Tag Archives: Jemma Redgrave

“Mood Music” at the Old Vic

Ben Chaplin plays a successful record producer and Seána Kerslake an up-and-coming singer-songwriter who battle over creative pre-eminence in Joe Penhall’s new play. The roles make for good viewing: the unbelievable arrogance of Chaplin’s Bernard is as entertaining as the vulnerability of Kerslake’s character, Cat, is moving. And the contrast between their approaches to music, focusing on his obsession with “precision”, are dramatically effective. As their disagreements exacerbate tensions, and come to include undertones of sexual exploitation, the mood turns increasingly sour and the play comes to comment on our times. Given The Old Vic’s recent history, there’s piquancy to hear such issues here. But, although it isn’t Penhall’s fault – his big theme is who and how someone might own creativity – the topic of sexism in the arts is raised so obliquely it is discomforting.

The play is as much about the music industry as it is about the musicians. That this might excuse behaviour is offered as an explanation too many times. But Roger Mitchell’s direction and Hildegard Bechtler’s impressive set – with the stage reaching out well into the auditorium ­– make the connections between those making music and those behind the scenes clear. The creatives are overwhelmed, each having their own psychotherapist and their own lawyer. There are strong performances (from Pip Carter, Kurt Egyiawan, Jemma Redgrave and Neil Stuke), but all the characters are clearly there to prove points. A lot of what’s said – about artists and mental health or intellectual property and justice – is funny, a little of it thought provoking. Unfortunately, nearly all of it is predictable.

The writing, however, is stunning: the text has an impressive musicality of its own, conversations interweave and tone varies constantly. But, with depressing prescience, it’s all too easy to see what’s coming next. A flippant complaint from Cat is propelled into a criminal issue. That this is instigated and escalated by professionals who could potentially profit from her misery is an uncomfortable suggestion. There are some brave opinions expressed, alongside some pretty awful ones, and Penhall puts drama on the flesh of issues in a way that newspaper headlines can’t. But, despite its sharp subject matter, Mood Music is flat. For all the importance of these topics, the danger is that they don’t make good drama. For a general audience these trials and tribulations of the creative industries come close to solipsism; no matter how well Penhall vocalises this, it is a dreary sound.

Until 16 June 2018

www.oldvictheatre.com

Photo by Manuel Harlan

“Farewell to the Theatre” at Hampstead Theatre

Farewell to the Theatre, a new play at Hampstead, takes as its subject the life and work of Harley Granville-Barker. A pivotal figure in British theatre, the multi-talented Granville-Barker is today known primarily as a playwright. Boldly taking on another writer as his subject, the play’s author, Richard Nelson, shows off his own experience with an impeccably crafted, intelligently layered script.

Granville-Barker was also an actor and it is easy to imagine he would have been proud of these performances at Hampstead. Ben Chaplin takes on the lead with a commanding intelligence and complexity: Granville-Barker was a severe critic with a cruel tongue but also a wish to be kind. Jemma Redgrave is superb as the Chekhovian sister to a persecuted lecturer Granville-Barker is staying with. Tara Fitzgerald is wonderful as a retired actress mooning over a young boy performing in the college play, a role that allows William French to make an impressive debut.

Granville-Barker moved from acting to direction. His lessons about ensemble work haven’t been lost on director Roger Michell, whose control and sensitivity bring out the best in Farewell to the Theatre’s cast as well as its script. Michell’s pacing is superb. Avoiding all traces of indulgence, he takes the production at “a good clip”, just as Granville-Barker advised we should deal with Shakespeare: at 100 minutes straight through we are left satisfied but wanting more – not an easy trick to pull off.

Ultimately, the influence Granville-Barker has on the stage stems from his work as a theoretician: born of a passion for the theatre that, during the course of the play, we see under threat. Farewell to the Theatre is a play Granville-Barker is writing – about a thespian tired of the business that surrounds putting on a play. It is an exhaustion I guarantee you will not feel if you see this one. Concluding with an impromptu performance of a mummers’ play, here we have the magical power of theatre confirmed, in a simple, effective, efficient fashion.

Until 7 April 2012

www.hampsteadtheatre.com

Photo by Stephen Cummiskey

Written 9 March 2012 for The London Magazine