Tag Archives: Anne Reid

“Marjorie Prime” at the Menier Chocolate Factory

Given that it deals with dementia, grief and artificial intelligence it’s not a surprise that Jordan Harrison’s play is fairly hard work. But given that there’s little so little action in the piece, Marjorie Prime packs a remarkable punch. Tightly written, fraught conversations lead to a chilling conclusion, which I suspect was the inspiration for the whole show.

Although the 2014 play has already been a hit – and a film – plot spoilers are especially tricky as so much of the piece’s power come from its twists and structure. It doesn’t seem too naughty to say the show opens with Marjorie and her ‘Prime’ – a robot that looks like her husband 50 years ago and is learning to be like him to aid her memory. Creeped out yet?

Harrison is light on the science behind AI, and some might like more explanation – or even more exploration of problems that, surely, come with the very idea. The technology is accepted (which is probably an accurate prediction) and doesn’t follow a cliché of becoming evil. Richard Fleeshman seems underused in the robotic role, but his calm performance is entirely appropriate. Likewise, Dominic Dromgoole’s cool direction appreciates the play’s tone. Understatement is fine… this is all scary enough in its own right.

Tony-Jayawardena-and-Nacy-Carroll-credit-Manuel-Harlan
Tony Jayawardena and Nacy Carroll

How AI impacts on Marjorie, her daughter, Tess, and son-in-law, Jon, leads to troubled characters and excellent performances. Taking the title role, Anne Reid gives a brilliant portrayal of someone suffering from dementia, which is all the more moving through flashes of humour. The complicated relationship between Marjorie and her daughter results in a passionate performance from Nancy Carroll that almost steals the show. Tony Jayawardena gives a further fine portrayal as Jon, who ends up haunted by the past, too. Let’s not say how.

The characters are, oddly, unsympathetic, despite what they are going through – it’s a surprising move, skilfully done, but adds to the piece’s cold tone. Problems with memories and how personal identity is formed might be a little predictable given the scenario; the script almost wants to move on from the themes. The result is that the play relies on its intriguing conclusion. And here is a plot spoiler – Harrison’s unexpected idea about what happens to AI when we are no longer around makes for a brilliant scene. I’m just not sure much else about the play is that memorable.

Until 6 May 2023

www.menierchocolatefactory.com

Photos by Manuel Harlan

“A Woman of No Importance” at the Vaudeville Theatre

Dominic Dromgoole’s latest project, with his new company, Classic Spring, is a year of Oscar Wilde plays. It’s off to a fantastic start with this story of adultery and sexual inequality. Wilde, the Victorian radical, has a sharp eye on masculine privilege that feels depressingly topical.

Providing effective pathos is Eve Best as the wronged woman, Mrs Arbuthnot. It’s hard for modern ears to hear her self-excoriation. But Best sets up an underlying anger towards her reencountered seducer (impressively performed by Dominic Rowan) that thrills. Best and the whole company’s handling of the play’s plentiful melodrama is masterful – a few well-placed laughs help us over some crippling sincerity.

This play is serious. But this is Wilde, so the comedy is as good as any you could find – in his day or now. Leading the epigrams alongside Rowan is Emma Fielding as the archly aesthetic Mrs Allonby. And there’s a great little performance from Phoebe Fildes as a sophisticate in training. Leading the way are Eleanor Bron and Anne Reid as two aristocratic dowagers giving top-class performances. It takes a lot not to be controlled by Wilde’s comedy; both make the lines natural, while Reid’s suggestion of a little too much digestif in the third act is a cheeky move that gets a laugh with every line.

So far, this is strong actors making the most of a genius. More than enough reason to see the show. But Dromgoole has a programme of ideas driving his production that elevates this to one of the finest of revivals.

First is the idea of exploring the proscenium theatre that Wilde’s plays were written for and that the Vaudeville is such a gorgeous example of. Let’s celebrate this wonderful format. It leads to fantastic sets and costumes from Jonathan Fensom and sensitive lighting from Ben Ormerod. Scene changes include some songs and period numbers arranged by Jason Carr – now that’s entertainment. After years at Shakespeare’s Globe, Dromgoole is an expert at the potential of a period.

Dromgoole also knows how to make sure a play doesn’t get stuck in the past. In a revelatory move, he’s utilised a study of the play’s previous drafts. The assumption that Wilde would have been bolder had the theatre of his day allowed it is a point for discussion. But it’s a fun debate, and all-too- suitable for a figure whose legacy has been so often used (and abused). You have to know the text well to work out what’s gone on, and plenty of lines still feel old-fashioned, but the idea is brave and effective. Classic Spring has a winning formula set up for an exciting year. Get booking.

Until 30 December 2017

www.nimaxtheatres.com

Photo by Marc Brenner