Tag Archives: Donmar Warehouse

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“Juniper Blood” at the Donmar Warehouse

Mike Bartlett is in a very serious mood with his latest play. Using close observations and cold wit to look at the effects of climate change on one family ensures the work, skilfully directed by James Macdonald, wins respect. But it is familiar ground, and a harsh edge makes it hard work.

‘Climate grief’ is the issue, although I’ll admit the term is a struggle. The idea is that things are so bad that we’re all in mourning for the planet. Hope is the keyword – not just a lack of it but whether it is even possible anymore. And yes, that is as grim as it sounds, even if Bartlett adds a few good gags along the way.

Whether or not to bring a child into the world was a concern for Bartlett way back in Earthquakes in London. And it’s not as if things have got better. But too much of the argument is the same. It’s impressively intense and undoubtedly important but ultimately repetitious. We start on a family farm, a kind of spin on The Good Life, with fascinating research about agriculture thrown in. But as any kind of compromise is rejected, environmentalism becomes radical and intersects with mental health.

The generational conflict in the play is solid, although Bartlett does better with the older figures. And privilege is something explored well enough. Although it’s hard to like anyone on stage – and credulity is pushed too far – the characters are all entertaining and the kind of roles actors revel in.

Although arguing about who is the key character would be part of the fun, I’m going for Lip, ironically named for his taciturnity. Sam Troughton is fantastic in the part, bringing essential underlying charisma. Lip isn’t an idiot: worrying about an existential crisis is sensible! But his partner, another strong role brilliantly performed by Hattie Morahan, is torn when she becomes pregnant. Other characters, a younger couple and a neighbour, are all filled out, with credit to Terique Jarrett, Nadia Parkes and Jonathan Slinger. The personal stories and perspectives interest, amuse and irritate in equal measure.

Good intentions run through the play and considerably help to make some silly bits credible. Opposing views allow scope in argument although, as with some of the characters, a lot doesn’t quite convince. For all the skill here, the result is strangely formal, tired and a little lost. Given the state and scale of the problems highlighted, maybe that’s understandable.

Until 4 October 2025

www.donmarwarehouse.com

Photos by Marc Brenner

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“Intimate Apparel” at the Donmar Warehouse

Nothing written by Lynn Nottage should be missed. Director Lynette Linton’s revival of the playwright’s 2003 piece, last seen at the Park Theatre, is splendid. This story of a seamstress at the turn of the 20th century is well constructed, dramatically engaging, full of poetry and contains great insight. And what a heroine! Esther’s hard work, good heart and bad luck all prove compelling as she looks to better herself and find love. While the show is more than a romance, it is easy to fall in love with her.

The lead role is a triumph for Emmy award-winner Samira Wiley. Barely off the stage, she holds the audience’s attention with ease, although the role could be played with more restraint. There’s a balance between Esther’s determination to fulfil her dreams and her disbelief when some of them appear to be coming true that Wiley doesn’t quite pin down. But the emotion displayed is sincere and always moving.

While Esther overly dominates the play, there is excellent support from three women who are her friends, played by Nicola Hughes, Claudia Jolly and Faith Omole. These accomplished performers share Nottage’s skill in making their roles more than foils. There’s a case for claiming that Intimate Apparel is a play about female friendship.

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Kadiff Kirwan

Kadiff Kirwan is George, whose epistolary romance with Esther very results in their marriage. His wonderful letters convince – until their nuptial night. The cloth merchant Mr Marks is a tougher role for Alex Waldmann. The chemistry with Wiley is good, but there’s not enough conflict surrounding this potential romance. And Waldmann should display the material he sells (and praises so beautifully) with more care.

A long-term collaborator of Nottage, Linton is a justifiably confident director. Which makes some fussy touches in the show’s design (by Alex Berry) a surprise. The video work feels unnecessary. But the production’s intensity is a marvel – full of frustration, passion and drama. It’s sexy, too, with innuendos about fabric and Esther’s fantasies given weight. The humour shines out and there are gasps over plot points. None of this is surprising, given the strength of the script, but it’s a still an achievement and a theatrical thrill.

Until 9 August 2025

www.donmarwarehouse.com

Photos by Helen Murray

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“Dealer’s Choice” at the Donmar Warehouse

As the 30th anniversary production of Patrick Marber’s hit show, this revival might prompt questions as to how the play has aged. The short answer is well enough. The script is funny, the drama intense and the characters interesting. It could be mentioned that Marber was looking at men and their relationships before people started talking about toxicity. But if a sharp critique is what you’re looking for you might be disappointed. While this is, undoubtedly, a well-written play and a fine production, it lacks bite.

The poker game a group of restaurant workers hold each Sunday after work is high stakes in several ways. For Mugsy and Frankie, the event connects to their future dreams. The chef, Sweeney, has more modest ambitions – seeing his daughter the next day. Their boss, restaurant owner Stephen, plays to keep an eye on his son, Carl, who has a gambling addiction. The structure is neat, including the introduction of a wild card – a professional gambler called Ash who Carl owes money to.

The men’s banter is dated but amusing. The shifts in their relationships, before and after work, provide dynamism. Individual ambitions power the play and are depicted well by the cast – these are good roles. Hammed Anumashaun stands out by managing to make Mugsy more than a comic device (no small achievement). Meanwhile Theo Barklem-Biggs gives a nicely layered performance as Sweeney. The father-son relationship is depicted by Daniel Lapaine and Kasper Hilton-Hille with skill, the latter continuing to establish himself as a young talent to watch. Carl could easily be dismissed as spoilt and selfish but, alongside Lapaine, the complexity to both characters is filled out. As a final treat, Brendan Coyle’s performance as the world-weary Ash is strong.

Matthew Dunster’s direction is considered. While the action is never rushed, not a moment is wasted. I’m not sure the musical interludes need to be quite so loud, but that might just be my age – nobody needs to be shocked awake here. Moi Tran’s design is a fancy affair, the reveal of the basement the game is played in is sure to impress and the revolving stage is a great idea. So, with so much to praise, why the reservation?

Dealer’s Choice offers a convincing enough snapshot of these men’s lives but it doesn’t take us any further. Marber is generous with his characters – not a bad strategy – and the production follows this. It’s easy to care about the men despite, maybe because of, their flaws. But we can’t escape that they are stuck. None of them is going to win, let alone win big and that grim conclusion seems, oddly, never addressed.

Until 7 June 2025

www.donmarwarehouse.com

Photos by Helen Murray

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“Backstroke” at the Donmar Warehouse

This new play, written and directed by Anna Mackmin, works hard but comes too close to being hard work. Performances from superstars Celia Imrie and Tamsin Greig make it a must-see, but it’s hard to escape the idea that without them patience would run short.

Looking back at the relationship of mother and daughter, Beth and Bo, after the former has a stroke, is a powerful story. But then, why wouldn’t it be? Much of the action is set on a deathbed.

Mackmin tries to avoid sentimentality, but her writing, like the subject, is heavy. The production isn’t helped by unnecessary filmed vignettes that accompany the action, a kind of internal dialogue for Bo that includes her own troubled daughter (and lots of screaming).

These are strong characters, interesting and well-performed, but are they a touch too eccentric to believe? This old hippy and her ambitious daughter have a complicated relationship. It’s revealed that Beth’s mental health has always been a problem and Bo has suffered as a result. Be warned: some jokes come close to the bone.

Beth also suffers from dementia and Mackmin’s depiction of this is more poetic than realistic. Credit to Imrie for the delivery, which must be extremely difficult. A loss of inhibition, mood swings and anger are all ticked off. But I’m not so sure about the malapropisms. Bo still makes sense a lot of the time, her repetition is haunting, but her search for words comes too close to funny.

Mackmin’s topic of motherhood is clear enough. If you’re in doubt, Bo’s adoption of Skylar brings the theme home (we only see this other damaged character on screen until the very end). Bo is finding parenting so hard that she admits she wants to give her daughter back. It’s a brave confession that needs more exploring to convince.

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Anita Reynolds, Lucy Briers and Georgina Rich

There are problems, too, when it comes to the hospital staff, a trio that are well-performed but close to stereotyped. From Georgina Rich’s aloof consultant to two very different nurses (Lucy Briers and Anita Reynolds), we are prepared for a debate about end-of-life care that doesn’t really take off.

Nonetheless, going back and forth in time is a boon for the performers, who really do impress. The focus shifts to the question of “how to die” and, if the swimming metaphor is laboured, the films become better, and our perception of Beth is cleverly modulated. It’s still too long, though, and a memorial speech by Bo pushes us into weepy territory. I’m not sure, given this subject matter, that reducing your audience to tears is really a big achievement.

Until 12 April 2025

www.donmarwarehouse.com

Photograph by Johan Persson

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“Skeleton Crew” at the Donmar Warehouse

Marking the end of Michael Longhurst’s excellent tenure as artistic director, this UK première of Dominique Morisseau’s play is classy in two senses. The production is of the highest quality – director Matthew Xia is justly confident with the terrific script as well as his talented cast. And the subject matter might be said to be class – Skeleton Crew is a specific study of blue-collar workers in Detroit that is detailed, intelligent and moving.

The factory breakroom setting, with dramatic lighting and sound design (from Ciarán Cunningham and Nicola T Chang respectively), is an efficient forum for debates about unionism and moral dilemmas. As redundancy approaches for the characters, with the factory downsizing to the titular staffing levels, this working world might remind you of plays by Arthur Miller or Lynn Nottage, but Morisseau has her own voice – with plenty to say.

It is with its characters that Skeleton Crew excels. There are four heroes here – Dez, Faye, Reggie and Shanita – complex figures who are all magnificent creations. Although they present different approaches, with plenty of argument, none feels like a mouthpiece.

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Racheal Ofori and Branden Cook

Dez is struggling to set up his own business, his desperation leading to a brilliant plot point, while Shanita is pregnant, a literally growing cause for concern. In the roles, Branden Cook (an astonishing professional debut) and Racheal Ofori stand out, brilliantly revealing their characters’ complexities, making us care about them and adding wit. Reggie, the supervisor who knows first that the plant is closing, is a fantastic study in stress from Tobi Bamtefa, with a visceral performance full of fear, anger and confusion. The trio are figures of great dignity – proud about work, with a sense of purpose from productivity. And I haven’t yet mentioned Faye.

Long-serving union rep, friend and mentor to Reggie, Faye is the linchpin of the play. It is to the credit of all that she does not dominate the show. This could well be a career defining role for Pamela Nomvete, who gives a performance marked by clarity as well as power. Faye’s no-nonsense views and her care for others guide her colleagues – and the audience. But the character has problems, with a twist that brought tears to my eyes. Faye is not a victim – her insistence on this will give you goosebumps. But we are allowed to question whether that praiseworthy pride might also be damaging.

Morisseau can escalate tension with the best of them. But there’s also an interesting take on understatement that Xia is careful to preserve. Anti-climax is mentioned by Shanita, whose dreams (beautifully recounted by Ofori) add melancholic touches, while dramatic moments are curtailed for the sake of realism. And note that Faye doesn’t want Reggie to “write a happy ending” for her. There’s nothing twee in Skeleton Crew. Its power comes from how convincing it is. But how much I hope the future goes well for all its characters indicates how strong the piece is.

Until 24 August 2024

www.donmarwarehouse.com

Photos by Helen Murray

2023

“Clyde’s” at the Donmar Warehouse

Hope is the takeaway from playwright Lynn Nottage’s diner-based drama. The ex-convicts who are employed by the owner of the restaurant that takes her name know they’ve made mistakes and won’t find work elsewhere. But they still have aspirations – to make the perfect sandwich. It doesn’t sound like a lot, but Nottage and this five-star production make it a fulfilling menu.

Nottage often writes about the world of work – about trades unions in Sweat or the rag trade in Intimate Apparel. But while the setting is America, evoked with great skill, the concerns she raises are global: expectations, exploitation and the gig economy. A sense of pride in work is made palpable. To show the importance of the cuisine, the lighting and movement are invaluable, with credit to Oliver Fenwick and Kane Husbands respectively. It’s important we take these sandwiches seriously!

To really make sure we care, it’s Nottage’s larger than life but credible characters that power her drama so effectively. You root for each in a variety of ways. Director Lynette Linton and her cast present a surprising collection of heroes to perfection.

The lead role, of sorts, is Clyde, a monstrous creation performed by Gbemisola Ikumelo, who is mesmerising. Despite being the boss from hell, Clyde’s difficult life and her problems make her intriguing as well as repulsive. She’s filled with hate – the question is why. Her counterpart is the Buddha-like Montrellous portrayed by Giles Terera with suitable mystery and charisma. For all the calm, it turns out his backstory is just as dramatic.

Montrellous inspires his three fellow chefs, acting as a mentor. And he can teach us all a thing or two. These younger characters adore him in heartwarming fashion while, of course, having their own problems. The dynamics between them prove engrossing. A potential love affair between characters exquisitely portrayed by Sebastian Orozco and Ronkẹ Adékọluẹ́jọ́ adds romance, while an unrecognisable Patrick Gibson has a stunning role as former gang member Jason.

There is nothing laboured about Nottage’s dialogue or, indeed, its delivery. While the problems faced are heavy, the humour is light – Clyde’s is a very funny play. Many playwrights can show their wit and create characters a little too amusing to believe. But the humour here feels effortless and flows naturally. Chef’s kisses for this great work.

Until 2 December 2023

www.donmarwarehouse.com

2023

“Next to Normal” at the Donmar Warehouse

Fifteen years after success in New York, this hard-hitting musical from Brian Yorkey and Tom Kitt has a London première to be proud of. Under the musical direction of Nick Barstow, the show sounds great while director Michael Longhurst excels in sensitivity. The performances are superb, among the best I’ve seen in a long time. In fact, the production is so strong that it might be better than the show itself.

Next to Normal’s subject matter is mental illness. The lead protagonist, Diana, suffers from bipolar disorder; we see her treatment with drugs, therapy and even ECT. As if that weren’t emotive enough, Diana’s problems are connected to the death of her baby son Gabe who, imagined grown, haunts her as a psychotic hallucination.

It’s an important topic, although obviously not one that is easy to watch, let alone perform – Caissie Levy, who takes this lead role, is a marvel and her voice is excellent. Of course, there’s plenty of angst in her songs, but the score also has variety and Levy manages to inject surprisingly light touches. This is a woman living with her illness, who – making sandwiches and looking after the family – has to carry on… somehow. The detail in the performance, as with the care in Yorkey’s book, feels authentic and engaging.

The show only gets more impressive because the focus is almost as much on Diana’s family as her. More detail – a lot of it distressing – comes with the always-excellent Jamie Parker, who plays the husband. And there’s Diana’s daughter, Natalie, who ironically feels like an “invisible girl” and has plenty of problems of her own.

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Jack Ofrecio and Eleanor Worthington-Cox

Eleanor Worthington-Cox takes the role of Natalie and is joined by Jack Wolfe as her deceased brother. It is a huge testament to both, that, despite how fraught the piece is, they show their roles as, somehow, regular teenagers. Given that one isn’t real, that really is remarkable! Completing a trio of younger performers is Jack Ofrecio, who plays Natalie’s boyfriend and is also excellent. The level of sophistication in both music and lyrics is consistent for these roles and the performances just as good.

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Jack Wolfe

Next to Normal is far from a teen drama, but the depictions of youth are extraordinary. The pressures on all three younger characters, particularly interesting when we consider one as a figment of an older person’s imagination (who even gets the best number), raise questions about nature and nurture. While showing the impact of long-term illness, Natalie and her beau have regular problems, too. It all adds up to great drama.

Up until the end, it is all pretty much faultless – if hard-going. And resolving a story like this is always going to be a problem, especially given how in-depth and intense the show is. Maybe we should be grateful the end isn’t tragic… but Diana’s decision to abandon treatment is a shock. While she considers giving up medication more than once, the final decision to reject help seems reckless to the point of being disturbing. Maybe it is best to point out that it doesn’t quite make sense dramatically. It’s an odd end to a fantastic show.

www.donmarwarehouse.com

Until 7 October 2023

Photos by Marc Brenner

2023

“Private Lives” at the Donmar Warehouse

For his last season in charge of the venue, director Michael Longhurst presents a radical revival of Noël Coward’s classic play. This Private Lives is exciting and troubled – fitting attributes for Longhurst’s superb time at The Donmar, which has struggled with the problems of Covid-19 and funding.

It is hard not to have expectations about a Noël Coward play – part of the playwright’s genius was to present the seemingly superficial. Longhurst understands this dynamic. His production shows divorcees Elyot and Amanda (reunited while on honeymoon with other people) as far more than frothy.

There are still plenty of laughs in the comedy. But a serious edge comes from Longhurst’s intolerance of Elyot’s domestic violence. The focus comes from the text – Coward is also appalled that Amanda is hit by Elyot – but the action is truly shocking (Kate Waters’ work as fight coordinator is some of the best I’ve seen). And the violence fits with an air of disconnection and desperation that could be described as existential: Amanda talks of her “jagged sophistication”, Elyot says that he is “lost” and troubled by modern life.

Two strong leads – Stephen Mangan and Rachael Stirling – play an important part in the success of the production. Neither is intimidated by the show’s history. Stirling’s Amanda can hold her own in any situation but is surprisingly vulnerable. Mangan’s performance is a revelation, his Elyot a nasty piece of work, however charming. You can tell how good both performers are when they aren’t speaking that sparkling dialogue. Full of passion and intimacy, this couple can communicate without the words an audience usually goes to a Coward play for.

Running away from their new marriages is surely unforgivable – no matter how dysfunctional and unhappy their rekindled love affair will be. Here, Laura Carmichael and Sargon Yelda, who take the parts of new spouses Sibyl and Victor, make their smaller roles a big part of the show. There are laughs from how out of their depth both characters are, but the slow realisation of what Elyot and Amanda are really like adds considerable tension.

Might you still feel sorry for Elyot and Amanda? They “pity the philosophers” who want to try and explain their passion. But is there a design for living here? Or are the couple just like children? There’s plenty to suggest infantilism, including temper tantrums that must be tactically controlled. But Longhurst is harsh and has no time for excuses. The violence in the show feeds on itself and brings further shocks with the finale. Complete with discordant strings, a sudden argument between Sibyl and Victor might even end in murder. Not what you expected – and all the better for seeing these lives out in the open.

Until 27 May 2023

www.donmarwarehouse.com

Photos by Marc Brenner

2023

“Trouble in Butetown” at the Donmar Warehouse

Focusing on an African American soldier and a mixed race family in Cardiff provides a new take on World War II in Diana Nneka Atuona’s new play. Behind this interesting story, the piece is a traditional affair – well-crafted and carefully observed – that is a tidy drama and a gorgeous love story.

GI Nate is on the run, providing excitement, and it’s no plot spoiler to say he is the victim of prejudice. But what’s important is what he runs into: a boarding house with no colour bar and a romance with young Connie. The roles make impressive stage debuts for Samuel Adewunmi and Rita Bernard-Shaw with characters whose instant attraction and innocent courtship is sweet. 

The play is full of heart-warming relationships that centre around Connie’s mother, a powerful matriarch, performed by Sarah Parish with consummate skill. As funny as she is formidable, and ferociously protective of her daughters, she is a sympathetic figure. How hard it must be to raise two mixed race children at the time is never overstated, a powerful move on Atuona’s part.

Along with her younger daughter and lodgers, who are all satisfying characters, this little idyll is under threat from the American Military Police. There are big debates here with plenty of perspectives. And maybe some caricatures (the Police seem dull next to characters we’ve come to admire). Importantly, Nate’s actions aren’t glossed over.

There is a lot of action – a director less skilled than Tinuke Craig could make a mess – that builds nicely. The second act provides more nuance in each character, more intergenerational conflict and a realistic yet inspiring finale. Random acts of kindness and cruelty that are deftly handled make the piece involving and interesting throughout. Excellent work all-round.

Until 25 March 2023

www.donmarwarehouse.com

Photo by Manuel Harlan

2022

“The Band’s Visit” at the Donmar Warehouse

A big production in a small space is one way to get a buzz. This Broadway hit, by David Yazbek and Itamar Moses, has a huge cast considering the venue: there are the titular musicians, on tour from Egypt, and those they unwittingly encounter, the locals of a nowhere-town in Israel. But it’s the committed low-key tone – the claim from the beginning that what we are about to see is not very important – that makes the show stand out.

The visiting musicians get involved in some heavy stuff, offering advice on life and love, with romances beginning, or not, and ending… maybe. And there’s a lot of consideration as to how important music can be – transforming lives and bringing people together. But Moses’ book has a consciously slow pace, which director Michael Longhurst embraces. The action is deliberately minimal: characters visit a park, go on a date, and wait for a phone. The show becomes a triumph of restraint and modesty.

The music and lyrics by Yazbek are often quiet too – there’s no search for a show-stopping number, although the songs are fantastic, and the score deserves its Tony Award (one of six!). A fascinating mix of the Middle Eastern with Western influences, it’s exciting to hear a musical that sounds so different. The sentimental songs are excellent – stand-alone hits – and Yazbek has a gift for comedy too.

Although a true ensemble piece, Miri Mesika shows she’s a star in the role of café owner Dina. With a great voice and sure command of the comedy in the piece, Mesika makes her character believable and admirable. The connection between Dina and the band’s conservative conductor proves fascinating through the chemistry between Mesika and Alon Moni Aboutboul. It is striking that the focus for the show is middle life, both characters have a history and share a sense of calm resignation.

There are also strong performances from a married couple in trouble, played by Marc Antolin and Michal Horowicz, with a role for Peter Polycarpou as her character’s father providing a perspective from later in life. And given two fantastic numbers, it’s impossible to ignore Harel Glazer and Ashley Margolis as younger men starting their romantic lives.

It is clear that Yazbek and Moses have more ambition for the piece than their tone suggests – the ages of characters show that much. There is a sanguine approach that gives the work a distinct flavour, with beauty in everyday things that has tremendous charm. Hope is the big theme in the end – past and future. The Band’s Visit searches out hope at all stages of life and turns out to be, well, important, after all.

Until 3 December 2022

www.donmarwarehouse.com