Tag Archives: Alexi Kaye Campbell

2026

“Bird Grove” at the Hampstead Theatre

Alexi Kaye Campbell’s new play, about the life of Mary Ann Evans before she ‘became’ George Eliot, is admirable in many ways. Focusing on a father and daughter relationship, neatly balancing humour and emotion, it’s a biography that makes a case for its subject’s relevance without straining too hard.

There’s an interesting decision not to give the audience any background, to assume we all know a lot about Eliot. Lazy, maybe? But it frees the script of clunky exposition. And you could easily enjoy Bird Grove without the history. Some might have a bigger problem with how static it all is, although director Anna Ledwich makes an effort to inject energy and the production looks great. Might it be useful to provide more context as to how rebellious Eliot was? How conservative her milieu? A few cheap gags about Coventry seems unfair. But the piece does well to give an impression of the period, avoiding parody despite the verbosity of the characters.

Because what is said is interesting. The arguments between father and daughter are intelligent and Eliot’s views on life and religion investigated. It’s neat to give the best line to her friend: “Love is not a feeling but an intelligence”. I could have done with the interval at that stage to have a good think.

While Eliot’s frequent anger is justified, and always smart, there is a danger we see all debate from her perspective. Yes, it’s hard not to – but the result is that other characters feel flat. It works for the comic relief of Evans’ suitor, a nice role for Jonnie Broadbent. But her brother (Jolyon Coy) and her “purposeful” friends, played by Tom Espiner and Rebecca Scroggs, fail to convince. The always excellent Sarah Woodward is criminally underused as Evans’ former tutor.

Thankfully, there are great parts for the leads. The focus on Eliot’s father is almost strong enough to make him work as a stand-alone figure, and the character’s success is secured by the performance of Owen Teale. But, of course, the show belongs to Eliot, and Elizabeth Dulau is terrific in the role. Making some of these lines sound like natural conversation is an achievement itself. That the ideas are conveyed so clearly and with emotion is even better.

Kaye Campbell’s affection for his subject shines through and is contagious. Like Eliot, he gets a lot of ideas into his fiction, and that is exciting. That the ideas aren’t any kind of revelation might seem a churlish complaint. And pointing out that, for all the writing’s sophistication, it is strong performances that secure the piece’s success, may appear meanspirited. But Bird Grove is smart enough to give us a hero without hagiography – a tricky task accomplished stylishly.

Until 21 March 2026

www.hampsteadtheatre.com

Photo by Johan Persson

2017

“Apologia” at the Trafalgar Studios

Here’s an example of a good play made great by a lead performance. Alexi Kaye Campbell’s 1992 piece, about an older woman who is said to have chosen a career in academia over her family, is proficient: the dialogue is strong and debating points clear. But this traditional piece, with its dinner party scenario, influenced by Chekhov and Ibsen, really scores high because the legendary Stockard Channing takes the role of its heroine, Kristin Miller.

As Kristin’s family assemble for a birthday dinner – one it is all too obvious will be a disaster – a history of emotional hunger is combined with delicious humour. The lines are good… but Channing makes them land with magnificently understated sarcasm. She gets laughs from monosyllabic answers and even raised eyebrows. Director Jamie Lloyd injects his usual energy into proceedings and it’s all highly enjoyable.\

It’s a shame nobody can compete with Kristin. Her elder son, played by Joseph Millson, seems resigned and then simply angry. One daughter-in-law, an actress who won’t admit she stars in a soap opera, comes across as simply tiresome and it’s an unforgiving role for Freema Agyeman. More interesting is the character of future in-law Trudi, played by Laura Carmichael, who is challenged with meeting Kristin for the first time. Trudi is perky, apolitical and a Christian – it’s like shooting ducks in a barrel. If this play is a battle of the generations – and younger characters frequently question the idealism of their elders’ activism – the odds seem pretty stacked to me.

Channing gets even more impressive in the play’s second, much darker, act. A second son, again played by Millson, suffers from depression and makes for a heartfelt scene. But the accusations against Kristin are too long and too feeble. A well-written cruel streak adds dramatic tension but is in questionable taste. A fairer perspective comes from Trudi, a character cleverly developed, and the defence of a “witness” in the form of her old friend (a strong performance from Des Barrit). And so Kaye Campbell provides resolution. If you suspect it’s a little too pat, it’s delivered with such skill that all is forgiven.

Until 18 November 2017

www.atgtickets.com

Photo by Marc Brenner

2013

“The Pride” at the Trafalgar Studios

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Nearly six years after its premiere at the Royal Court’s upstairs theatre, Jamie Lloyd once more directs Alexi Kaye Campbell’s play, The Pride, this time at the Trafalgar Studios. A story of gay life, set in 1958 and 50 years later, it deserves to be seen again, and by more than those who could squeeze into the Royal Court’s smaller space. Examining changing attitudes and personal politics, the play insures a broad appeal – just – by virtue of its heartfelt emotions.

The Pride is occasionally verbose. Kaye Campbell doesn’t wear his learning lightly, but there is no doubt the writing is accomplished. Lloyd’s direction is the key to its success: he brings out the drama and speed in a script that could lag and his bold staging, with a mirror used to create a spooky confluence between the ages, injects theatricality.

A time-travelling structure, flying between the 1950s and the present with exciting speed, allows the actors to shine. Harry Hadden-Jones and Al Weaver play the lovers Philip and Oliver, wracked with guilt and fear in the Fifties and just as confused with their contemporary freedoms. Three cameo roles performed commendably by Matthew Horne provide the majority of the play’s humour. But the star is Hayley Atwell as Sylvia, Philip’s wife in the past and Oliver’s friend in the present – the most interesting roles in the play performed with great skill.

The historical scenes pack the most punch, as there seems to be so much more at stake. The contemporary version of Oliver’s character, battling with fidelity and a sex addiction, seems trivial in comparison. But Kaye Campbell has a powerful idea – highlighting hard-won freedoms as a call to action among the gay community for continued political involvement. At a time when legislation in Russia focuses attention on gay rights globally, the play seems topical and important: the cast’s appearance at the curtain call with protest placards, dedicating their performance ‘To Russia with love’, deserves applause.

Until 9 November 2013

Photos by Marc Brenner

Written 21 August 2013 for The London Magazine