Tag Archives: Lenny Henry

“Fences” at the Duchess Theatre

A new production of August Wilson’s play Fences opened at the Duchess Theatre last night following a successful run in Bath that has already earned it strong reviews. A family drama, set in Pittsburgh in 1957, it focuses on the patriarch Troy Maxson, a fascinating creation, depicted by Lenny Henry in a performance that is not to be missed.

Now well established as a serious actor, Henry gives a thoughtful, hard-working performance that plumbs the depths of this unsympathetic character. Troy is almost a tyrant, sometimes despicable, but his determination to turn his life around after time in jail, and awareness of his responsibilities makes you grudgingly respect him. Henry brings out the man’s vulnerability, and deals superbly with Wilson’s wry humour – Troy is charismatic and imminently watchable.

Troy is also an ordinary, working class, man. His struggles and aspirations provide the insight into African-American experience Wilson dedicated his work to. A talented sportsman who feels racism prevented his career, Troy is a disciplinarian driven by disappointment. Relations with his sons (played admirably by Peter Bankolé and Ashley Zhangazha) are on a knife-edge. More complex still is that with his disabled brother, a veteran with religious delusions, an enigmatic part played with conviction by Ako Mitchel.

Wilson’s play feels strangely timeless. It was written in 1983 yet sits well alongside Miller, even O’Neill; all three American greats wrote works that are hefty, lengthy and never afraid of metaphors. Although director Paulette Randall could pick up the pace at times, the production is a quality affair with a serious tone that earns respect.

The heart of the play is strong enough to keep it very much alive, embodied by the role of Troy’s wife, Rose. In this part Tanya Moodie gives a tremendous performance, formidable yet bowed by Troy’s force, Rose’s plight and passion are truly moving. As her husband’s legacy is examined in the final act, it’s Rose you really want to hear from. Wilson leaves you wanting more – a sure sign of success.

Until 14 September 2013

www.nimaxtheatres.com

Photo by Nobby Clark

Written 27 June 2013 for The London Magazine

“The Comedy of Errors” at the National Theatre

The National Theatre’s winter show is one of those twins-separated-at-birth affairs so adored by Elizabethan audiences. Staged by director Dominic Cooke as a light farce, this is a fast, funny and accessible production of The Comedy of Errors. It is Cooke’s first show at the National, and he may have taken tips from the previous comedy smash One Man, Two Guvnors: his staging is full of invention and wit, and packed with laughs, from the troubadour-style Chorus to Ayckbourn-like entrances and exits.

The big star is Lenny Henry. After his Olivier award-winning Shakespearean debut last year in Othello, this performance has been much anticipated and it’s a pleasure to praise it. Henry has great charm and, even more impressively, a stubborn will not to upstage the rest of the cast. One suspects he might do so easily, but the production benefits from his restraint. His Antipholus of Syracuse, played with an African lilt, has a touch of the naive as he encounters those living in the big city of Ephesus, his superstitions and bewilderment causing ever-increasing amusement.

Henry is joined by some strong comic talent that gets behind Cooke’s sense of fun for the show. The second set of twins, the servants Dromios, are marvellously played by Lucian Msamati and Daniel Poyser in matching Arsenal FC shirts. As well as a fine cameo from Amit Shah, the standout performances come from Claudie Blakely and Michelle Terry as TOWIE-inspired wife and sister, working quite ridiculous shoes, stupidly large hand bags and estuary accents to great effect.

The Comedy of Errors is a modern multi-cultural melange and I suspect we will see more like it throughout 2012. By the end of next year’s World Shakespeare Festival it will probably become rather tiring. But Cooke is way ahead of the game. This show also seems blissfully unaware of any recession, with Bunny Christie’s impressive set surely busting the budget – but isn’t that what Christmas is all about?

Until 1 April 2012

www.nationaltheatre.org.uk

Photo by Johan Persson

Written 2 December 2011 for The London Magazine