Tag Archives: Adam Penford

“The Madness of George III” from NTLive

11 June 2020 Edward Lukes

Another trip away from the South Bank this week, to the Nottingham Playhouse, means two places to donate to and reminds us of problems facing theatres nationwide during the Covid-19 lockdown. Alan Bennett’s play started at the National Theatre in 1991 and this revival, directed by Adam Penford towards the end of 2018, shows strong work outside the capital.

Penford approaches the piece with a disciplined hand. Although the title role is unquestionably a star part for Mark Gatiss, who does very well, each member of the cast gets a chance to shine. Gatiss has the King’s avuncular nature down to perfection (what a good gossip), and he makes his illness moving. The stuttering, frustrated efforts to communicate – fantastic writing from Bennett – are great.

George’s love match with Queen Charlotte is well conveyed with the help of Debra Gillett (although the off-and-on German accent could be tighter). Best of all is the appearance of Adrian Scarborough as the King’s physician Willis, who adds a good deal of tension. Many a show picks up when Scarborough walks on stage but, unfortunately, that feels especially true here.

Surprisingly, given Gatiss’ background in comedy, the play isn’t as funny as you might hope. There are too many lines wasted: telling the Prince Regent that style never immortalised anyone really should get a laugh. Instead, the play’s keen eye for politics seems to interest Penfold more.

Focusing on the power struggles behind the sick monarch is good news for Nicholas Bishop as “cold fish” Prime Minister Pitt and is, undoubtedly, interesting. But the plotting could be clearer and scenes in Parliament are pretty poor, despite some nice design from Robert Jones. Nonetheless, Bennett does well when he engages with history and Penford is smart to pick this up. If the author’s more romping moments are neglected, the play is clearly still in good shape.

Available until Wednesday 17 June 2020

To support, visit nationaltheatre.org.uk

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“The Boys In The Band” at the Park Theatre

10 October 2016 Edward Lukes

You’d be excused for an arched eyebrow over the revival of Mart Crowley’s inspirational 1968 play. So much has changed since this iconic gay text threw a spotlight on a small section of a marginalised community that the play is bound to feel dated. Thankfully, while some jokes do feel old, a couple inexcusably so, Adam Penford’s pacey revival, with the help of a superb cast, makes this a lively night out that stands up well.

A birthday party is hosted by the initially charming Michael, whose demons get the better of him as he concocts a painful game – forcing people to telephone their one true love – with the seeming aim of making his guests as miserable as he is. Ian Hallard makes the most of this meaty role, showing a vicious edge that is riveting while never alienating the audience.

Hallard’s chemistry with his old roommate Alan, who makes a surprise appearance with predictable comedy results, is well studied. When this closeted character, ably handled by John Hopkins, breaks down it’s still a shock. All the more credit as the conservative fiction Alan hides behind seems especially weak. Both Hopkins and Hallard do well to preserve the drama here.

The unhappy birthday celebrations are for Harold, played by Mark Gatiss, who makes an appearance as the first act closes. Too clever for anybody’s good, especially Michael’s, Harold’s waspish remarks cut deep and Gatiss makes each one go a long way, balancing humour and emotional perception no matter how short each line. It’s a cumbersome role, with touches of a narrator, that’s cleverly made light work of.

As for the rest of the guests, the ensemble is one you would invite to any production. They include a top-notch comedy turn from James Holmes as the effeminate Emory, ably abetted by Bernard (Greg Lockett) and the excellent Daniel Boys as the studious Donald, who superbly anchors the play. A troubled couple, whose affection for one another is sincere, are made convincing by Ben Mansfield and Nathan Nolan. Even Jack Derges as a hustler hired as a present for the night gets laughs out of a slim part.

With the exception of Hallard’s role, all the parts are pretty thin. Crowley’s desire to express a spectrum of characters and opinions gets the better of him and never quite works. More credit to the cast. The plot could be generously described as functional. The production, though, makes the play more than the sum of is parts – full of memorable touches and great laughs – and it’s an achievement worth celebrating.

Until 30 October 2016

www.parktheatre.co.uk

Photos by Darren Bell

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“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