) is a character who is inspired by Smith’s ideals and takes them to their extremes. Flynn is impressive as a Hogarthian villain who treats all the other characters in the piece appallingly. And there are plenty of them. The Low Road features a huge cast, taking on numerous roles with magnificent speed. Elizabeth Berrington in particular, who plays several female leads, has superb comic skills.

The highlight of the show is a magnificent scene resembling the last supper, in which Trumpett turns on a hospitable religious group – challenging the charity he himself has benefited from, with breathtaking tastelessness. Trumpett’s morality of the markets, in which taxation is seen as the only evil, sees him clash with wealthy civil society too. And protestors, past and present also feature (a scene at an economic forum that rewards less than it should). It all culminates in an epilogue so startling, it’s a little alienating. There are also some knowing references to the fact that some might doubt the theatre is the best forum for a debate to resolve the nature of capitalism.

The play has a showy intelligence, and is technically brilliant, with olde English dialogue full of wit and profanities to get the giggles in. It has an embarrassment of rich ideas, and if at times it overreaches, it still cannot fail to impress. Norris’ exegesis of economics is tremendous, his presentation respects the audience’s intelligence, and the imagination applied to Smith’s metaphors is ingenious.

Until 11 May 2013

www.royalcourttheatre.com

Photo by Johan Persson

Written 28 March 2013 for The London Magazine

2013

“Quasimodo” at the King’s Head Theatre

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London’s excellent fringe theatres often afford the chance to see hidden gems and curios: seldom-performed pieces, which can catch on with many or fascinate the aficionado. Quasimodo, by Lionel Bart, receiving its premier 50 years after it was first written, falls into the later category.

The musical, which has only been workshopped until now, has parallels with another beauty-and-beast show, The Phantom of the Opera, and various adaptations of French epics, including another of the iconic Victor Hugo story, Notre Dame de Paris, that have proved successful. But Bart’s was a project that never took off, so all credit to the talented director Robert Chevara for finally bringing it to the stage. It’s a shame that Quasimodo will really only interest those mad for musicals.

There’s certainly nothing wrong with the source or the book, which has been shaped by Chris Bond and Chevara into a slick work full of neat parallels, satisfyingly far removed from anything reminiscent of Disney’s 1996 film. Just as much the story of the beautiful Esmeralda, who inspires the passion of nearly everyone on stage, it’s ambitious and engaging. Bringing to the fore the theme of sexual anxiety, with Quasimodo as an understandably confused young man, is brave and bold. Chevara’s central performers explore the themes well; Zoë George is a vulnerable orphan willing to hone her feminine wiles and the excellent Steven Webb plays the crippled campanologist with charm.

Chevara’s production is at its best in its darkest scenes, there are moments when you suspect he’s onto something, but the humour in the piece rings like a cracked bell and proves distracting. Performances from the supporting cast could be pared back. The set by Christopher Hone is a good idea but sellotaped cobwebs give an amateurish feel, and the costumes, with their mismatched styles, misfire.

While the band do their best, you can hear the score crying out for more – this music needs a big sound in order to be judged properly, especially the choruses. But this is not the late, often great, Lionel Bart’s finest writing, the lyrics are unimaginative and the tunes simply not memorable enough. Ultimately that, rather than any battle of Quasimodo’s, is the tragedy of the piece.

Until 13 April 2013

www.kingsheadtheatre.com

Photo by Francis Loney

Written 25 March 2013 for The London Magazine

2013

“Proof” at the Menier Chocolate Factory

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Immediately before the interval of Proof, just opened at the Menier Chocolate Factory, the heroine drops a bombshell, claiming that she, and not her recently deceased famous father, has made an important mathematical discovery. It’s a fantastic moment of drama – so much so you can’t wait for the break to be over, which is surely indicative of the high quality of both play and production.

The genius father, who fought a losing battle for sanity most of his life, was looked after by his devoted Catherine, who put her own career on hold to care for him. Dealing with his death is proving difficult: in the first scene she talks to his ghost, portrayed with great emotional control by Matthew Marsh, and there’s a complex sibling relationship with her sister Claire, played wonderfully by Emma Cunniffe, to factor in. Add to the mix a former student of her father’s, Jamie Parker, sniffing around old notebooks for an academic scoop, and there are plenty of components to this fascinating equation.

David Auburn’s artfully written play deserves all the acclaim it has received since its New York premiere in 2000. It’s a controlled piece, easy to admire, full of subtlety actors can work with. Clearly visualised, the text must be a joy to direct; Polly Findlay does a superb job and brings out some humour with the help of Parker’s affable stage presence. Playing another Hal, after his triumph as Prince Henry at the Globe last year, his Catherine here takes the lead. Fearful that she shares her father’s instability as well as his intelligence, this is a demanding role for both actor and audience. Mariah Gale is wonderful in the part – frequently on the brink of tears yet with a wicked sense of humour – this play gives all the proof we need of her talent.

Until 27 April 2013

www.menierchocolatefactory.com

Photo by Nobby Clark

Written 22 March 2013 for The London Magazine

2013

“Above and Beyond”at the Corinthia Hotel

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Although it’s a tough job, theatre critics should aim for some semblance of objectivity when they write. That makes Above and Beyond, currently playing at the Corinthia Hotel, difficult to deal with. Billed as “one-on-one immersive theatre” the thrill is that each audience member can make of it what he or she wills. Participation, which many, including reviewers, dread, plays a big part. It’s an exciting adventure, best commended by saying that at the end it’s something you’ll want everyone to do.

When it comes to the ‘doing’, Above and Beyond is a tremendous achievement on the part of its cast and apparently super-human director Mimi Poskitt. After being escorted to the starting point in the lobby, you launch on a solo journey in and outside the hotel, up and downstairs, meeting all kind of characters. Of course your every move is plotted to perfection and the mechanics of the operation are almost distractingly smooth – you can’t help looking out for other participants and maybe start to feel a little paranoid that everyone you see is a member of the cast. The plethora of details is delightful and the execution faultless. And give yourself some credit – interacting with the cast like this, no matter how skilfully encouraged, is unusual and engrossing.

Such is the level of complicity established, I confess my allegiances lie with the team behind the show, the Corinthia’s ‘Artists in Residence’, Look Left Look Right. There’s a charge from the unexpected that they utilise so any plot spoilers would be unfair to this hard working crew. Suffice to say, don’t expect a narrative as such, rather of collection of stories, written by Morgan Lloyd Malcolm and Katie Lyons, inspired by the hotel, its staff and the international elite who stay in a place like this.

The scenes designed to provoke sentiment and nostalgia, with a nod to the location’s history, worked less well – for me anyway – but the majority of Above and Beyond has a sense of fun, a welcome change from much theatre in this format, and an intelligent wit that recognizes the bizarre situations. This is one of the funniest nights I’ve had in ages – I couldn’t stop laughing in several scenes. And a couple of teasers: expect a real giggle in the spa and check your face for make-up before you leave.

Lloyd Malcolm and Lyons have an impressive sense of independence despite the overwhelming generosity of the hotel. Going behind the scenes could prove awkward and a marketing seminar you are invited to join is close-to-the-bone funny. But the Corinthia is its own advertisement, with interiors gorgeous enough to awe a humble theatre critic and a penthouse suite I felt privileged to visit. The real members of the hotel staff deserve credit as well since the experiment must make more work for them. Let’s hope they get a chance to experience some of the magic themselves.

Until 14 April 2013

Written 20 March 2013 for The London Magazine