Tag Archives: Brian Vernel

“Mary” at the Hampstead Theatre

The frequency of dramatisations and the little learning many of us have about Tudor history make a serious new play about Mary Queen of Scots rather difficult. And Rona Munro’s new play is very serious indeed.

The playwright is an expert. Her James Plays cycle, looking at earlier Scottish history, were a thrilling epic when they visited London. As the latest instalment of an exciting ongoing project, Mary stands alone and shows a master at work. But it is notably starker – as reflected in Ashley Martin-Davis’ design and Roxana Silbert’s restrained direction – and a model of economy.

Munro takes only two moments in Mary’s story – her escape from and then imprisonment by her third husband, the Earl of Bothwell. The thesis is that the Queen was abducted and raped. Munro highlights how impossible it is to know what really went on. The next bold move is that Mary herself doesn’t speak. The play is more about how she is interpreted – and used. And it’s a sorry tale that generates much sympathy and anger.

The politician James Melville is the focus. We see him powerful and then broken, with the moral dilemma of how those in power handle cases of sexual abuse full of contemporary resonance. This is a complex role given a strong realisation by Douglas Henshall. Melville is smart, cynical and a stranger to modesty. Seeing his regrets and justifications make great drama. For all that, Henshall’s ability to bring out the play’s dry humour impresses most (and shows a further skill that Munro excels at).

Rona Morison in Mary at The Hampstead Theatre
Rona Morison

Melville’s interlocutors are fictional characters called Thompson and Agnes. They illustrate realpolitik and religious conviction respectively but still manage to feel three-dimensional. Their passions don’t make the roles easy to perform (Agnes has a damascene moment that might make you pause), but these are strong performances from Rona Morison and Brian Vernel that take into account how a small contact with power can make a big difference.

The three characters talk and talk. It is remarkable how much excitement Silbert maintains in such a static play. The movement comes with minds changing, with characters persuading. Motives surrounding love and power shift and we are left questioning how sensible or selfish each position and character might be. As for the biggest achievement, time will tell… Munro might have managed to change how we think about Mary herself. The play that takes her name is certainly good enough to do so.

Until 26 November 2022

www.hampseadtheatre.com

Photos by Manuel Harlan

“The Seagull” at the Lyric Hammersmith

Simon Stephens is a busy man. This week his play Heisenberg received its UK premiere and his new version of Anton Chekhov’s classic has opened. Dauntlessly tackling the 1895 piece, full of unrequited love triangles, the passion and depression in the original comes into focus. There’s no period frippery – not a samovar in sight – no agendas and the sometimes ponderous discussions of Art (capital A) feel unforced. The language is efficiently modern and startlingly down to earth: “get a grip,” says one character. Stephens has grabbed Chekhov ferociously.

There’s plenty of fresh insight and energy all around, abetted by Sean Holmes’ direction and a strong cast. The production is marked by direct addresses, admittedly not all successful, that illustrate a determination to engage the audience. Brian Vernel’s Konstantin has an indie rock star vibe (despite the classical mix in the show’s excellent soundtrack) that makes him feel modern. His unrequited love, Nina, gains a similarly contemporary touch from Adelayo Adedayo’s performance. The character is desperate for fame, fame, fatal fame. But when that dead seagull is presented by Konstantin in a plastic bag she wallops him with it: good girl! Getting in the way of their love, Nicholas Gleaves plays the writer Trigorin with a dash of aloof celebrity that aids the coherence and relevance of Stephens’ approach.

Cherrelle Skeete as Marcia
Cherrelle Skeete as Marcia

The real star of The Seagull is the actress Irina, and Lesley Sharp grasps this part magnificently. While her desperate love for Trigorin is clear, and explicitly depicted, the production calls for her comic skills and Sharp delivers. This snobby Sloane gets laughs for every “darhling” she utters. There are a lot of laughs all around in this production, with the play’s many characters each getting a turn, as desires battle with a cynical cruelty that’s surprisingly funny. Stephens has a great eye for eccentricity and the crazy things this boho crowd gets up to. As the depressed Masha, renamed Marcia with an impressive performance from Cherrelle Skeete, observes: “People are just odd.”

Humour is maintained for a long time. I suspect it might annoy some people. But we know The Seagull is a tragedy and changing key is Holmes’ biggest achievement. For the final scene, mental health issues come to the fore. We see how obsessive, in their own ways, all these characters are. A lot of anger is revealed and not just in the case of our young lovers. The delusions and detachments we’ve been laughing at become dangerous amongst such fragility and an acute sense of the toll time has taken on all. Stephens appreciates the complexity of Chekhov’s vision and has orchestrated it in a new and exciting manner.

Until 4 November 2017

www.lyric.co.uk

Photos by Tristram Kenton