Tag Archives: Anthony Calf

“Stephen Ward” at the Aldwych Theatre

Let’s face it, Stephen Ward is a terrible name for a show and, given that its eponymous subject ends shamed and committing suicide, it’s also an unlikely topic for a West End musical. But Andrew Lloyd Webber’s new work deserves the kind words received from critics. An adult affair, looking at the 60s Profumo scandal, the focus is on hypocrisy and injustice – on how revenge was meted out to Ward by the upper classes he once counted as friends.

The show’s credentials are impeccable. Lloyd Webber’s score lives up to his reputation and the book and lyrics are provided by Don Black and Christopher Hampton. This is a complicated story presented in exemplary fashion, with startlingly confident lyrics and efficient directing by Trevor Nunn.

The show rests on the lead and Alexander Hanson is terrific at conveying the complexity of this “man of many parts”. And Charlotte Spencer and Charlotte Blackledge (above with Hanson) depict the more famous stars of the real-life drama, Christine Keeler and Mandy Rice Davies, with depth. Secondary characters also satisfy: Anthony Calf is perfect as Ward’s fair-weather friend Lord Astor and there’s a tremendous turn from Joanna Riding as Profumo’s wife. It’s a lovely twist to see the betrayed minister’s spouse get to have her say.

The show isn’t perfect – rousing emotion has to wait until the end (Hanson again delivers) and this seems too late. Attempts at humour when it comes to both Keeler’s Russian lover and the police who frame Ward on a trumped-up charge are frankly embarrassing.

Stephen Ward has a quiet ambition. A concise, penetrating view of British culture, it scores many a hit. The scene of an upper-class orgy may raise eyebrows amongst Lloyd Webber fans but, sensibly, it doesn’t try to shock. There may be some Coco de Mer style accessories on sale in the foyer (a riding crop and silk blindfold) but humour is used well here. Another highlight is a song for The News of the World journalists, set to twist Keeler’s kiss and tell story, demanding she “give us something juicy”. Keller’s lyrics go further than the hacks are willing to print, but Lloyd Webber and his team don’t shy away from the explicit – even crudity is used intelligently in this smart work.

Until 1 March 2014

Photo by Nobby Clark

Written 23 December 2013 for The London Magazine

“Death and the Maiden” at the Harold Pinter Theatre

Ariel Dorfman’s play, Death and the Maiden, is a fantastic vehicle for a star actress. Making her West End debut in the role of Paulina, a former political prisoner still haunted by trauma years later, Thandie Newton instantly establishes a febrile fragility. When chance leads to her encountering the man who tortured and raped her, she unleashes a manic power to exact a stunning revenge.

Newton is an avenging fury, waving around a gun in a most unnerving manner, but she is always articulate – tragically aware of her “irreparable” condition and focusing intensely on the play’s questions about justice and tolerance. Any fears about Newton’s inexperience in the theatre are banished by Peter McKintosh’s design, forcing her to the front of the stage as a commanding presence. This is a bold performance bringing out the pathos as well as the grotesque anger of Paulina’s impossible situation.

Newton is aided by strong performances from her co-stars. Anthony Calf plays Dr Miranda, the man she accuses, captures and interrogates, in chilling style. Toying with the possibility of his innocence as he begs for his life, Calf shows us a real person – not just a monster. Paulina’s husband is “caught in the middle” of them both: in conflict because he loves his wife but doubts her sanity, because of his high ideals, and also because his recent appointment as a political crimes investigator means that his career is at stake. Tom Goodman-Hill gives an outstanding performance. Rational and passionate by turns, he is tremendous.

Dorfman’s text is constructed to transcend its vague setting in some South American state and focus on themes of retribution and resolution. Alongside this, Jeremy Herrin’s production enhances the play’s potential as a taut thriller, and his direction grips like a vice, making this one of the most exciting nights out in the West End as well as one of the most powerful.

Until 21 January 2012

www.atgtickets.com

Photo by Ellie Kurttz

Written 20 October 2011 for The London Magazine

“The White Guard” at the National Theatre

Designer Bunny Christie has done such an exemplary job on the sets for The White Guard –  Andrew Upton’s adaptation of Mikhail Bulgakov’s masterpiece depicting the mayhem of the Russian Civil War, now showing at The National Theatre – that it makes sense to tell the story through her work.

Set first in the Turbin family household we’re drawn into the close, communal nature of their life. They are members of the Tsarist White Guard who protect a puppet politician installed by the Germans to control the Ukraine in the winter of 1918. The set gracefully retracts to the back of the Lyttelton stage, becoming distant and threatened as the story moves to the Hetman’s decrepit palace just as he is about to flee, with the vast, cold room depicting the corruption and chaos of the state. Next we’re plunged into to scenes of war; the barracks of the rebelling Nationalists, ready to fight both the Germans and the approaching Bolsheviks, and a school gymnasium commandeered by the White Guard who have come to appreciate that they have become an anachronism in a political vacuum.

This is a family drama set in turbulent times. Daniel Flynn plays elder brother Alexei Turbin with determination. He is a man of great courage but also a thinking soldier.  Flynn manages to show bravery but also fear about the future. Younger brother Nikolai is played by Richard Henders with great charm. In managing to convey ambiguity over whether Nikolai idolises his brother or the military more his fate becomes deeply moving. Justine Mitchell, cast as their sister Elena, is the only female role in the play. She manages this complex role superbly acting not just as sister but mother, friend and lover to her brother’s comrades visiting the home.

If this all sounds very worthy don’t be put off. True, The White Guard is a fascinating investigation into the impact of war and offers insight into politics. Yes, it shows the power of ideas and identity to sculpt our lives and behaviour, but Upton’s new version of the play deals lightly with all this and saves the work from any pomposity. Possibly because Bulgakov’s own adaption was so heavily censored, Upton has a sense of freedom. His writing is delightful, fast-paced, down to earth and comical with plenty of force when it comes to dramatic moments.

Best of all he has given a script that the cast can revel in and director Howard Davies uses his great experience to provide them with room and inspiration enough to result in performances that seem uniformly fresh and natural.

The visitors to the Turbin home all seem to fall in love with Elena. It isn’t just because she is the only woman around – Mitchell’s performance shows a vitally alive, captivating woman. Paul Higgins and Nick Fletcher as Captains in The Guard both convince as soldiers under pressure and men in love. Pip Carter who plays Larion, a visiting student who provides an alternative to the militarism around him, has some great comic moments. Kevin Doyle as Elena’s husband and deputy war minister serves as an effective foil to the many admirable men in her life with his amusing incompetence and self-obsession. Elena refers to them all as her boys – but the man of the piece is Conleth Hill.

Hill plays Lieutenant Shervinsky. We see him as the perfect charmer wooing Elena.  She and the audience can’t help but laugh with him. As aide-de-camp to the Hetman, he is superior towards the footman, a fantastic little role Barry McCarthy excels in, and deferential to his boss, played by Anthony Calf in great form. As the political turmoil increases we see his character adapt to survive, winning the love of Elena and revealing a deep sincere affection. His character is the man happiest to adapt to the future that the White Guard feared. His portrayal is so charismatic we are happy that he can do so. With him around the Russian Revolution becomes a lot more interesting.

Until July 7 2010

www.nationaltheatre.org.uk

Photo by Catherine Ashmore

Written 26 March 2010 for The London Magazine