Tag Archives: Antony Sher

“Pinter 1 & 2” at the Harold Pinter Theatre

Director Jamie Lloyd has an unerring ability to surround his projects with excitement. His latest scheme is to present short works by Harold Pinter in a six-month-long series of carefully curated and stylishly packaged shows (they really should sell a T-shirt). The project boasts an array of stars – young and old – which indicates that everyone wants to work with Lloyd and offers the chance to see rarely performed works.

The season – and Pinter 1 – get off to a bang courtesy of confetti cannons and Press Conference, which stars a commanding Jonjo O’Neill as a sinister politician. It sets the scene for a first half of plays that show a variety of dystopias. Sometimes the shorts come across as dated, too simplistic and full of conspiracy. Or should we see the paranoia as prescient? A Donald Trump impersonation in The Pres and an Officer, a newly discovered satirical skit, suggests Lloyd does.

Maggie Steed and Paapa Essiedu

The way Pinter encapsulates the most basic fears surrounding the breakdown of society makes them raw and moving. Mountain Language reduced me to tears, with Maggie Steed as an elderly mother confronting her tortured son and forbidden to speak to him. And the tension Pinter can create becomes almost unbearable with One for the Road, which stars Antony Sher as a truly chilling interrogator, alongside Paapa Essiedu and Kate O’Flynn as his victims. The paranoia moves into a domestic setting for the evening’s finale, Ashes to Ashes, which sees a couple recounting an affair and an atrocity, both products of a deranged mind. It’s a too puzzling piece, held together by the direction of Lia Williams and passionate performances from O’Flynn and Essiedu.

Pinter 2 is a double bill of plays that look at infidelity, both from the 1960. First up is The Lover, where a squeaky clean couple discuss their affairs over breakfast and perform a bizarre role play. Surely this once appeared more challenging than it does today, and the point seems overplayed – even at just under an hour, the play drags. The boredom isn’t Lloyd’s fault – his direction is snappy and the whole show stylish thanks to the saturated colours of Soutra Gilmour’s designs. But while the piece is a comedy, the absurd is emphasised to a fault. Hayley Squires and John Macmillan perform well, but their characters are flattened, reduced to puppets. In fact, their shadows catch the eye more than they do (Elliot Griggs’ lighting design is superb).

John Macmillan and Russell Tovey

This second evening improves a little with The Collection, where Squires and Macmillan benefit from meatier, if shorter, roles taking on another suspected affair and a confrontation between the husband and the man his wife says seduced her. Russell Tovey plays a wide boy who taunts the cuckolded Macmillan while his flatmate, David Suchet, looks on. Lloyd employs a broad brush again, and the cast clearly has fun, but a degree of tension is retained. The older man and his younger counterpart, from the slums it is said, make for a disconcerting mix of sex, class and violence that’s the real deal.


Until 20 October 2018

www.pinteratthepinter.com

Photos by Marc Brenner

“King Lear” at the Barbican

Gregory Doran and Antony Sher consistently turn out gold-standard work for the RSC. Their latest offering from Stratford is Shakespeare’s tragic monarch – a big challenge no matter how good your credentials – and they deliver in predictably impeccable style. Here, Lear is presented as a pagan priest. With Celtic touches from designerNiki Turner and an imperiousness from Sher that few could match, exhortations to the gods make a lot of sense. And there are plenty of well-used supernumeraries: Lear’s “insolent retinue” of Knights are out in force, while the unwashed masses that the king has neglected are there from the start. The additions, on top of traditional foundations, ensure interest and create a grand scale.

Despite Doran’s keen eye on the extras, Sher’s Lear has been allowed to overpower the production. The rest of the cast includes some fine performances, but other roles struggle to make a mark. One exception is Antony Byrne’s Kent, whose transformation into Caius is so fine that you almost believe he’s unrecognisable. Another is Paapa Essiedu’s Edmund. The parallel plot of the elderly Gloucester’s trials and his bastard son’s betrayal is delivered with intelligence and vigour. Essiedu joins the list of ones to watch.

As for Sher in the title role, while it has to be admitted that he takes few gambles, his delivery never fails. This is a physically frail old king, whose movements seem limited and difficult. Oddly, this fails to generate the sympathy you might expect and means tension slacks at some points when Lear should still seem capable of violent assault. But it’s a classy affair with key speeches marked out (it’s easy to imagine the pages turned down in a copy of the text), and Sher always sounds splendid. His charismatic presence further consolidates our monumental impression of this colossal production.

Until 23 December 2016

www.barbican.org.uk

Photo by Ellie Kurttz

“Death of a Salesman” at the Noël Coward Theatre

Gregory Doran’s revival of Arthur Miller’s Death Of A Salesman fully justifies the director’s claim that this is the greatest American play of the 20th century. Although rooted in post-war US society, Miller’s family tragedy and critique of capitalism transcends time and place. Perhaps recent economic woes make this powerful play freshly pertinent: the loss of job security for long-serving salesman Willy Loman rings alarm bells for us all. And perhaps, too – aided by our increased awareness of dementia – Willy’s tragic decline has added poignancy. Just as likely, the play is simply a masterpiece.

Antony Sher is confident and controlled in the lead role. Clearly passionate about the part, Sher projects an intensity that enfolds you. It’s an exceptionally subtle and intelligent delivery: for all Willy’s faults, we see why his family loves him, he isn’t made an underdog and there are no excuses for his behaviour – but he still retains our sympathy. Willy’s confidence seesaws constantly, moments of self-doubt are carefully hinted at. When Willy is presented with the gas pipe he plans to kill himself with, Sher’s whole body becomes frozen. It’s a tremendous theatrical moment.

Backed by Harriet Walter as Willy’s wife, with Alex Hassell and Sam Marks as his sons, the family struggles with the delusions of success and excess of optimism that construct their dreams. This is an unbeatable quartet of performances. The fight to see facts instead of fantasy is a relentless focus. Willy’s memories, possibly false, presented as the consequence of his age and misfortune, slide into the action dynamically. The downward spiral of the whole family in the second half is gut-wrenching and miraculously suspense-filled. We can all predict what’s coming but Doran makes it riveting, obeying the play’s demand that “attention must be paid”.

Until 18 July 2015

www.rsc.org.uk

Photo by Ellie Kurttz

“Hysteria” at Hampstead Theatre

Hampstead Theatre’s new production of Terry Johnson’s Hysteria is a significant revival, not least because the writer himself directs it. One of the most successful plays to mine the rich seam of psychoanalysis, it imagines Freud on the couch. Like the man himself, it explores trauma and humour in inspired fashion. This is a work of big ideas that boggles the mind and attempts to explain deep truths.

The action is set down the road from the theatre in Maresfield Gardens, during Freud’s exile in London just before the Second World War. The father of the unconscious approaches his death with plenty of humour. Antony Sher is magnificent in the lead; Freud joins Stanley Spencer and Primo Levi as famous figures Sher has embodied so well. Elements of farce abound as he hides a naked woman in his closet from his Doctor (David Horovitch – excellent) and a visitor paying homage, none other than Salvador Dali.

The scenes of farce are a delight. Adrian Schiller’s “doolally” Dali is superb and his accent a triumph. But the play soon develops into a tense exploration of Freud’s methods and the foundation of his movement. In an emotional performance as the unwanted guest in his bathroom, Lydia Wilson highlights one of Freud’s failures, a case study he presumptuously reported as a success, and a change in his theories that she questions. Her interrogation of him reveals his doubts and the trauma in his own life.

Johnson’s play is full of clever touches and is a close study of his subject. It can’t have hurt the farce that Freud’s study was full of erotic sculptures but picking out the Surrealist painter’s visit is inspired. The final tableau, depicting Freud’s dream, realised by Lez Brotherson’s superbly ambitious set, rises to the challenge of a problem Johnson highlights – that depicting the unconscious diminishes it – but can still create fine theatre.

Until 12 October 2013

www.hampsteadtheatre.com

Photo by Alaistair Muir

Written 13 September 2013 for The London Magazine

“Travelling Light” at the National Theatre

Cinema and theatre have always had a close symbiosis. The relationship is often fruitful but, for those who love live arts more, Nicholas Wright’s new play, Travelling Light, about the fascinating early days of the motion picture, is an opportunity to convey emotions and ideas with an intimacy that stage, rather than screen, promotes.

There are moments when Travelling Light uses the power theatre has to grab your attention like nothing else. It’s the tale of Motl Mendl, a Russian Jew, falling in love with the new medium of film and a girl who acts in his first picture. Punctuated with witty observations on the nature of art (a scene of the first focus group for a movie is delightful) and nostalgically interspaced with reflections from Mendl in later life, it’s an interesting story, well told – unfortunately there never seems very much at stake.

Damien Molony and Paul Jesson are both commendable as the flawed hero Mendl and there is a strong performance from Lauren O’Neil as his love interest. But the core of the play is Mendl’s relationship with his first ‘producer’, the rough and ready mill-owner of his hometown performed by Antony Sher. Clearly loving being back on stage at the National, Sher gives a robust, heart-warming performance in a difficult role that could easily turn into parody.

Unfortunately, Sher’s performance is the only thing that makes Travelling Light really compelling. Nicholas Hytner’s direction is clear and concise but the projection of film on to Bob Crowley’s design seems to have missed a trick or two.

Wright’s text seldom rises above the level of entertainment, and that isn’t much of a fault, but we often expect more from theatre, don’t we? It’s a double standard, of course, but Travelling Light is a little too light and this story of moving pictures not moving enough.

Until 6 March 2012

www.nationaltheatre.org.uk

Photo by Johan Persson

Written 19 January 2012 for The London Magazine