Tag Archives: Dean Nolan

“Brief Encounter” at the Empire Cinema

Seeing Emma Rice’s adaptation of Noel Coward’s film back in 2008 has long stayed in my memory – this is the story of a doomed romance that makes you fall in love with the theatre. Rice’s invention, changing Coward’s piece in many ways, as well as her passion and creativity, all make this an unmissable revival. The celebration at its return seems to have skewed the production slightly – put simply, it’s too funny – but the sense of triumph that it is back is one I wholeheartedly share.

The setting for the show is the cinema that hosted the movie’s premiere back in 1946, and the interactions between projected films and actors that occur throughout are breathtaking. But this isn’t a show of gimmicks. Rather, imagination is the key: from when Alec and Laura rise from seats amongst the audience to recount their love at first sight, leading to their painful goodbye, Rice adds music, acrobatics and witty theatricality at any opportunity – not a scene goes by without a memorable moment.

The couple, who contemplate rather than consummate their love, are well played by Jim Sturgeon and Isabella Pollen. Rice recasts the story to focus more on Laura in impressively empowering fashion, and Pollen conveys her character’s inner turmoil. Strong performances from two other couples, designed to show love at different stages of life, share the stage with Rice elaborating them all from Coward’s original. Lucy Tackeray and Dean Nolan delight as an older courting pair, a delicious combination of entendre and genuine passion. Beverly Rudd and Jos Slovick have roles as younger lovers and are similarly endearing. Slovick’s musical skills impress, and both get a lot of laughs.

Jos Slovick & Beverly Rudd
Jos Slovick & Beverly Rudd

The sense of taboo that drove Coward’s writing has disappeared and the story lacks its original tension as a result. It’s still moving – but Rice wants romance and she delivers it. There are so many beautiful moments in the production that hearts skip many a beat and it is the beauty of this Brief Encounter rather than its tragedy that we carry away with us.

Until 2 September 2018

www.briefencounterwestend.com

Photo by Steve Tanner

“The Knight of the Burning Pestle” at the Sam Wanamaker Playhouse

The second production at Shakespeare’s Globe’s Wanamaker Playhouse is Francis Beaumont’s The Knight of the Burning Pestle. Written in or around 1607, if you haven’t heard of the play, its startling post-modernity will blow you away. For those already in the know this is a clear, clever choice for the new theatre that shows it off to its very best. And just in case you aren’t interested in literary history, it’s also a cracking night out that will have you in fits of laughter.

Taking their seats in the pit two citizens, played by Phil Daniels and Pauline McLynn, take objection to the entertainment on offer. “Something troublesome” in their ignorance of the performing arts, they’re the first source of fun. One couple you don’t mind making a noise in the theatre, offering around grapes and sweets, a restrained performance from Daniels allows McLynn’s to shine as the adorable, if occasionally blood thirsty, matron who invites us all to her house for a drink afterwards.

Commandeering the stage the stage, they want something that praises their profession and enlist their apprentice Rafe (endearingly portrayed by Matthew Needham) to take on a chivalrous role. And since they are grocers he becomes the titular Knight of the Burning Pestle. Beaumont’s satire on chivalric romances could easily be niche, but director Adele Thomas uses great comic performances from Dennis Herdman and Dean Nolan, co-opted as his squire and dwarf, to get the giggles; Pythonesque touches and acrobatic slapstick – anything and everything to make you laugh.

At the same time, the players valiantly continue the original play, about a London merchant. Another contemporary satire, its critique of greed in the city is sure to hit home today. A story line about an apprentice in love with his avaricious master’s daughter, is hammed up marvellously by the talented John Dougall and the superb Sarah MacRae. Their duet in song is a real highlight of the night. All the interruptions create an improvised feel full of fun, and frequent musical intervals add to the jolly atmosphere.

Believe it or not, with all this going on, there’s another important theme within The Knight of the Burning Pestle. Again commented on by the citizens, again brought out marvellously by Thomas: the character of Merrythought, performed commendably by Paul Rider, is a mysterious figure of mis-rule, anarchy even, dedicated only to mirth. Thomas identifies this as the play’s keynote and makes it a deep, sonorous one. Remarkable musical numbers are just one element of using the new playhouse at its best; Thomas is like a child with a new toy – an entirely appropriate way of dealing with this text. A fascinating play fantastically directed.

Until 30 March 2014

www.shakespearesglobe.com

Photo by Alastair Muir

Written 28 February 2014 for The London Magazine