2016

“The Plough And The Stars” at the National Theatre

8 September 2016 Edward Lukes

There are no surprises here. Howard Davies’ new production, co-directed with Jeremy Herrin, is the quality affair you would expect from the veteran director. Utilising the National Theatre’s expert stage management, and with a typical respect for a classic text, this show drips class.

It’s a forgivable irony that Sean O’Casey’s play about the Irish Easter rising of 1916, which focuses so much on the lives of the poor, should receive such a luxurious treatment. Vicki Mortimer’s set appears impressively expensive – it takes a lot of money to look that cheap – while detail and care run through the whole show.

With a steely confidence, Davies and Herrin take us deep into the lives of those living in a Dublin tenement house. Flynn and Covey (Lloyd Hutchinson and Tom Vaughan-Lawlor) argue over politics while an agnostic drunk, made loveable by Stephen Kennedy, looks on. A good deal of humour is injected (I’m not quite sure O’Casey expected so many laughs at socialism) with the drama coming from the more serious Jack Clitheroe, portrayed convincingly by Fionn Walton, the one man willing to fight, despite his wife’s protestations.

The action doesn’t get going until the second half but when fighting starts the trauma of the battle is intense. Suffering focuses on the women and it’s the actresses who steal this show. Two great renditions of battle-axe neighbours come from Justine Mitchell and Josie Walker. On opposing sides of the struggle, their sniping is full of wit, but when care for one another creeps out it’s genuine and moving. As Clitheroe’s pregnant wife, Nora, Judith Roddy has a traumatic role; driven “mad with terror”, her whole body becomes rigid in the play’s relentless finale.

Added to these fine performances is a double achievement on the part of this production. The history and its frustrating complexity are clear; O’Casey presents many arguing sides and the directors do this justice. Also understood is the aim of showing the effects of violence on the most vulnerable, making the piece strikingly relevant. With no sense of the contrived – just theatrical power – this is a grade-A show.

Until 22 October 2016

www.nationaltheatre.org.uk

Photos by Johan Persson

2016

“Diary Of A Madman” at the Gate Theatre

7 September 2016 Edward Lukes

Al Smith’s play, inspired by Nikolai Gogol’s short story, is a triumphant commission from the Gate, already praised for its premiere at the Traverse Theatre in Edinburgh. Using schizophrenia to touch on plenty of issues, the play’s often very funny humour turns on a knife (well, a screwdriver) to create something truly gripping. Christopher Haydon’s direction is swift and sure, while a strong cast is clearly determined to make the most of this bracing piece.

Smith’s updating of the story is a neat affair. Set at the Forth Bridge, our hero, Pop Sheeran, is the latest in a family tasked with continually repainting the national monument, now owned by a global corporation. Times are changing. Liam Brennan takes the lead, giving a well-paced performance as an appealing figure with a movingly delusional mental illness.

Talk of identity, national and professional, is instigated by the arrival of a young Englishman (Guy Clark does a super job here), which might feel contrived and portentous but isn’t. Modern life and sexual politics are quickly addressed, yet there’s real insight. If there are routes that could be explored further, credit to Smith for staying so evenly on track.

Firmly rooting the play in a community works wonders. This is a family drama as well. Deborah Arnott contributes immeasurably to a convincing portrait of marriage as Pop’s wife. Louise McMenemy brings depth to her role as their daughter. A neighbour and friend, a part to which Lois Chimimba brings hugely confident comic timing, gives us two young girls growing up – their sassy dialogue is a delight.

Laughter and insanity isn’t a new combination. Smith highlights discomfort about the connection but, more, utilises the humour impressively. A puppet of Greyfriars Bobby rewrites a tourist legend in a creepily memorable comedy scene. And, at the risk of too many spoilers, the finale at a fancy dress party themed on Scottish heroes is a damn clever move. The path towards Pop’s breakdown is so skilfully written, it’s as pleasurable as it is painful to watch.

Until 24 September 2016

www.gatetheatre.co.uk

Photos by Iona Firouzabadi

2016

“If We Got Some More Cocaine I Could Show You How I Love You” at the Old Red Lion Theatre

5 September 2016 Edward Lukes

London’s fringe theatres have a commendable number of plays that appeal to a gay audience. But, let’s be honest, too many have a historical focus, while gratuitous nudity often compensates for a lack of imagination. At the risk of offending playwright John O’Donovan who may not welcome any such comparison – this piece is well written by any standard – the unusual gay romance his accomplished debut work explores is a more sophisticated affair with a strong, contemporary feel.

The action takes place on a roof, impressively rendered by designer Georgia de Grey, onto which two young men make a bungled escape after a drug-fuelled burglary. These aren’t your stock gay characters. Free of angst about sexuality, the story is about all the other things in their lives. O’Donovan skilfully reveals the extent of their troubles as working-class lads living in a small town in County Clare, while showing how profound their affection for one another really is.

Mikey is a fighter, maybe just a common thug, struggling to show emotion behind bravado. Alan Mahon brings out the roles charisma, delivers the jokes well and shows the writing’s subtlety. The object of Mikey’s affection is Casey, not quite the victim he first appears (there’s a lovely twist here), and a role that Ammar Duffus develops beautifully. Both actors make the offstage families that O’Donovan describes vivid – a sure sign of strong writing – and the chemistry between them, as they struggle to establish a partly covert relationship, is terrific.

The couple’s musings on life are frank, funny and, considering how much cocaine they snort, wise. There’s a strong dose of realism, well balanced by director Thomas Martin, and tension too, as the police circle the roof, Casey makes plans to fly away from his problems and Mikey has to come down to earth and face his future. It’s the tight dialogue around the potential and problems of escaping provincial life that ring true. This cleverly modest play will speak to a wider audience than you might suspect.

Until 24 September 2016

www.oldredliontheatre.co.uk/theatre

Photo by Claudia Marinaro

2016

“Unfaithful” at Found 111

1 September 2016 Edward Lukes

Multi award-winning playwright Owen McCafferty’s intense tale of adultery has a perfect home in this small pop-up theatre on Charing Cross Road. A traverse staging emphasises intimacy. No opportunity is lost to bring the play close to us; the actors help with scene changes and watch as the painful, sordid, action unfolds. Only 70 minutes long – the economy here is remarkable – the show is directed with unflinching precision by Adam Penford.

Four impeccable performances take us deep inside two relationships. Sean Campion and Niamh Cusack play a long-married couple; his casual pick-up in a bar leads her to retaliate by visiting a male escort. The subjects of their explicit sexual encounters happen to be a couple as well, performed by Ruta Gedmintas and Matthew Lewis. This younger pair, with their different attitudes to sex (there’s a lot of talk about freedom), could bear more exploration. The mundane is well observed; even under stress we sense how these relationships work day to day. Underpinning the play is the bleak observation of how alone people can be even when they are with someone.

As with Florian Zeller’s The Truth, McCafferty plays with characters lying to one another, mixing up the chronology of the action, to keep the audience guessing. A serious tone brings moments of dreary existential angst. Thankfully a sense of humour prevails and not just with nervous laughter at how frank the discussions of sex are. Cusack is especially good when her character seeks revenge, bringing out the play’s admirable subtlety with an in-depth study of her role. Like the romances it meticulously depicts Unfaithful is no grand passion that will light up your life. But strong performances ensure the play contains plenty of sparks.

Until 8 October 2016

www.found111.co.uk

Photo by Marc Brenner

2016

“They Drink It In The Congo” at the Almeida Theatre

26 August 2016 Edward Lukes

Adam Brace’s new play looks at the troubles of the Democratic Republic of the Congo, and its first achievement is not to make the awful history, and terrible current conditions, overwhelming. A politically charged piece, its masterstroke is to set debate in the UK. The characters include a violent fighter against the Congolese government, performed with charisma and intelligence by Richie Campbell, and those working to help their home country, with the lead campaigner given appropriate dignity by Anna Maria Nabiyre. The point of conflict is a Congolese festival, organised by a well-meaning PR, Stef, who co-opts her former boyfriend (a great role for Richard Goulding). ‘Congo Voice’ is to be an awareness-raising, ‘non-political’ but PC-riddled arts event. Disaster, predictably but entertainingly, ensues.

Brace’s play is well constructed and director Michael Longhurst has done a smart job. We are in PR land with some comfortable satire and good jokes. The audience is forgiven potential ignorance surrounding the DRC and there’s a potted history to get us up to speed (thank you). Best of all is the well-written heroine; sharp as a knife, and a brilliant role that Fiona Button excels in. I fell for her totally.

Naturally things get grim. A harrowing scene, set in the Congo, is necessary if difficult to watch. And we get a flashback that fills in Stef’s story swiftly. After the interval, the incongruity of being back in party mode is a good twist, although violent threats to the festival lack tension. Better dealt with is the play’s grown up cynicism – healthy but never overpowering. Further comment comes from a chorus figure, a kind of master of ceremonies, who follows Stef around but is not seen by the characters. Sule Rimi (pictured top) cuts a dash in the role but it seems superfluous, possibly a kind of living Nkishi for those who study comparative religion?

It isn’t giving too much away to say Stef’s event doesn’t happen. The play has too realistic a tone to allow that. But there is a traditional festival of sorts: a Congolese wake for a father, an absent figure whose paternal influence mirrors Stef’s complex relationship with her own history. For his strong female roles, Brace roots his play in the universal of the family, bringing this complex work closer to its audience as well. He does what (little) a dramatist can, carefully manoeuvring the difficulties of a European commenting on Africa. There are faces and stories attached to this country now. Something to celebrate.

Until 1 October 2016

www.almeida.co.uk

Photos by Marc Brenner

2016

“The Comedy of Errors” at Gray’s Inn Hall

24 August 2016 Edward Lukes

Antic Disposition’s coup, of staging its new piece in this historic banqueting space, is just one good reason to see this show. This is the very venue Shakespeare’s lightest comedy – with its two set of twins causing havoc through repeatedly mistaken identities – is first recorded as having been performed in (check out the Tudor portraits on the back wall). But the production has further merits. A spin is provided by Some Like It Hot, Billy Wilder’s film, with action set in a hotel. The Dromio characters don bellboy outfits, the Duke is a gangster and there’s a band thrown in. You certainly get your money’s worth.

It’s a cast of actor musicians led by a Marilyn Monroesque courtesan (Susie Broadbent), which adds immeasurably to the show. I’d happily have heard the numbers for longer. Delivery of the lines is a touch slow on the part of joint directors Ben Horslen and John Risebero. Maybe there are too many ideas crammed in? The action is speedy, though, with lots of madcap running around. And there’s a nun with a ukulele – never a bad thing. Smaller roles blossom: Doctor Pinch becomes a magician performing at the hotel (Philip Mansfield is the beneficiary of this role) while the merchant (that bit with the gold chain that can drag on) is rendered gloriously shrill by Paul Sloss – the character is described as a “shrew” so why not.

The leads are athletic, with both Antipholus roles even looking alike: William de Coverly and Alex Hooper dash about full of righteous indignation and further impress by hinting how their characters’ different life stories would have made them very different men. In the servant roles of Dromio, Keith Higinbotham and Andrew Venning get even more laughs, vying with one another for the comedy edge. I’d suggest Higinbotham wins – by a chin strap – if only because Venning labours his funniest scene (although his trumpet playing is superb).

Ellie Anne Lowe holds her own against this male quartet, amiably aided by Giovanna Ryan. There’s less attempt to adapt these ladies of Syracuse, but the roles are well thought out. Love is the theme, after all there are three married couples at the end, and Lowe makes her marriage convincing. If the whole production is more romantic than raucous, it’s a fair price for such charm.

Until 1 September 2016

www.anticdisposition.co.uk

Photos by Scott Rylander

2016

“The Threepenny Opera” at the National Theatre

18 August 2016 Edward Lukes

While the chance to see Bertolt Brecht and Kurt Weill’s famous work is welcome, regrettably, this production isn’t the finest hour of anyone involved. There’s nothing embarrassing – there are even good bits – but Simon Stephens’ new adaptation lacks charge, while Rufus Norris’ direction of his talented cast is low voltage.

Of course it’s fine to change the original setting (Brecht and Weill used John Gay’s earlier work themselves). Mack the Knife, aka Captain Macheath, the libidinous crook whose adventures we follow, is recast as an East End gangster. Neat enough. But not specifying a time period for this ‘updating’ diminishes its power. The dark reflections on human nature are robbed of satire, falling into a generic gloom that fails to challenge. Stephens’ lyrics are admirably clear, but they can’t shock – no matter how many expletives are crammed in – as it feels those involved would like them to.

The Brechtian staging of the work is tokenistic. There are knowing gags, including Keystone coppery and Buster Keaton, but the production feels lost or, more specifically, better suited to a smaller stage. Regular visitors to the National Theatre will know how powerful the Olivier can be – even empty – but here, Vicki Mortimer’s set of stairs and paper screens feels both slim and cumbersome. And there are a lot of signs to read – tricky from the circle. Impressive moments of staging have to be ascribed to Paule Constable’s lighting.

The biggest disappointment here is the cast. There are good performances when you’d expect great ones. Rory Kinnear takes the lead, his singing voice a pleasant surprise, but even his brilliant acting can’t hold things together. The excellent Rosalie Craig, as his young bride Polly, fails to bring her normal shine (maybe the interpretation of the role as an accountant hampers too much), while Sharon Small, as one of Mack’s many former lovers, sounds painful. The show belongs to the Peachums, Macheath’s enemies, played by Nick Holder and Haydn Gwynne. With this malicious Mr and Mrs, exaggerations in the piece pay off. Elsewhere, this Threepenny Opera feels deflated.

Until 1 October 2016

www.nationaltheatre.org.uk

Photos by Richard Hubert Smith

2016

“Allegro” at the Southwark Playhouse

15 August 2016 Edward Lukes

It’s hard to believe there’s a musical by Richard Rodgers and Oscar Hammerstein II that is only now receiving its UK premiere. The coup of finally staging this 1947 piece goes to the team of producer Danielle Tarento and director Thom Southerland. While you can understand why this life story of an Everyman, Joseph Taylor Jr, hasn’t joined the composer and lyricist’s formidable hit parade, the show is well worth seeing.

Taking the lead is Gary Tushaw, first handling the puppet that represents his role’s young years, taking us through first love at high school, a career as a doctor and finally the breakdown of his marriage. Tushaw is endearing and sounds great but his character is perhaps a little too saintly. We meet his family, of course – grandmother (Susan Travers) and parents (Steve Watts and Julia J Nagle) – all fine upstanding performances for the roles of fine upstanding citizens. Surprisingly, his love interest isn’t likeable, which makes her a deal more interesting and gives Emily Bull something to get her teeth into.

Southerland injects as much energy into Hammerstein’s book as he can, with the help of some superb choreography from Lee Proud and a nimble set from Anthony Lamble that makes me confident none of the cast suffers from vertigo. And it’s difficult to criticise this “simple” story for being just that – when the “commonplace” is so clearly the aim. Taylor turns his back on big success – that’s his achievement. Time in the city, where living a “ratrace” gives the musical its title song, is far from the overall tone. The piece is obsessed with hope and home. Maybe I am a softie but I was amazed something so sentimental wasn’t cloying.

The ambition of Rodgers and Hammerstein in Allegro wasn’t timid, and nor is Southerland, but the show is small in scope and occasionally condescending. And yet a collection of songs this strong should not be missed. It’s clear that the ensemble, which includes professional debuts for Matthew McDonald, Benjamin Purkiss and Samuel Thomas, are committed to them. With numbers as good as The Gentleman is a Dope for a supporting role (a superb Katie Bernstein), you can’t fail to be impressed.

Until 10 September 2016

www.southwarkplayhouse.co.uk

Photos by Scott Rylander

2016

“Jesus Christ Superstar” at Regent’s Park Open Air Theatre

12 August 2016 Edward Lukes

Artistic Director Timothy Sheader scores tops marks yet again for his venue’s annual musical. Sheader has wowed with grown-up and demanding shows before, but in this production of Tim Rice and Andrew Lloyd Webber’s concept album/rock opera even the glitter is gritty. This abbreviated Passion of Christ could win converts with its charged staging of ‘The Flagellation’ alone.

Updates to the music are respectful, coming mostly from the vocals. The score feels fresh and the rock guitars aren’t just retained, they are revelled in. More startlingly contemporary is choreographer Drew McOnie’s work and the athleisure clothes from designer Tom Scutt. Jesus and the apostles aren’t hippies but hipsters. It makes sense. Flares, glitter, a glam-Rocky-Horror outfit for Peter Caulfield’s excellent Herod and Judas’ hands dripping in silver paint, show carefully colour-coded scenes. All aided by Lee Curran, whose lighting for the finale is breath taking.

Sheader emphasises community (those ‘Shoreditch’ touches have a point). This is a big cast and it encircles the auditorium before mounting the stage, grabbing microphones and playing around with the stands, cultivating the idea this being a concert. The performative angle provides insight into the piece. And such a commanding use of the ensemble adds emotion as those who followed Jesus quickly turn, to hound him, then demand his death.

There are as many superstars on stage as you could pray for. Anoushka Lucas is an excellent Mary, making the most of her show-stopping number. Tyrone Huntley (above) is a faultless Judas, with a soaring range and tremendous power. As the lead, Declan Bennett may strike you as lacking charisma – his Christ is introspective – but when power is called for Bennett delivers and his acting is astonishingly focused. Moments when it is difficult to hear what Bennett is singing are an especial pity, given that these are Tim Rice’s best lyrics. It’s testament to the strength of the production that a normally fatal flaw does little to diminish the power of this revelatory show.

Until 27 August 2016

www.openairtheatre.com

Photos by Johan Persson

2016

“Spitting Image” at the King’s Head Theatre

11 August 2016 Edward Lukes

You can see the motivation behind tracking down Colin Spencer’s 1968 script to headline this wonderful pub venue’s second season of Queer Theatre. ‘The first openly gay play’, performed only a year after the decriminalisation of homosexuality (and not seen since), the work has historical importance. Unfortunately, the past is where the play belongs and no amount of good intentions here save it.

The idea of a gay couple miraculously conceiving a child has potential. Having seen this play, you wouldn’t know it. Interesting ideas fail to resonate. The plot plods, unconvincing characters flounder with lumpy lines, the play screams issues, with a dash of the risqué (cue gratuitous nudity), then painfully searches for a conclusion.

Even worse, Spencer’s play is ill served by Gareth Corke’s slow direction. Scenes that deliver little and cry to be cut are interspersed by interminable breaks with random Sixties songs. Some of the nonsense, absurdist in intension, has touches of Carry On conspiracy, but the satire is crushed by a lack of technical skill. How Amanda Mascarenhas’ minimal set takes up so much time is a frustrating puzzle.

Predictably, the cast can’t save this mess, but mistakes are compounded. As the only performer whose comic skills break out, Amanda Ambrose provides glimpses of respite, creating something out of nothing with her role. Playing the gay couple who are the lead characters, Nick Chinneck and Alan Grant lack any chemistry. Rachel Gleaves and Paul Giddings try hard with all the other roles, but with uneven success. The highlight of the show was the latter delivering the word “Billericay”. A single word really was the best bit. To similarly sum up: terrible.

Until 27 August 2016