Tag Archives: Ben Ormerod

“The Dream of a Ridiculous Man” at the Marylebone Theatre

Laurence Boswell’s adaptation of a Dostoyevsky short story, into a monologue for Greg Hicks, is undoubtedly high quality. It’s always worth a trip to see Hicks, who is one of the most commanding performers around. The delivery is magnetic and matched by Boswell’s confident direction. But the overt profundity of the piece might be a turn-off, unless you’re a big fan of theatre with a message.

The dream in question occurs on the night our nameless narrator is about to kill himself. Hicks and Boswell set the scene for depression with relative restraint. We don’t have to like or trust our storyteller. Updating the action and location isn’t a bad idea either; we’re in 21st-century London and all the anxiety on stage is recognizable. It’s intriguing and all aided by Loren Elstein’s excellent design, which uses shadows and projections.

It’s when the dream starts that problems occur. While the production continues strong, Ben Ormerod and Gary Sefton’s work on lighting and sound is great, the allegory of a paradise visited is pretty standard stuff. The island, described as Eden, peopled by “children of the sun”, is easy to locate in a 19th-century imagination. Subsequent concerns about corruption and colonialism are also dated and too swiftly addressed.

That’s not to say ideas about loving one another, or listening to each other, aren’t important… just that they aren’t dramatic in themselves. There are some neat nods to theatricality towards the end, including a great reveal of the props that have been used, and even a joke (just the one): what we’re watching is usually a “guerrilla gig” and it’s nice to be indoors! But it isn’t a surprise that a vision is proselytized or a message of hope ignored. While Hicks is strong to the end, the play is more of a sermon than a show.

Until 20 April 2024

www.marylebonetheatre.com

Photo by Mark Senior

“Footfalls & Rockaby” at the Jermyn Street Theatre

Not everyone makes a beeline for Samuel Beckett plays. It sometimes feels as if the legendary modernist is more beloved of theatre-makers than theatregoers. Fans will, of course, jump at the chance to see these seldom performed shorts, but director Richard Beecham’s stylish work and two brilliant performances should also secure appeal for a wide audience.

Footfalls

Charlotte-Emmerson-in-Footfalls-at-Jermyn-Street-Theatre-photo-by-Steve-Gregson
Charlotte Emmerson

A woman having bizarre conversation with an offstage voice might sound almost a cliché of experimental theatre. The woman, May, or maybe Amy, may or may not be talking to her dead mother. The voices address one another and then the audience.

The spectre of poor mental health haunts the piece and the appropriately ghostly character, depicted by Charlotte Emmerson, is mesmerising. Emmerson’s timing – so crucial for this piece – is spot on.

Beckett was specific about staging and instructions for lighting and sound – cleverly elaborated by Beecham and his designers Ben Ormerod and Adrienne Quartly. Within these constrictions, a performance of incredible control notches up the tension marvellously.

Rockaby

Siân-Phillips-in-Rockaby-at-Jermyn-Street-Theatre-by-Steve-Gregson
Siân Phillips

The sense of isolation for the lonely old woman in Rockaby is overwhelming. There’s a lot of philosophy again – what kind of existence does this unperceived character have? But sitting in her chair, looking for any sign of life with “famished eyes”, the piece becomes painful and deeply moving.

A brilliant performance from Siân Phillips brings home the emotion within the play. Phillips never finds it hard to be magisterial. And there is a dignity to the character that makes us take her wish for more life seriously. But there’s a frailty, too, which compounds a sense of sadness.

The rocking chair, with credit to set designer Simon Kenny, also becomes a character. And a very spooky one. Is it fanciful to say it has a life of its own? As with the sound design within Footfalls, there’s a quality far from lulling in the ceaseless, yet cleverly varied, presence of its back and forth.

Footfalls and Rockaby are late works, from 1975 and 1980, respectively. Minimal and experimental, they set the mind spinning. Concerning mortality and memory, we are presented with vivid, mysterious characters. That intrigue drives both shows for me. It may be simplistic, and far from grand intentions, but both pieces work as bizarre ghost stories that are strangely exciting as well as profound.

Until 20 November 2021

www.jermynstreetheatre.co.uk

Photos by Steve Gregson

“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