Tag Archives: Jane Asher

“The Circle” at the Orange Tree Theatre

If Somerset Maugham’s work as a playwright is unfairly neglected, as director Tom Littler suggests, this revival of a play from 1921 should create a lot of interest. The piece is superbly crafted and hugely entertaining – I haven’t laughed so much in a theatre for a long time. And the production is excellent; overflowing with talent, it is a tribute to the text.

The Circle is a relatively simple drawing room drama, albeit expertly explicated. The scandalous Lady Kitty, who eloped with Lord Hughie, returns home to see her abandoned son, Arnold, but has to deal with her husband Clive hanging around. While aristocratic manners downplay the drama, Maugham ups the stakes with the threat that history is about to repeat itself – Arnold’s wife, Elizabeth, has fallen in love with a house guest called Teddie.

The joy of the play comes with the comedy – the script is full of acerbic observations that are funny while creating tension. And every line is delivered to perfection. Much of the bile comes from the cuckolded Clive and taking the role, Clive Francis hides the character’s spite under an air of sophistication that is a twisted pleasure to behold.

After so many years together, Kitty and Hughie have suffered and squabble – which Clive is “excessively amused” by. The scenes of bickering are performed to perfection by Jane Asher and Nicholas Le Prevost. Asher is brilliant at suggesting wounded vanity while even grunts from Le Provost get giggles. The three bring an air of insouciance to the play that makes The Circle delicious and dramatic.

Admittedly, the fun peaks at the interval. The division between Kitty as a Mother or a Woman is made moving by Asher, her character explains she has attended “a bitter school”, but is overstated. And Maugham takes Arnold’s marriage and the predicament of the younger characters a little more seriously than many, nowadays, might. Clive’s plot to help his son isn’t just silly, it is transparent and it jars with what we have seen of young Elizabeth who is a satisfying character. Still, the will-they-won’t-they run away scenario is smartly handled and ambiguous emotions provide depth.

There’s a second trio of performances to enjoy: Pete Ashmore as Arnold, Olivia Vinall as Elizabeth and Chirag Benedict Lobo as Teddie make a love triangle that is convincing with neat comic touches. It is to Littler’s credit that he respects seriousness in these scenes; surely there was the temptation to play looser and carry on the fun? The central idea, that “the tragedy of love is indifference”, is preserved. If The Circle’s conclusion doesn’t quite convince, the revival itself is excellent. And with performances so accomplished, the show left me wanting more Maugham.

Until 17 June 2023

www.orangetreetheatre.com

Photo by Ellie Kurttz

“The Gathered Leaves” at the Park Theatre

It’s surely the acting that has made Andrew Keatley’s well-crafted family drama such a sell-out success. Although fertile ground, upper-class dysfunction, with a dash of historical perspective, along with dementia and autism, make the play a mix and match of familiar topics. Yet Keatley writes short scenes and characters with textbook precision and the 11-strong cast responds with exciting vigour.

William is the patriarch, testily patching up past mistakes while struggling with his memory – Clive Francis is superb in the role. Jane Asher is perfectly cast as his careful wife (she even gets to comment on a cake). Alexander Hanson and Nick Sampson play his sons, the later stealing the show as the autistic Samuel, while Katie Scarfe brings a family resemblance and carefully understated performance as an estranged daughter. The younger generation is represented by Tom Hanson (it really is a family affair), Amber James and Georgina Beedle – all well delineated roles that bring plenty of humour to savvy, if slightly predictable, observations. In short, this cast should transfer to the West End tomorrow.

Credit to Antony Eden’s direction (tellingly, he’s a performer himself as well) for covering so much ground so quickly. But herein lies a problem. With so much going on it’s difficult to find a focus, any resolution feels pat, and the play lacks momentum. There are plenty of secrets in this family, but very little tension. So, while the characters are three dimensional, we don’t see enough of anyone to really get a satisfying sense of depth. Frustratingly, the solution seems simple – this is a family tree that could do with some pruning.

Until 15 August 2015

www.parktheatre.co.uk

Photo by Mark Douet

“PRIDE & Prejudice” at Regent’s Park Open Air Theatre

It’s a brave soul who takes on the task of adapting Pride and Prejudice, one of English literature’s best-loved novels, for the stage. Jane Austen is so famous she might be on a bank note soon, and the fact that this book is a masterpiece has to be – dare we say –universally acknowledged. But Simon Reade’s interpretation of the love lives of the Bennet sisters will please diehard Austen fans, preserving swathes of conversation rather than dumbing them down, while still presenting a light romcom that makes for a hugely entertaining evening.

A few minor characters are casualties of the adaptation (who would have thought you would miss Mr Gardiner?) and the Bennets are denied trips to Brighton and London. The action is concertinaed to satisfying theatrical effect, with an emphasis on laughter. Director Deborah Bruce uses designer Max Jones’ set dynamically (there’s a great scene in the portrait gallery of a palatial home that uses the whole cast). Toward the climax, the revolving stage could be joined by a revolving door to the Bennets’ home – visitors arrive so thick and fast – but the speed of the show employs the sillier aspects of Regency Romance to comic effect.

Ed Birch as Mr Collins
Ed Birch as Mr Collins

The biggest loss, unavoidably, is Austen’s own voice. The task of delivering her irony falls on the cast and the performances reflect Austen’s wit superbly. Rebecca Lacey is wonderful as the foolish Mrs Bennet and Timothy Walker gives a weighty performance as her long-suffering husband. There are strong performances from minor characters, with Jane Asher frozen with imperiousness as Lady Catherine De Bourgh. The Bennet sisters are portrayed convincingly as a family group, and differentiated effectively. Amongst their suitors, Ed Birch almost steals the show, with his crane-like Mr Collins – full of “servility and self-importance” – getting plenty of laughs.

Just as the novel belongs to Elizabeth Bennet, the night is, fittingly, owned by the actress playing her – Jennifer Kirby. Making her professional debut in the show, Kirby takes on the mantle of plenty of people’s favourite heroine with an unaffected charm. My bet is that Kirby was a fan of Elizabeth long before she landed the part, and her performance makes you love this great heroine even more.

Until 20 July 2013

www.openairtheatre.com

Photo by Johan Persson

Written 26 June 2013 for The London Magazine

“Charley’s Aunt” at the Menier Chocolate Factory

Brandon Thomas’ legendary farce has enjoyed an illustrious history since its 1892 premiere, and a host of stars have donned drag as Lord Fancourt Babberley, who masquerades as a chaperone for his university friends Charley and Jack. Ian Talbot’s new production at the Menier Chocolate Factory uses the piece’s period and nostalgic appeal to delight the audience. It’s a “clinking good idea” that results in an evening both gentle and civilised.

In the title role, Mathew Horne gives an accomplished performance marked by surprising restraint. He never flags, but in trying to show the lovesick emotions underneath the antimacassar he’s using as a shawl, the comedy fails to fly. It doesn’t help that the show has two intervals. We get some fantastic sets from designer Paul Farnsworth, but taking time out for big breathers during a farce isn’t a good idea. There’s plenty of fun when Charley’s ‘aunt’ is chased around the college quad or a piano, but the real strength of the night is that the whole ensemble has its share in the spotlight, making Talbot’s production pleasingly balanced.

Dominic Tighe and Benjamin Askew both excel as Babberley’s fellow students Jack and Charley, and all the love interests (Leah Whitaker, Ellie Beaven and Charlie Clemmow) do well with frankly clunky roles, getting the laughs out of all those stiff upper lips. Steven Pacey works marvels as Jack’s father with some great comic touches and Jane Asher, who plays Charley’s real aunt, will leave everyone with the words “she’s wasted in the part” on their lips. Their performances all show a consummate skill that’s fitting for Talbot’s respectful revival.

Until 10 November 2012

www.menierchocolatefactory.com

Photo by Catherine Ashmore

Written 2 October 2012 for The London Magazine