Tag Archives: Jenna Russell

“Season’s Greetings” at the National Theatre

Season’s Greetings is the National Theatre’s festive offering to its audience. It has a cast of shiny stars (Mark Gatiss, Katherine Parkinson and Catherine Tate) and might be thought of as well wrapped – designer Rae Smith’s set is impressive. Unfortunately, Alan Ayckbourn’s comedy of Christmas misery isn’t really the kind of gift you want to unwrap.

As a dysfunctional family come together for the festive holiday you can prepare yourself for laughs of recognition. Marianne Elliott’s direction gets the most out of Ayckbourn’s multi-vocal dexterity, but it is a touch laboured. The finale of Scene 3 may be hilarious, but it just takes too long to get there. Ayckbourn’s eye for detail delights some, and this piece has an additional nostalgic charm, but there’s a danger of having too many trimmings – just think about your Christmas dinner.

The cast of nine all get their moments in the spotlight and these are justly deserved but, as each marginally indulgent performance unfolds, the cumulative effect is forced. Nicola Walker is great at crying, Jenna Russell makes a tremendous stage drunk and Oliver Chris is superbly natural as the guest who sets the pulses of the families’ frustrated women racing. It is only Tate’s comic timing that is really spot-on. While Gatiss has great control, his character is so endearing that when the humour gets darker you feel a little guilty about laughing at him.

And the humour does get dark. Ayckbourn plays with the despair of the middle classes in a manner that can’t be described as fun – farce is often close to tragedy and the dark undertones here can take the smile off your face pretty sharpish. You will probably laugh – but it isn’t guaranteed. Nor will it leave you satisfied. It’s a Christmas present you don’t know what to do with afterwards.

Until 13 March 2011

www.nationaltheatre.org.uk

Photo by Catherine Ashmore

Written 13 December 2010 for The London Magazine

“Into the Woods” at Regent’s Park Open Air Theatre

Into the Woods is Sondheim’s masterpiece. A musical score full of invention yet accessible, lyrics that are at once moving and hilarious, and both perfectly accompanying James Lapine’s wonderful book.

Interweaving fairy stories, questioning what these tales are really about and then, after the interval, returning to the characters to find out what happens after the happily ever after; it’s one of the cleverest things you’ll ever see and one of the most rewarding.

Director Timothy Sheader gives the show a production it deserves. His new spin is to cast the narrator as a child. This adds little, but where Sheader excels is to bring out the musical’s qualities. This is particularly well executed in the way he brings out the dark side of the fairy stories we tell children – the woods are a sinister place and we fear for the babies in them.

With Soutra Gilmour’s wonderful set and some startling choreography from Liam Steel, the dynamism of the piece is given full scope. The mix of stories is hectic and a controlled chaos appropriately challenges suspension of disbelief.

The characters’ knowledge of the artificial world they are a part of, along with the lessons they learn and impart, is relished by the cast. There are some wonderful performances here. Beverly Rudd is great as the greedy Red Ridinghood, managing a tune while she stuffs buns in her mouth. Michael Xavier and Simon Thomas play the Princes with a nod to Russell Brand and get the most out of their duets.

There are three great leading ladies. Hannah Waddingham is on excellent form as the witch and Jenna Russell is as superb as ever as the Baker’s wife. Helen Dallimore’s sweet voice serves well in the role of Cinderella, whose proclamation, “I wish”, starts the whole glorious evening.

It seems obvious to stage Into the Woods at Regents Park. There must have been a collective, “ah, yes”, when it was announced, yet it is to Sheaders’s credit that it is done so well. It is great to hear the wind in the leaves accompany Sondheim’s score and see the characters retreating into the trees at the end of the evening. The only problem with this production is the short run. Given the number of wonderful touches, and surprise voice over, it would be great to see it transfer or return to the park next year. That’s my wish anyway.

Until 11 September 2010

www.openairtheatre.com

Photo by Catherine Ashmore

Written 17 August 2010 for The London Magazine