Tag Archives: Caroline Quentin

“Jack Absolute Flies Again” at the National Theatre

Richard Bean and Oliver Chris are back on the South Bank. Eight years after their smash hit show, One Man, Two Guvnors, the writing team have taken on Richard Brinsley Sheridan’s 18th-century comedy The Rivals. It’s the same smart, irreverent humour with blue tones and knowing touches. And it’s very funny.

Setting the action on the eve of the Battle of Britain (Covid delayed the show, which would have been anniversary-appropriate) works well. There’s plenty of commentary on class – which Bean and Chris love. And the relative liberation women experienced during war time is used neatly. Above all, there are many easy jokes about the period that are mined to the max.

James-Corrigan,-Jordan-Metcalfe,-Laurie-Davidson-and-Akshay-Sharan-in-Jack-Absolute-Flies-Again
James Corrigan, Jordan Metcalfe, Laurie Davidson and Akshay Sharan

Instead of setting the play in Bath, the location is Mrs Malaprop’s country home, requisitioned by the RAF. The pilots seem like a pretty useless bunch of men (what fun) – especially when it comes to romance. A clueless toff, a clever Indian and a crass Australian all get jokes, although they are predictable. It’s appealing performances from James Corrigan, Jordan Metcalfe and Akshay Sharan that make these roles work. The titular lead comes across as bland, despite Laurie Davidson’s efforts. It’s Jack’s father who impresses, with Peter Forbes delivering a rousing performance as the bumptious army major who has some great one-liners. He’s short tempered and misogynistic but he’s a great guy!

The women do much better, even if the big joke is them wanting (or not) to be ‘modern’. Natalie Simpson, as the show’s siren Lydia Languish, deals with some very long lines very well. Sheridan had his heroine obsessed with romance – this time it’s the desire for a socialist future. Lydia’s target is a working-class man from Up North and she wants to open a lemon farming commune in Barnsley.

Bean and Chris’ odder moments are my preference. Even if the jokes don’t get as many laughs, they are original and unexpected. A preoccupation with geography is endearing. A riff on war wounds even manages to be sweet (kind of). The set, designed by Mark Thompson, echoes unusual perspectives with childlike appeal thrown in.

The maid, played by Kerry Howard, has a few too many jokes about the theatre (she’s a self-proclaimed dramatic device) but is excellent. The star of the show is Caroline Quentin as Mrs Malaprop. The updated malapropisms are strong (my favourite was Mexican for lexicon) and they are delivered superbly: Quentin saves some of the weaker (usually bluer) ones with delicious confidence.

Director Emily Burns keeps the action moving swiftly but with a (slightly) calmer, more contemplative undercurrent than that previously mentioned big hit. Bean and Chris cleverly ensure our respect for the pilots increases as the play goes on. And they have a brave ending that earns them respect, too. Jack Absolute Flies Again is more of an ensemble piece (James Cordon was ably supported but was very much the focus). If this show doesn’t sell as many tickets as One Man, Two Guvnors, it still might be a better play.

Until 3 September 2022

www.nationaltheatre.org.uk

Photos by Brinkhoff-Moegenburg

“Relative Values” at the Harold Pinter Theatre

A new production of Noël Coward’s Relative Values has arrived in London from the Theatre Royal Bath. It’s another sparkling comedy for the West End, boasting star performances from Patricia Hodge and Caroline Quentin, and with respectful direction from Trevor Nunn that is sure to please aficionados of the author.

This is the one where Lady Marshwood (Hodge) finds her son has gone and got himself engaged to a film star (the perfectly cast Leigh Zimmerman), who happens to be the estranged sister of her maid Moxie (Quentin). It’s simply not on. Hodge and Quentin are spot on, making the most of each acerbic line and convincing as two women who have grown close despite the class divide.

As one line in the play points out, this is a comedy idea not to be sniffed at – especially when Moxie, to avoid awkwardness, receives a promotion from maid to companion/secretary. Cue excruciating after dinner drinks and an explosive confrontation between Moxie and her sister that will have you in stitches. All this is aided by the butler, naturally a clever chap with a philosophical bent, performed by none other than Rory Bremner, who makes a great West End debut.

You certainly get your money’s worth. Relative Values is long and Nunn does little to speed it up. It’s a valid decision but I am not sure films introducing each act, providing historical background, are really needed. Some minor roles could be pepped up. But the whole thing, Stephen Brimson Lewis’ set included, drips quality.

Never underestimate Coward. Producers don’t – look at Blythe Spirit  packing them in at the Gielgud. It now seems barely believable that he was once regarded as an unfashionable writer. His observations about class and the changing times of the early 50s, that Nunn takes Coward’s lead in emphasising, leave me cold but then I sometimes feel pretty lonely in these Downton Abbey obsessed times. Coward’s insights into human nature are still pointed and serve his comedy marvelously well. And at the heart of this play Quentin and Hodge make a great team: queens of comedy reigning gloriously.

Until 21 June 2014

www.atgtickets.com

Photo by Catherine Ashmore

Written 15 April 2014 for The London Magazine

“Oh What A Lovely War” at the Theatre Royal Stratford East

The hundredth anniversary of the beginning of World War One is being embraced by the cultural community in many ways. Of all the projects planned the production of Oh What A Lovely War, which opened last night, is the one that should excite theatregoers most. Also marking the show’s fiftieth birthday, the legendary Joan Littlewood’s ‘musical entertainment’ returns to its first home, the Theatre Royal Stratford East, with a respectful new version directed by Terry Johnson.

I vividly remember every history student at my school being trooped off to our local cinema for a specially arranged showing of the 1969 film. All credit to my far-sighted teachers, even if Michael Gove would have disapproved (and well done for getting a mention of him in last night, guys). The concept – telling the story of the awful events of 1914-1918 through the words and music of the time, and adamantly focusing on the average soldier, rather than his officers – is both informative and inspirational. This theatrical method tells you more than any history lesson could and its power has not diminished.

Commitment to the show is clear from the excellent ensemble. The variety of roles, as well as accents, that they take on is remarkable. Both the singing and the choreography by Lynne Page are strong. It seems a little unfair to single anyone out but Shaun Prendergast is superb as the lead narrator, as well as a perfect Sergeant Major. And Caroline Quentin is great value; as a vaudeville star who will “make a man” of anyone joining up, and an impassioned peace protestor. Her Sister Susie’s Sewing Shirts is a real highlight – join in if you can.

Incredible as they seem, the events presented are facts, and make the evening a humbling experience. Johnson and his designer Lez Brotherston use technical advances developed since the show first appeared subtly, with a dot matrix sign displaying casualty figures and photographs projected on a grand scale. Both are given due reverence at key moments. There’s rich, vicious satire here, a shocking humour born from tragic events that still surprises. And there’s no room for timidity when dealing with this subject matter – credit that none is shown.

Until 15 March 2014

www.stratfordeast.com

Photo by Nobby Clark

Written 12 February 2014 for The London Magazine