Tag Archives: David Bamber

“Rosenbaum’s Rescue” at the Park Theatre

The fate of Denmark’s Jews during World War II is a starting point in A Bodin Saphir’s play. But it’s relatively recent investigations into events that become the focal point. And the debate, between a survivor and a historian – two men whose personal lives are intimately connected – makes this a play about family history as well. These three strands are worked with varying degrees of success to make a cautiously written debut play that’s for the most part impressive, but seldom inspired.

The history – of a mass evacuation that occurred with remarkably little loss of life – is summarised efficiently. It’s important as well as interesting and given immediacy by seeing its long-reaching effects on the lives of Abraham and Lars. Up next, revising what has become a pillar of Danish national identity has great potential as a story – it’s a smart insight, ripe for our times, that ‘post-truth’ is nothing new – but it ends up dramatically clunky. Lars, the academic casting suspicion on the “miracle” of a modern exodus, seems to be the world’s worst historian. Denying the possibility of interpretation, he’s eager to ignore detail in his search for the “whole truth”. The character is impossible to believe and the role leaves Neil McCaul as merely a mouthpiece for ideas.

David Bamber as Abraham has a happier time pursuing the drama of a man of faith pitted against facts. Trouble is, for all director Kate Fahy’s admirable efforts to keep the piece focused, this feels like another play, rather than a component of an argument already established. Bamber is convincing – even in a scene where Abraham becomes a surprising villain, as parallels are drawn with the issue of immigration today. Let’s hope we’d all agree about the dangers of a right-wing resurgence in Europe, but the topic is badly shoe-horned into this play.

Dorothea Myer-Bennett & Julia Swift

With the family drama we’re on surer ground. Again, there are tyro touches when it comes to drawing Lars’ daughter, Sara. She’s just your average former scientist turned performing arts reviewer and aspiring novelist (how’s that for fleshing out a character?). And she’s also that person you only meet in a play who instantly offers up a definition for a word they’ve just used. Nonetheless, Julia Swift does a superb job in the role, making you want to hear more from the character and see her generation’s perspective. And the play’s strongest feature is the relationship between Abraham and his wife, played to perfection by Dorothea Myer-Bennett. Providing some much-needed humour, the marriage anchors the play and confirms the fundamental promise of Bodin Saphir’s writing.

Until 9 February 2019

www.parktheatre.co.uk

Photos by Mark Douet

“Communicating Doors” at the Menier Chocolate Factory

If anyone can deal with that tricksy genre – the comedy thriller – it’s playwright Alan Ayckbourn. And as if combining chuckles with tension weren’t enough, this sci-fi story of murder and time travel challenges the cerebellum as well. As Lindsey Posner’s studied revival of the 1994 play shows, Ayckbourn comes as close as anyone can to cracking such an ambitious juggling act.

As you’d expect, there’s plenty of running around rooms, the twist being that it’s one hotel suite at three different times. And while doors aren’t slammed, creeping around between the decades, with the threat of bumping into a murderer, provides a couple of good jumps. There’s a dominatrix call girl for laughs and an officious security guard (nicely paced by Matthew Cottle). Be patient with the comedy, as it gets stronger in the second half.

It’s fitting that only the women in the story can use the eponymous portals. Ayckbourn has written three fine roles for women that mischievously outshine the play’s male characters. The ruthless Reece (Robert Portal) and his henchman Julian (David Bamber) manage to be threatening, with Bamber’s toupee and dastardly laugh deserving their own credit in the programme, but it’s the women – working out time travel and taking control – that make the show.

Rachel Tucker’s tart-with-a-heart manages to be believably frightened and feisty by turns. Lucy Briggs-Owen and Imogen Stubbs play Harold’s former wives, both murdered, with suitable flashback appeal. Stubbs is particularly strong at carrying the scenario, with a no-nonsense approach aiding the surprisingly credible edge of this entertaining evening.

Until 27 June 2015

www.menierchocolatefactory.com

Photo by Manuel Harlan

“Sweet Smell of Success” at the Arcola Theatre

The musicals staged in London’s fringe theatres are often excellent, but every now and again a real stunner comes along and, for now, the title of best musical on the fringe has to go to Sweet Smell of Success at the Arcola Theatre. Nominated for seven Tony Awards on Broadway, and receiving its UK premiere in Dalston, its director Mehmet Ergen has a real hit on his hands.

Based on an Ernest Lehman novella, which became a film in 1957, Sweet Smell of Success has society journalist JJ Hunsecker making and breaking careers at a time when “it’s not love that makes the world go around – it’s the word.” The year is 1952 and gossip, encompassing politics as well as celebrity, is hugely influential in an America where mass media and McCarthyism are at their height. JJ’s obsession with his younger sister Susan leads him to try and break up her relationship with a singer. Caught in the middle is the hero of the piece, Sidney Falcone, desperate for success as a press agent and dependent on JJ’s newspaper column for exposure.

This is smart musical for grown-ups. The cynical story has dark overtones of crime and corruption, with a bleak view of consumers only interested in the “dirt”. The jazz-inspired score by Marvin Hamlisch is fascinating, the lyrics by Craig Carnelia intelligent, and the book by John Guare fantastic. You don’t often get plots this strong in a musical and it should reach out to those the genre doesn’t normally appeal to. Ergen’s production takes advantage of all this: the sound is impressively big, with clear delivery, clever staging and adventurous choreography by Nathan M Wright.

If Sweet Smell of Success has a flaw it’s that it’s a little too cold to love unconditionally. Adrian der Gregorian does a good job of making Sidney appealing despite his Faustian pact and he has a terrific voice. But JJ is a little too repellent in David Bamber’s portrayal – he needs more charisma – and although some tricksy lines are dealt with expertly, Bamber isn’t a singer and you can’t help wondering what the role would be like if his voice were stronger.

Thankfully, the show has heart in the shape of the lovers JJ tries to part. As the success around them turns bitter, it is their relationship that becomes the focus of the show. Caroline Keiff is wonderful as Susan, struggling movingly for independence, and she has great chemistry with Stuart Matthew Price’s Dallas. It is the latter who will really win you over with a scrupulous performance and some stupendous singing that should not be missed.

Until 22 December 2012

www.arcolatheatre.com

Photo by Simon Annand

Written 15 November 2012 for The London Magazine