“Exhibitionists” at the King’s Head Theatre

A new year and a new theatre! The new home for this stellar fringe venue, pretty much behind the pub it takes its name from, is a great start to 2024. And it is commendable that the inaugural production is a new play, written by Shaun McKenna and Andrew Van Sickle. The piece can be generously described as safe – a romantic comedy (of sorts) with an eye on the LGBTQ audience that the King’s Head Theatre admirably serves.

The aim is light entertainment, the inspiration (we’re told) screwball comedies from the 1930s and 40s. There are touches of Alan Ayckbourn too, but the play might best be thought of as an openly gay version of Noel Coward’s Private Lives. These are solid sources and the idea of updating them isn’t bad. Maybe it shouldn’t surprise that the play doesn’t live up to them… it’s a big ask after all.

Ex-lovers, Conor and Robbie, who meet again at an art exhibition, had long experimented with an open relationship. They run off together, leaving their new, younger, boyfriends Mal and Rayyan bereft, before a predictable and improbable ending. The problem isn’t that we can guess what happens next – it’s that the dialogue doesn’t sparkle. There’s little wit and the jokes are lacking.

It’s interesting that the younger characters are better written. Or maybe they are just more interesting? At least, it’s a neat point that they behave less like children than the older men. But it’s a shame some less savoury points from McKenna and Van Sickle’s old-fashioned inspiration have been retained – Conor and Robbie’s attitude to waiting staff and the domestic violence in the play do not sit well with trying to make people laugh nowadays. To be fair, there are some attempts at satire that are topical. An unhappy role for a Norwegian hotelier (performed valiantly by Øystein Lode) and new age therapy (using a spoon!) should be easy targets. And Instagram of course. But there isn’t enough originality here and the jokes continue to be poor.

While the play itself leaves a lot of be desired, praise is deserved when it comes to the production. The five cast members all have a tough job but each manage to make their lines light, even when the jokes don’t land. Ashley D Gayle and Robert Rees convince as a couple who have known each other a long time, even if it is hard to care about their characters. Rolando Montecalvo and Jake Mitchell-Jones both have a clear idea of what the piece is trying to do, even if the material limits them. Credit to director Bronagh Lagan who keeps the action tight, touches of farce are handled particularly well, and ensures the show at least has the energy that the script lacks.

Until 10 February 2024

www.kingsheadtheatre.com

Photo by Geraint Lewis

“The Motive and the Cue” at the Noël Coward Theatre

This blog is about loving theatre. So, Jack Thorne’s play, which goes behind the scenes of Richard Burton and John Gielgud’s 1964 production of Hamlet, is a welcome transfer from the National Theatre. With Sam Mendes directing, it’s sure to thrill theatregoers. It really is a great show.

There’s a trick that’s neat, if not uncommon. Like lots of writers who use Shakespeare’s quotes, the play’s the thing that tells us about the creative process and the people who are performing. The idea structures the play (each scene comes with a quote) and provides a quest – Burton must find “his” Hamlet.

While there’s debate about tradition and youth, with Burton and Gielgud representing different ages, there’s a struggle with the thrill of seeing the two greats depicted. Both are vulnerable – Gielgud’s career is in the dumps and Burton’s drinking on the rise – but we never question their genius. And the fact they are at odds adds a lot of humour. Almost every line is entertaining.

There are problems. I guess you wouldn’t see the play without knowing Hamlet… but that knowledge is essential. And not a passing acquaintance with the play, either. When Thorne does provide background, it rings hollow – there’s too much listing of achievements. It’s frustrating as a solution is present. Burton’s wife, Elizabeth Taylor, is the outsider who could help the audience. Possibly a desire not to patronise Taylor won out. But the character ends up underused. A great shame given Tuppence Middleton’s strong performance in the role.

Which leads to another question. This rehearsal room is full. The production boasts a strong cast that includes Allan Corduner and Sarah Woodward in great form. We all know theatre is a collective effort. But the play is overwhelmed by its central duo. Mirroring Burton’s dilemma – ego takes over. Despite Gielgud’s effort as his director, we don’t see him learning much from anyone. You might argue this is a play about how theatre works… that doesn’t show us how theatre works.

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Mark-Gatiss and Johnny Flynn

It’s hard to know how much such quibbles matter. Mendes brings great style to the show, with the help of designer Es Devlin and lighting from Jon Clark. As well as wringing out big emotion – both Burton and Gielgud’s demons get an airing – the comedy is perfect. And while the lead performances share the danger of unbalancing the production, they are spectacular.

Johnny Flynn plays Burton with breath-taking charisma. It’s a harsh depiction, especially when he is drunk, but you’d still forgive the character almost anything. And you’re convinced his Hamlet was amazing. But since the show contains a battle of egos… Gielgud wins and Mark Gatiss, who takes the role, gives the performance of his career. The impersonation is remarkable – I swear Gatiss starts to look like the man. We see plenty of snobbery but come to understand it as a defence mechanism. Not only is he funnier, in Gatiss’ hands the older man becomes a figure of huge sympathy.

It is with the figure of Gielgud that the transitory nature of theatre, the important role its history plays, the creative struggle and bravery behind putting on a show all become clearer. So…Gielgud is doing a lot of work. And Mendes gets to remind us how important the director is! Burton finds his Hamlet. But nothing happens without Gielgud.

Until 24 March 2024

www.nationaltheatre.org.uk

Photos by Mark Douet

“Cold War” at the Almeida Theatre

All the tragic romance in Paweł Pawlikowski’s 1998 film is present in this adaptation from Conor McPherson, directed by Rupert Goold. The story of two musicians, Wiktor and Zula, separated by the titular conflict when he defects to France, is intense; from passion filled first meeting, to damaging co-dependency, and a depressing finale.

Cold War is a play with music rather than a musical but there are a lot of songs. Under the musical direction of Jo Cichonska the show sounds great. First there are folk songs: Wiktor is collecting them with his lover Irene (a superb performance from Alex Young) when he meets Zula. The traditional music is re-arranged throughout the show to great effect. But we also get new compositions from Elvis Costello. It’s all interesting and subtle, complimenting and commenting on action rather than being the focus.

Elliot Levey, Alex Young and Luke Thallon
Elliot Levey, Alex Young and Luke Thallon

There’s more than the lovers to consider. Questions of art as propaganda and the role of nationalism follow our musicians, most notably in the form of Kaczmarek, a character Elliot Levy skilfully develops from party apparatchik to impresario. The big themes are thin at times, the politics cursory. But there’s plenty to think about and Goold powers through. Then there’s a lot of talk of freedom – how that relates to creativity. So, we’re very much in tortured artist territory. Wiktor and Zula want to do something new and become frustrated.

As trigger warnings state, the outcome for the couple is awful. There are efforts not to glamorise what happens. Wiktor and Zula make interesting anti-heroes that challenge how stylish the production is. Paule Constable’s excellent lighting design has seductive moments (such sexy spotlights) but also harsh clinical glares. Goold is too smart to make the show a straightforward tearjerker – credit to him – but it is odd programming for the festive season.

It’s with the lead performances, from Anya Chalotra and Luke Thallon, that the show really succeeds. Thallon conveys his character’s pain cleverly – Wiktor is a man who hides much. Chalotra is a revelation, full of humour and magnetism while showing a mania that the role requires. She has a sweet voice, and, even tougher, has to sing badly at times (oh, and they both do drunk very well). The couple have a marvellously natural way about them, and for a lot of the time you believe they have fun together. Neither passion nor antagonism are overplayed. Chalotra and Thallon make sure you never quite know what’s going to happen. They make the show exciting and provide a highlight in what might otherwise be just too grim.

Until 27 January 2024

www.almeida.co.uk

Photos by Marc Brenner

“Rock ‘n’ Roll” at the Hampstead Theatre

This revival from director Nina Raine firmly establishes Tom Stoppard’s 2006 play as a modern classic. It’s a piece that has it all: history and politics, plenty of philosophy, and a surprising amount of romance. What you find most appealing is up to you, but big themes and complex personalities are juggled well, and the play is hugely rewarding.

Stoppard loves a big timespan, and there’s plenty of history here, from the Prague Spring of 1968 to a Rolling Stones concert at the city’s Strahov Stadium in 1990. The action tracks the politics of Cambridge based Max and his one-time student Jan, who returns to his native Czechoslovakia early in the play.

In other hands an audience could get lost, so Raine deserves praise here: the production is marvellously clear and bravely paced. It is hard not to be overwhelmed towards the end, and the final party scene chat feels rushed. But if it’s ideas you want to hear, you will be happy; Stoppard’s characters can talk about ideology and consciousness, of all kinds, better than most. Politics here is more than a matter of left and right. Instead, the concern is political engagement, to the extent of asking if not caring might be the best way to be a dissident.

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Nathaniel Parker & Jacob Fortune-Lloyd

It is those who ask questions – the intellectuals – who are most vivid. Max’s die-hard Communism fascinates. Loyal to the party late in life, he is portrayed with skill by Nathaniel Parker. Jan offers a contrast: he wants a quieter life (spoiler – he doesn’t get one), finding his friends’ letters of protest pointless. Yet Jan is made heroic by Jacob Fortune-Lloyd’s sensitive portrayal.

The characters are keen to address a divide between theory and practice. Possibly, Stoppard’s answer, after outlining all that thinking, is focusing on people – through his characters. That’s my preference anyway. And Stoppard knows how important these personal stories are. His creations have rich emotional lives that form another level for the play. Like the soundtrack for the show, or the love poems by Sappho that feature, they interact with, ground if you like, the big ideas.

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Nancy Carroll

There is a lot of love in Rock ‘n’ Roll, from the mother and daughter relationship that leads to a great role for Phoebe Horn, to the affection between teacher and pupil that Max and Jan show. But it is the romance between Max and his wife, Eleanor, then a young love revisited in middle age for their daughter Esme, with Jan, that provide real warmth. Taking the roles of Elinor and Esme, who love Max and Jan in turn, is a big task but makes an amazing night for Nancy Carroll. These are the roles that provide passion for the play and end up inspiring.

Until 27 January 2024

www.hampsteadtheatre.co.uk

Photos by Manuel Harlan

“My Neighbour Totoro” at the Barbican Theatre

This smash hit production, winner of six Olivier Awards last year, is back. It’s easy to appreciate why it’s packing them in as the staging is superb. Retaining the feel of its Japanese source material, the show is just that little bit different for London. And the atmosphere is great. Suitable for theatregoers from the age of six, hearing the audience’s delight is almost as much fun as what’s on stage.

An adaptation of the legendary Studio Ghibli’s animation, the story is very simple: two young sisters move to the country when their mother becomes ill (don’t worry – nothing that bad happens). In their new home, they meet a spirit of the woods who comes to comfort and help them… even if he is noisy and smells like mud.

While there are more sad moments that you might expect, the story impresses with its light touch – both the characters and the audience are enchanted by the titular creature. Mei Mac and Ami Okumura Jones give energetic performances as the girls and get a lot of laughs. And they can deliver when it comes to big emotions – having a toddler temper tantrum is a hard act to pull off!

Director Phelim McDermott brings it all the stage with fantastic style. The puppets, designed and directed by Basil Twist, are very big and look very cuddly. It’s possible you might be tempted to buy a toy version helpfully on sale at the theatre. The sets are also fantastic. As well as an appropriate paper-inspired aesthetic, the family home opens up and splits apart to great effect. The house itself can be considered part of the incredible movement direction for the show, credited to You-Ri Yamanaka. An impressive troupe makes the magic happen. Operating as stagehands as well as puppeteers, they are cast as spirits with touches of humour and they provide remarkable personality (considering they’re mostly dressed in black with their faces covered). They don’t compete with the props or puppetry – they complement them.

It’s the pace of the show that sets it apart. There are plenty of slower moments when we’re invited just to enjoy the spectacle. Time is allowed to appreciate Jessica Hung Han Yun and Tamykha Patterson’s gorgeous lighting design, while Nicole T Chang’s work (credited for sound effects and as soundscape designer) adds atmosphere. These almost contemplative moments might try the patience of adults more than children. This isn’t the first show I’ve seen where those being naughty were old enough to know better! But the ones that matter – the real fans – love it. It is great to hear them, and Tortoro, roar.

Until 23 March 2024

www.barbican.org.uk

“Infinite Life” at the National Theatre

Annie Baker’s new play might be the quietest you’ll ever see in a theatre… which has an appeal. Six characters sit around on sun-loungers talking. They come and go a little. They are silent a lot of the time. And they never raise their voices.

The women, and one man, are on a fasting retreat, with aims that vary from miracle cures to managing chronic pain. But nothing really happens. There’s an obsession with medical language that Baker makes magically poetic. Yet we learn surprisingly little about this taciturn lot.

Time is punctuated by announcements from Sofi, whose struggle and story is our focus. As she becomes weaker from not eating (suffering is part of the procedure, of course) there are surreal touches: some smart, some funny. But even oddity isn’t overplayed by Baker.

Credit to director James Macdonald, who tackles the piece with steely nerve – so much silence! Is it hard to handle… or even stay awake? And what to do as a performer? The cast is calm and in control. Christina Kirk has it comparatively easy as Sofi; we get to hear plenty of her troubles – and fantasies – through tortured late-night phone calls. The rest – Marylouise Burke, Mia Katigbak, Kristine Nielsen, Brenda Pressley and Pete Simpson – all impress with close work. But the restraints imposed on them are the key. These are glimpses at lives. Baker’s dialogue is accomplished, but they characters aren’t close to each other and we aren’t allowed close to them either.

There’s a point to all the reserve. While Infinite Life is austere, the play is also philosophically rich. The question of other minds is brought into focus by it all and by discussions of pain. The extreme treatment volunteered for would please a Stoic, but it makes those undergoing it lose touch with reality. And don’t forget denial can be indulgent. Talk of souls becomes explicitly linked with religion, energy and flux. All this on an empty stomach.

It’s hard to fault the play’s originality – the production is intelligent and brave. But Infinite Life is hard work. Lots of plays tackle philosophy – and Baker is good at it – but you do have to be in the market for metaphysics to buy this one. I’m just glad I had an overpriced sandwich beforehand.

Until 13 January 2024

www.nationaltheatre.org.uk

Photo by Marc Brenner

“Pacific Overtures” at the Menier Chocolate Factory

Two white Americans telling a story from an Asian perspective might ring alarm bells for some nowadays. Investigating Western Imperialism, with the arrival of a military presence to an isolated Japan in 1853, is tricky. But, surely, the first point in favour of this revival of Stephen Sondheim and John Weidman’s musical is that you’re going to have to think. The work is as challenging as it was when it débuted in 1976, maybe more so.

It turns out that in skilful hands the project works… for the most part. The casting is sensitive. Indeed, this is a co-production with the Umeda Arts Theatre in Japan. There are clichés about the country and the history is whistle-stop, but it should be noted that the show has been updated, with additional material by Hugh Wheeler. Attempts at humour are limited (and excellent, by the way, ‘Please Hello’ is an erudite highlight). Two numbers that deal with sex – both showing violence toward women – make a powerful, disturbing pairing. Nonetheless, it all feels slim.

Director Matthew White’s brilliant staging is a triumph of minimalism, and the show looks amazing. Paul Farnsworth’s set, Ayako Maeda’s costumes and Paul Pyant’s lighting are all gorgeous. And there’s Ashley Nottingham’s choreography, with You-Ri Yamanaka credited as a cultural consultant – the way the cast moves is fascinating, and every action in the show is carefully curated. Could all this almost be a problem? Could the aesthetics be fetishistic: the idea of Japan (that Empire of Signs) can be intoxicating. Maybe you’d counter by saying the idea is potent for nations all over the world. White is certainly overt about the idea of presenting the past like a museum display.

It isn’t fair to say Sondheim, Weidman or White paint broad strokes when they are also precise. But a lot of ground is covered very quickly (the show is short). A saving grace comes with something surprisingly old-fashioned – the characters. A trio focus drama and emotion. There’s Kayama, a samurai given the thankless task of dealing with the unwelcome Americans, and his wife, Tamate, who have a brief but beautiful romantic number and tragic story. Takuro Ohno and Kanako Nakano give exquisite performances in the roles. Afterwards, Kayama’s friendship with Manjiro, a strong role for rising star Joaquin Pedro Valdes, reflects responses to cultural change in an easy manner. And John Chew also deserves praise as the narrator who anchors the show – although his role’s transformation into Emperor Meiji is the book’s poorest move.

Unusually for a Sondheim piece, consideration of his music and lyrics is delayed – there is so much else to bear in mind. There are brilliant songs in Pacific Overtures, the lyrics are a model of efficiency as smart as you’d expect. The score was innovative in 1976 and stands out just as much now. The show is a must for fans – it doesn’t come around that often – and this is as fine a production as I can imagine. Still, for most, the evening is probably more interesting than enjoyable, its brevity being a problem that makes it an overture rather than a complete work.

Until 24 February 2024

www.menierchocolatefactory.com

Photos by Manuel Harlan

“The Witches” at the National Theatre

Given its record of seasonal family treats, you might describe the National Theatre’s Christmas shows as venerable. But few have been as eagerly anticipated as this new musical adaptation of Roald Dahl’s classic. It’s a thrill to report that it lives up to expectations.

Lucy Kirkwood’s book is superb. The action is swift and ambitious, scary and complete with the surreal touches that Dahl fans love. It takes kids seriously – specifically that they can be interested in mortality – so, it’s suitably dark as well as humorous, with risqué touches that make it wickedly funny.

It can’t be as easy as Kirkwood, and director Lyndsey Turner, make it look. Not only is the book well-loved, but there’s a big coven of witches who need special effects – they turn children into mice – and that’s before you add singing and dancing. The budget and the cast are huge, the illusions (Chris Fisher and Will Houstoun) grand, and Lizzie Clachan has excelled herself with the set and costume design.

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Daniel Rigby and company

Turner might use the Olivier better – the show would be more at home in a proscenium theatre. But, like Kirkwood, she has excelled at making the most of the characters – a collection of roles performers can get stuck into and enjoy themselves with. There’s our hero Luke’s witch-hunting grandmother, the manager of a hotel and its chef. These are super roles for Sally Ann Triplett, Daniel Rigby and Irvine Iqbal, respectively. Suitably larger than life, the adults take over from the children (who are very good, by the way).

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Katherine Kingsley and her Coven

Not forgetting, of course, the witches themselves. Katherine Kingsley has a great time as the Grand High Witch, bringing some Dietrich-style glamour to the role. She commands the crowd and has a powerful voice. But all the coven are strong and work superbly as an ensemble; they sound great right from the brilliant opening number, while Stephen Mear’s choreography has exciting touches.

And Dave Malloy’s music is fantastic. That there are so many adult voices in the show helps. The songs are more than catchy and varied, just as the lyrics, from Malloy and Kirkwood, are more than witty and clever. There are surprises here… hurrah! Careful modern touches (like TikTok) make the lines sparkle. The music has bold moments of percussion, repetition and acapella.

Can you remember the last time a family show felt this fresh and exciting? Oh yes, it was Matilda! The ‘other’ Dahl musical and still one of the best shows around. There are similarities, of course, but a lot here is bigger – the ambition and the sound. What they really have in common is their originality – both have a voice of their own, and everyone, of any age, can enjoy them.

Until 27 January 2024

www.nationaltheatre.org.uk

Photos by Marc Brenner

“Backstairs Billy” at the Duke of York’s Theatre

It’s hard not to suspect that Marcelo Dos Santos’ play is in the West End because people are interested in Royalty. This fictional account of the Queen Mother and her butler, Billy Tallon, is good. But there isn’t a lot to it. At its best it offers performances to sit back and enjoy: confident, subtle, and making the most of some solid comedy writing.

Charm comes from the characters (not that they are closely, or convincingly, written) who endear and amuse. Billy is gay, so there are two Queens here (ha, ha) with jokes, just a little naughty, about their adventures and attitudes. Not a lot goes on and there’s not much for the performers to convey. But Penelope Wilton and Luke Evans do very well in the lead roles.

The affection Billy and the Queen Mum feel for each is neatly used – both papering over and creating tension. He is long serving but not long-suffering with “the eyes of a religious zealot” when the two first meet (flashback scenes make a strong showcase for Ilan Galkoff who plays a younger Billy).

The Queen Mother is…well…she’s the Queen Mum and gets off very lightly. While plenty of her behaviour is unpleasant the play owes too much to the Royals to really criticise. Meanwhile, Billy is a “boon” to her, especially when we see her as an increasingly lonely old lady. At least his fears of being only “marginalia” in her story is a fate Dos Santos successfully prevents.

When it tries to add bite Backstairs Billy fails. There’s a sitcom moment with Billy’s one night stand, who makes an unwelcome return, that’s successful until politics is brought into the mix. And the power play between the queen and Billy gets nasty and threatens to leave the audience with a sour taste in a clumsy fashion.

Director Michael Grandage keeps the action brisk – necessary in such a static play. Christopher Oram’s set and costume design are accomplished. And there are corgis – real ones! There’s plenty of talent here, and fun moments. But efforts to show changes in British society ring hollow. Backstairs Billy doesn’t give much more than a good giggle.

Until 27 January 2024

www.michaelgrandagecompany.com

Photo by Johan Persson

“She Stoops to Conquer” at the Orange Tree Theatre

Moving Oliver Goldsmith’s 1773 comedy to the 1930s proves a neat idea in director Tom Littler’s new production. Add a cracking cast and some seasonal touches and the show, which would be perfect any time of year, makes a very happy Christmas theatre trip.

This comedy of manners and mistaken identity is well known, but Littler makes it blissfully light. The wit is verbose, surely tongue-tying for performers, but the delivery here is always clear. Dashes of Wodehouse help – the division of town and country and a clash of classes become spiffing fun. And Littler is very much at home working in the round, making sure the action zips along among Anett Black and Neil Irish’s stylish design.

This is an ensemble that looks as if it’s having a great time and every role comes into its own. First up are Mr and Mrs Hardcastle, the country gentry, played by David Horovitch and Greta Scacchi. Horovitch gets a laugh out of nearly every line as the “grumbletonian” patriarch. Scacchi keeps up, despite a less forgiving role – anyone else feel sorry for this doting mum who doesn’t get her trip to London? As her prodigal offspring, Guy Hughes is the convivial heart of the play. He’s great with crowds and the Orange Tree’s community performers who have a lovely pub scene – well done them.

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Guy Hughes and theCommunity Company

Celebrations continue with the play’s pairs of lovers. Sabrina Bartlett and Robert Mountford are at home as super-toffs plotting to elope, their roles serving as fitting mirrors to our stars, Tanya Reynolds and Freddie Fox. As the leads, the comedy from this pair is perfection. Reynolds is a great flapper. And so is Fox – the perfect “silly puppy” – especially when his “list of blunders” is slowly revealed.

Among the giggles there is sincerity, too. Reynolds shows us the dutiful daughter Goldsmith wrote, as well as the modern woman we want. When she claps her hands at a scheme, you want to join in. But when she starts to fall in love, it’s sweet. And who doesn’t like a rom-com at Christmas?

Until 13 January 2024

www.orangethreetheatre.co.uk

Photos by Marc Brenner