Tag Archives: Andrzej Goulding

“The Time Traveller’s Wife” at the Apollo Theatre 

Any show tackling time travel runs the risk of being judged a waste of just that precious commodity. This new musical adaptation by Lauren Gunderson of Audrey Niffenegger’s best-selling novel isn’t that bad. There’s plenty of talent involved – on stage and off. And it is, broadly speaking, entertaining. But it is bland.

This isn’t sci-fi. The story of Henry, who can’t help going back and forth in time, and Clare, who has to put up with his disappearing, is really about loss and grief. Let’s ignore the uncomfortable idea of Henry meeting Clare when she is a young girl and her waiting to grow up for him. Or Henry’s fascination with his opera-singing mother who died when he was a child but who he waits at stage doors for as a grown man. Instead, Niffenegger’s repetition that “love wins” and that it exists outside time is an idea clearly appealing enough for huge success.

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Joanna Woodward and David Hunter

Even if you think there’s always time for romance, I fear disappointment, as the show is horribly rushed. An awful lot of the book has been crammed on to the stage and, as a result, there’s little room for emotion. Too much time is taken working out what’s going on. And this is all despite the efforts of our leads, David Hunter and Joanna Woodward, who sound great, act well, and, alongside director Bill Buckhurst, make sure the action is clear.

The score is a big disappointment. Indeed, coming from Joss Stone and Dave Stewart, the songs are something of a shock. Nothing is unpleasant (although some incidental music sounds like we’re in a lift) but nothing is inspired. And, too often, perky, sweet or swooning sounds contrast awkwardly with what’s going on in the story. And isn’t it downright odd that, despite the time travel, there’s so little variety in the score? There’s no exploration of the time covered by events. The lyrics, credited to Kait Kerrigan as well as Stone and Stewart, are bad. Attempts at humour fail.

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David Hunter and Ross Dawes

Yet there is stuff to praise in the show. Buckhurst has a lot of success with the staging, helped by Chris Fisher’s illusions. Andrzej Goulding’s video and animation work is a highlight. Anna Fleischle’s design, particularly the costumes, are useful. There are also strong roles for Tim Mahendran and Ross Dawes as Henry’s friend and father, respectively. While the main love story is beige, these incidental figures get the best numbers dramatically. It just seems slim pickings for a big show and not worth travelling (far) for.

Until 30 March 2024

www.timetravellerswife.com

Photos by Johan Persson

“Henry V” at the Donmar Warehouse

A lot of people like to see a star on stage. The attraction for Max Webster’s new production of Shakespeare’s history play is Kit Harington. And the Game of Thrones actor more than earns his presumably vastly reduced wage. Although the production has its moments, Harington is the focus of these in what is an uneven affair that’s too stop-and-start to call it a success.

The large cast takes on multiple roles – which is, normally, sure to impress. And all the more so when the cast is bilingual. For Webster’s version of the play has French characters speaking French. Which makes sense – and makes a point – but creates mixed results.

The scenes in French prove a distraction, as you can’t help wondering if the performer is a native speaker. And when it comes to the different roles, it is all too obvious which one each cast member prefers. Efforts to distinguish the different parts (through accents or body language) are often poor. Kate Duchêne is a notable exception but, overall, there’s a lot of talent for little result.

The language isn’t the only distraction. Andrzej Goulding’s video work is good, but it is too big for the stage. As with Fly Davis’ impressive design, the Donmar’s intimacy is negated. Is a transfer so badly desired? A stage this small feels crowded very easily, yet Webster ignores this. He clearly just wants a bigger space. At one point we even have some marching on the spot… yuk.

Henry V is famous for Shakespeare’s appeals to our imagination. The chorus’ speeches can be inspiring, but here they are lacklustre – Millicent Wong’s delivery is strangely petulant. In attempting moments of realism, the show doesn’t deliver. I don’t think using guns helps, but fight scenes frequently look clumsy. Their direction, by Kate Waters, is, again, really for a different venue.

The production is not a failure. The addition of strong singing is revelatory – there are powerful voices in the cast that gave me goosebumps. It’s a shame that additional music (including, sigh, some Handel) is all over the place. Several scenes have a rawness which is striking (the final scene for Danny Kirrane’s particularly unappealing Pistol is notable).

Above all, Harington’s Harry is a great. The anxiety of ruling and war are etched on this king’s face, and the play between politician and regular guy is riveting. Star appeal saves the show. Which is good, but a little disappointing.

Until 9 April 2022

www.donmarwarehouse.com

Photo by Helen Murray