Tag Archives: Jim Norton

“The Starry Messenger” at Wyndham’s Theatre

Reprising his mammoth role in Kenneth Lonergan’s 2009 play proves an undoubted triumph for Matthew Broderick. As Mark, a “pedestrian” teacher of astronomy classes, Broderick delivers the text’s wit perfectly and sparse moments of emotion are superbly handled. But consider what an odd creation Mark is, being notable for dead-pan defeatism, extraordinary patience and unbelievable politeness. It’s a bizarre idea for a play to revel in how boring the main role is. Broderick meets the challenge with winning appeal and remarkable control. Yet nothing can make time with this character and his mid-life crisis stellar.

Lonergan’s odd strategies are clear in his dialogue, too. Ruthlessly pursuing a mundane realism means that long conversations go nowhere and are filled with pointless details. It’s an achievement of sorts but hard work for an audience. And, in case you’re wondering, we’re not talking metaphors here – Mark is insistent about that! As for the play’s plots, to have so many stories covering so many themes – death, divorce, family, faith and education – then not to develop them must be deliberate. The quirkiness has a certain charm, which director Sam Yates does an expert job in delivering. And yet… Presenting us with the cosmos and dry cleaning – big themes and minutiae – may take us close to everyday life, but it makes for pretty dull theatre.

There’s plenty to appreciate as Lonergan downplays the various dramas he sets up. Yates garners superb performances from a talented cast that form a collection of scenes with memorable moments. Elizabeth McGovern does well as Mark’s long-suffering wife, while Jim Norton gives a strong performance as a man at the end of his life. Even Mark’s pupils are well delineated (Jenny Galloway and Sid Sagar) although far too much time is spent in these scenes. And Rosalind Eleazar nearly steals the show as a nurse in training who starts an affair with Mark. Managing to make her passion for the man believable is no small achievement.

There’s a warm glow from all the characters – more or less reasonable, articulate and well-motivated – which indicates Lonergan is making a point, again. It’s another way to stifle drama. Most of us walking in on an illicit kiss would surely react a little more pointedly than we see here. For The Starry Messenger it all seems to be something to shrug at. That life has no meaning is a little too clear, and religion and spirituality are dismissed too repeatedly – at least to make good drama. But, like it or not, most of us search for insights from a play. What this one has to say about morality and mortality ends up slim. Three hours is a long time to point out that people are insignificant specks in the universe. Such a message is hardly out of this world.

Until 10 August 2019

www.starrymessengerplay.com

Photo by Marc Brenner

“The Veil” at the National Theatre

As the nights draw in, what could be more apt than a ghost story? Conor McPherson’s new play, The Veil, aims to chill and thrill over the winter months at the National Theatre.

Set in early 19th-century Ireland, the local gentry, living in not so genteel poverty, and their staff are haunted by both the past and current events in their politically divided nation. Lady Lambroke looks to her daughter’s marriage as a way to escape debts and the country. Her brother, a clergyman defrocked for his interest in spiritualism, is to escort the girl to England for marriage, but his interest in his niece has more to do with her ‘gift’ for the supernatural.

Fenella Woolgar and Emily Taaffe make a convincing mother and daughter who, despite their snobbishness, gain our sympathy and admiration. Jim Norton plays the Reverend Berkeley (named for his interest in Idealism) in an appropriately intelligent style that’s passionate enough to convince us he believes his ideas, but leaves room for us to laugh as well.

The staff, including the redoubtable Mrs Goulding (the excellent Bríd Brennan), are a source of further drama. They come together on appropriate windy, candle-lit nights, as the ghost stories and séances get under way. McPherson directs these scenes wonderfully. Unfortunately, there isn’t much sense of time or place in The Veil and Rae Smith’s impressively designed set and costumes start to seem rather pointless – it all looks great but it isn’t put to enough use.

If McPherson wanted to achieve more than an entertaining evening of ghost stories it seems he has fallen short. Extra themes are hinted at yet never materialise. But The Veil is satisfying supernatural and is sure to appeal to his fans. The storytelling is as good as ever, his characters as likeable and well realised, and the language wonderfully lyrical.

Until 11 December 2011

www.nationaltheatre.org

Photo by Helen Warner

Written 5 October 2011 for The London Magazine