Tag Archives: Chichester Festival Theatre

“Goodnight Mister Tom” at the Phoenix Theatre

Goodnight Mister Tom arrives in London’s Phoenix Theatre on Charing Cross Road after strong reviews at Chichester and before embarking on a UK tour on 26 January. David Wood’s skilful adaptation of Michelle Magorian’s best-selling book about the relationship between a young evacuee and an elderly widower is a surprisingly challenging and dark tale that’s wonderfully theatrical and hugely entertaining.

Starting with Operation Pied Piper, in 1939, when nearly three million were evacuated from cities into the country, our hero William Beech is a troubled young boy from an abused home. His deeply shocking treatment at the hands of his own mother shoots through the sometimes sickly nostalgia of the piece to give it real bite. William is ‘billeted’ with a reclusive and curmudgeonly old man. It is, of course, their slowly warming relationship that makes Goodnight Mister Tom a tale of redemption for both of them.

The play’s two roles for children, William and his friend Zach, are both hugely demanding, and the youngsters performing on the press night, Ewan Harris and William Price, were impressive indeed, but praise has also to go to the creative teams and the adults in the cast who so skilfully support them. Angus Jackson’s clever direction, the clued-up ensemble who take on a variety of roles, and the clever use of puppetry from Toby Olié make Goodnight Mister Tom a slick affair. In the title role Oliver Ford Davies is marvellous and he has a rapport with his young co-star that will melt your heart.

Until 26 January 2013

www.atgtickets.com/phoenix

Photo by Catherine Ashmore

Written 28 November 2012 for The London Magazine

“Sweeney Todd” at the Adelphi Theatre

Arriving in London from rave reviews at the Chichester Festival Theatre, Jonathan Kent’s production of Sweeney Todd is the must-see show of the summer. Arguably Stephen Sondheim’s masterpiece, certainly his most famous work, it’s a musical that’s as intellectually stimulating as it is approachable.

Kent and his team make the most of each show-stopping number: almost to the production’s detriment as the evening is in danger of turning into a collection of hits rather than flowing as the excellent book by Hugh Wheeler intends it to. To be fair this really isn’t Kent’s fault – the audience response is rapturous, the atmosphere fantastic.

There is plenty to applaud. Michael Ball is remarkable in the title role. His transformation into the demon barber of Fleet Street makes him unrecognisable. More to the point, he gets to show what a fine actor he can be and remind us what a great voice he has. He does justice to Sondheim’s challenging score and embraces Sweeney’s tragic predicament in a stark manner that avoids camp.

Sweeney’s partner in crime, Mrs Lovett, is a role to kill for and Imelda Staunton has a great deal of fun with it. Her comedy is spot on and her voice strong. In love with Sweeney, Lovett’s descent into crime is swift, inevitable and wickedly funny, giving the production great pace. Staunton’s is a cracking performance that never slows and continually impresses.

Several recent productions of Sweeney Todd have been performed by opera companies reverent towards the score and resourced in a manner you might miss here – the chorus seems small and at times unsatisfying. There’s also a suspicion that Anthony Ward’s set feels a little lost on the large Adelphi stage; Sweeney’s London hardly teems with people, even if Mark Henderson’s lighting design creates atmosphere in abundance. But such cavils certainly won’t stop you enjoying the evening. This isn’t the perfect production of Sweeney Todd but it’s within a whisker of it.

Until 22 September 2012

Photo by Johan Persson

Written 23 March 2012 for The London Magazine

“Top Girls” at the Trafalgar Studios

What an opening: given its first act, it’s no wonder Caryl Churchill’s Top Girls has such a great reputation. A riotous dinner party unites women from myth, history and fiction in an Absurdist tableau to discuss their lives, loves and deaths. The stuff of doctoral thesis is seldom this funny – witness the Victorian explorer’s racist faux pas towards the medieval Japanese noblewoman – but what makes the scene so riveting is Churchill’s ability to bring the pain these women experienced so close to the surface.

How this connects to the rest of Top Girls is another chapter in that thesis. The play becomes the story of the party’s host Marlene. An 80s career women with a recruitment agency, the role is performed superbly by Suranne Jones. Wonderfully attired and every inch the thrusting executive, Joseph Epstein could have had her in mind when he coined the phrase ‘yuppie’.

Marlene’s is a cruel world. One of her clients, in a stand-out performance from Lucy Briers (who has a great night, also playing Pope Joan), is a bitter middle manager of 47, who’s told that her age is a “disabling handicap”. And Marlene’s back story, escaping to the city, has enough drama when she returns to Ipswich to match The Homecoming.

Max Stafford-Clark’s assured direction does a lot of favours to Churchill’s text. He has the experience, having directed the premiere in 1982 at the Royal Court, and this new production arrives from Chichester with rave reviews.

Marlene’s casual rejection of her daughter Angie, played cogently by Olivia Poulet, is devastating – she’s no “top girl”. The family confrontation that centres on Angie’s future is electric, with a passionate performance from Stella Gonet, the character who gets to ask what will happen if the young girl just can’t “make it”.

Top Girls is political to its core. Marlene’s pin-up girl is Mrs Thatcher – she’d give her the job – and Churchill’s particular politics of fear, debatably, makes the play feel dated. But the strength of this revival is to show the nuances within this landmark play. The complexity of the characters indicates that there are still questions to ask – Churchill’s provocative presentation demands they are answered.

Until 29 October 2011

Photo by John Haynes

Written 17 August 2011 for The London Magazine

“Rosencrantz And Guildenstern Are Dead” at the Theatre Royal Haymarket

Having to write about a play can spoil watching it. Many a schoolchild has been put off Hamlet, trying to fathom out what happens, conscious they will be examined on it. It’s a relief to find that in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead, the characters are in the same situation; baffled by the unfolding plot and their role in it, their predicament creates a special affinity with the audience.

Tom Stoppard, of course, knows exactly what is going on, in his hands we never feel too scared – just highly entertained. Stoppard’s first masterpiece, from 1965, Rosencrantz And Guildenstern Are Dead, doesn’t feel dated in the slightest – its intelligent humour shines forth. Seeing the events in Hamlet unfold via once minor, now major characters, we are introduced to the theme of free will, with speculation on aesthetics, and dazzling verbal badinage.

Stoppard’s dexterous writing is well served in director Trevor Nunn’s superb production. Having missed out on the chance to direct the plays premiere, Nunn relishes the opportunity now. There is an appropriate exuberance in his direction that does him credit.

Arriving from the Chichester Festival the production is already polished. The Players that Rosencrantz and Guildenstern encounter make a convincing ensemble of tatterdemalions. Times are tough for performers, they will “stoop to anything” to entertain, and as their leader Chris Andrew Mellon conquers, hilariously guiding our heroes around the artifice of the world they are trapped in.

In the lead roles, Samuel Barnett and Jamie Parker, the one-time History Boys, are reunited, and this duo needs no lessons in comedy. Parker explains their predicament marvellously: seeking logic and justice in the theatre, fate means they are condemned to “death followed by eternity”, with their roles puzzled over forever more. But Barnett literally runs rings around his colleague, getting every laugh going and showing that Rosencrantz And Guildenstern Are Dead is a very lively affair indeed.

Until 20 August 2011

www.trh.co.uk

Photo by Catherine Ashmore

Written 22 June 2011 for The London Magazine