Tag Archives: Geraldine James

“13” at the National Theatre

After the success of last year’s Earthquakes in London, Mike Bartlett’s return to the National Theatre with his new play, 13, has something of triumph about it. Promotion to the grand Olivier Theatre would be a dream for most playwrights, but Bartlett seems undaunted and bravely presents us with a fear-fuelled nightmare that’s ambitious, big and bold.

It’s one nightmare, to be specific, spookily shared by 13 different people. This clever device shows a disparate section of society, from a cleaning lady to the Prime Minister (Geraldine James on excellent form), all living in anxious times and searching for something to believe in.

It would be impossible to mistake Barlett’s version of the future as the very nearly now – social networking, riots on the streets, economic catastrophe and the threat of war – it’s all highly topical, with enough iPads on stage to make Steve Jobs smile down on us. As if this weren’t enough, Bartlett introduces religion as a fulcrum to his play. A central messianic character, John, performed with gnomic intensity by Trystan Gravelle, raises yet more questions and heightens the dramatic stakes.

Thea Sharrock’s direction and Tom Scutt’s design match Bartlett’s vision. With the Olivier’s revolve used to great effect, this is a precise production, technically impressive and rewardingly theatrical. The dreams the cast share, full of “monsters and explosions”, are complemented by spectacular lighting design from Mark Henderson.

After detailing a depressing catalogue of ills that beset our world in fantastically dynamic fashion, the pace changes to present a debate between the PM, the prophetic John and Danny Webb who plays an atheist academic with commanding presence.

It’s possible Bartlett has a young audience in mind for 13 – a crowd fresh for debate and highly engaged. If so, then I applaud him. But, despite Bartlett’s skill, the ideas behind 13 don’t match the novelty of their execution. It isn’t that the issues aren’t important or interesting, rather that they have been debated so many times before. What is impressive is that Bartlett presents them with a degree of impartiality seldom seen. And that is a very grown-up thing indeed.

Until 8 January 2012

www.nationaltheatre.org.uk

Photo by Marc Brenner

Written 28 October 2011 for The London Magazine

“The Seagull” at the Arcola Theatre

Dalston’s an unlikely place for a dacha. But Joseph Blatchley’s fine new production of The Seagull at the Arcola Theatre takes us to the Russian countryside in a fresh and exciting way. Working with Charlotte Pyke and John Kerr on a new translation, Chekhov’s text seems funnier and more dramatic than ever.

The new adaptation takes the young writer Konstantin’s advice to heart, creating a script that “flows freely”; full of naturalism, with judicious use of modern idioms, it is clear and pacey. In a play so crowded with art and performance, the histrionics and famous Russian gloom take on a comic twist – yet when sincerity comes forth it packs a punch.

“So much anguish, everyone in love” announces Roger Lloyd Pack’s excellent Dr. Dorn: mostly to himself since Chekhov’s characters are solipsistic despite their self-awareness. Their selfishness is played for humour by the ensemble cast. In the star role of Arkadina, the successful actress who can’t stand the spotlight being on anyone else, Geraldine James is wonderfully intense.

Arkadina’s battles are tremendous set pieces, none more so than her confrontations with her son Konstantin. Al Weaver takes the part, funny as a petulant artist, and then deeply moving as he becomes a tortured young man.

Konstantin’s love for Nina, the girl next door who wants to become an actress, is so convincing it gives the whole production a romantic air. Yolanda Kettle, in a professional debut to be proud of, plays the role charmingly, making her character’s demise all the more moving.
Nina’s downfall comes via Trigorin, in Blatchley’s version a more than usually fascinating character. Played expertly by Matt Wilkinson, the startling accusation he has been “grooming” Nina adds considerable tension, making her seduction relevant to a modern audience, and preparing the ground for a traumatic conclusion that becomes as appropriately tormented as the good doctor predicted.

Until 16 July 2011

www.arcolatheatre.com

Photo by Simon Annand

Written 16 June 2011 for The London Magazine