Tag Archives: Lez Brotherston

“Oh What A Lovely War” at the Theatre Royal Stratford East

17 November 2014 Edward Lukes Leave a comment

The hundredth anniversary of the beginning of World War One is being embraced by the cultural community in many ways. Of all the projects planned the production of Oh What A Lovely War, which opened last night, is the one that should excite theatregoers most. Also marking the show’s fiftieth birthday, the legendary Joan Littlewood’s ‘musical entertainment’ returns to its first home, the Theatre Royal Stratford East, with a respectful new version directed by Terry Johnson.

I vividly remember every history student at my school being trooped off to our local cinema for a specially arranged showing of the 1969 film. All credit to my far-sighted teachers, even if Michael Gove would have disapproved (and well done for getting a mention of him in last night, guys). The concept – telling the story of the awful events of 1914-1918 through the words and music of the time, and adamantly focusing on the average soldier, rather than his officers – is both informative and inspirational. This theatrical method tells you more than any history lesson could and its power has not diminished.

Commitment to the show is clear from the excellent ensemble. The variety of roles, as well as accents, that they take on is remarkable. Both the singing and the choreography by Lynne Page are strong. It seems a little unfair to single anyone out but Shaun Prendergast is superb as the lead narrator, as well as a perfect Sergeant Major. And Caroline Quentin is great value; as a vaudeville star who will “make a man” of anyone joining up, and an impassioned peace protestor. Her Sister Susie’s Sewing Shirts is a real highlight – join in if you can.

Incredible as they seem, the events presented are facts, and make the evening a humbling experience. Johnson and his designer Lez Brotherston use technical advances developed since the show first appeared subtly, with a dot matrix sign displaying casualty figures and photographs projected on a grand scale. Both are given due reverence at key moments. There’s rich, vicious satire here, a shocking humour born from tragic events that still surprises. And there’s no room for timidity when dealing with this subject matter – credit that none is shown.

Until 15 March 2014

www.stratfordeast.com

Photo by Nobby Clark

Written 12 February 2014 for The London Magazine

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“My City” at the Almeida Theatre

6 November 2014 Edward Lukes Leave a comment

Stephen Poliakoff’s first play in 12 years, My City at the Almeida Theatre, is a story about stories. Told by a teacher, in flashbacks to school assemblies and to former pupils she meets in the present, the play is a modest, appealing affair.

Also making a welcome return to the London stage is Tracy Ullman who plays the teacher, Miss Lambert. Ullman is convincing as an inspirational mentor, captivating with her true stories of walking the city streets at night. The reason behind her nocturnal rambles interests less than it should, though, and the explanation for her phengophobia – the focus of the play’s finale – lacks power. Nonetheless, Miss Lambert is a wonderful creation and Ullman superb.

Joining Ullman to perform these narratives are two highly theatrical pedagogues, Mr Minkin (David Troughton) and Ms Summers (Sorcha Cusack). The three make a provoking trio, casting a magical hold over their ‘old children’, performed by Tom Riley and Siân Brooke. The youngsters are a rapt audience for everything from time-travelling history lessons to macabre tales from the present (both inspired by former North London student Edgar Allan Poe), and the impact the teachers have on their lives is moving yet unsentimental. Many of us are lucky enough to have known life-changing teachers and My City celebrates this intelligently.

When My City touches on topical themes it falls somewhat flat and while all Londoners can appreciate the pleasures and perils of walking the city, the play seems surprisingly lacking in a sense of place. But when the focus is on the art of storytelling – as it often is – Poliakoff and his cast excel. With Lez Brotherston’s subtle set and Poliakoff’s own direction, My City is back to basics theatre that should appeal to all.

Until 5 November 2011

www.almeida.co.uk

Photo by Hugo Glendinning

Written 20 September 2011 for The London Magazine

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“Women Beware Women” at the National Theatre

1 November 2014 Edward Lukes Leave a comment

Harriet Walter is a woman to be scared of, at least, she is in the National Theatre’s current production of Thomas Middleton’s Women Beware Women. She plays Livia, gifted and cursed with a demonic persuasive power. Through deceit she organises an incestuous affair between her brother and her niece and engineers the rape of a newly married neighbour. Yet she does it all with a great deal of charm. She’ll manage to persuade you that she isn’t all that bad.

Her victims are Bianca (Lauren O’Neil) and Isabella (Vanessa Kirby). They transform from young, innocent women in love into killers bent on revenge. It’s a delicious change, and one the actresses clearly relish. Taking their lead from Walter, they adopt a cool, clever and cynical approach to marriage while passion boils inside them as they plot murder. As their metamorphosis occurs, Livia falls in love herself – she decides to take Bianca’s husband as a toy boy. Unfortunately for her, the transformation allows emotions to begin clouding her judgement.

And what of the men? They should have plenty of reason to beware these women, but their own arrogance and hypocrisy make them oblivious as to how they are manipulated. Richard Lintern is suitably villainous as the Duke who abducts Bianca, and Raymond Courtauld genuinely creepy as the uncle who loves Isabella. If Samuel Barnett seems slightly miscast as the man who manages to get Bianca to elope, he makes a good show of playing the doting husband and gets his fair share of laughs.

Focusing on the melodrama as a strategy for getting humour out of a revenge tragedy might seem like a risk. Making characters less rounded than they are written only works if you have a strong cast. Fortunately, director Marianne Elliott is working with fine actors and the payoff is a great deal of fun. Elliott has great skill as a storyteller and can cut through complicated plots to provide refreshing clarity. She is also visionary when it comes to staging and here the production takes off.

Designer Lez Brotherston’s set is magnificent. A decadent mixture of art deco glamour and baroque drama, it manages to reflect the grand and intimate, rich and poor, while evoking the games and perils of seduction. And it works in more than one way. Making the most of the Olivier’s revolving stage, the final scene of murderous mayhem is perfectly choreographed and truly thrilling.

Until July 4 2010

www.nationaltheatre.org.uk

Photo by Simon Annand

Written 29 April 2010 for The London Magazine