Tag Archives: Lindsay Posner

“A View from the Bridge” at the Theatre Royal Haymarket

Arthur Miller’s 1955 play is far from his best work. Yet this revival, which comes from Bath, has a strong cast, while director Lindsay Posner succeeds in making the text swift and exciting. If the play has dated badly, it still provokes thought, and excellent performances make the most of the characters.

Miller’s setting is specific and vividly evoked – a community of longshoremen who live and work near Brooklyn Bridge. When two “submarines”, illegal immigrants from Italy, arrive at the Carbone home, the already uncomfortable balance between Eddie, his wife Beatrice, and niece, Catherine, results in tragedy.

There are plenty of ‘themes’ in A View from the Bridge. Many feel topical. There’s immigration, of course, where Miller explores how sympathy for those arriving from a poverty-stricken continent comes with conditions. And a contemporary audience will note Eddie’s toxic masculinity and the domestic violence in the play. Posner handles the tension well: Beatrice and Catherine suffer psychologically, and Kate Fleetwood and Nia Towle are terrific in these roles.

A-View-From-The-Bridge-Pierro-Niel-and-Callum-Scott-Howells-credit-Johan-Persson
Pierro Niel-Mee and Callum Scott Howells

Catherine’s affair with newly arrived Rodolfo isn’t written as well – it seems included to reveal Eddie’s inappropriate obsession with the orphan girl he has raised. While Callum Scott Howells brings a strange glamour to the role of Rodolfo (you can imagine a young girl falling for the character he skilfully creates), Towle seems wasted in her part. Similarly, Rodolfo’s brother, capably performed by Pierro Niel-Mee, has little to do. In short, characters are only foils to Eddie.

“Blue in his mind”

Given the play’s focus, having a star like Dominic West as top billing is essential. West is truly commanding, so imposing that his hold over his family convinces. And he brings an affability to the role that makes Eddie occasionally, appealing. But there is a problem with humour, at least for some audience members, when it comes to Eddie’s homophobia. A conviction that Rodolfo isn’t “right” shouldn’t be something to laugh at. From Eddie’s perspective, it’s a genuine concern, even if he is using it as an excuse to hide his jealousy. There’s no doubting Eddie’s anger (West is excellent here), but, overall, torment is underplayed – it should be bigger than his unrequited lust. Catherine’s observation that Eddie is “blue in his mind” could be made more of.

It’s hard to have sympathy for Eddie. West is good at making him creepy, but the production might have more nuance and offer something fresh if his mental health was given more time. Still, even without it, the play is sometimes slow. A pivotal moment, when Eddie betrays the Italians, illustrates how drawn out it can be. And the role of a lawyer, a kind of narrator, played by expertly by Martin Marquez, is downright cumbersome. All the performances here are strong enough not to need so much pointed out to us. The cast is the reason to see this show.

Until 3 August 2024

www.trh.co.uk

Photo by Johan Persson

“Noises Off” at the Richmond Theatre

Is Michael Frayn’s comedy classic fool proof? I’ve always laughed at the antics of the theatre troupe that we see in rehearsal, behind the scenes and then performing. Frayn’s clever three act structure is a joy in its own right. This play is a guaranteed to make you laugh.

Frayn adds a love of theatre to the genre of farce and some strong characters who all add humour. There’s gentle fun poked at these thesps – their pretentions, insecurities and gossiping – that creates charm. Getting to see what goes on, and what goes wrong, builds brilliantly to a fiasco of a performance that delights.

The script is so strong, and every role sure to get giggles, that blogging about a particular production becomes a matter of pointing out highlights. Celebrating the play’s 40th anniversary, this revival boasts Felicity Kendal living up to her character’s name – Dotty. And there’s a strong performance from Matthew Kelly as the ageing alcoholic Selsdon who has a great time with his character’s deafness.

Who tickles you most is a tough call. But I was particularly impressed with Joseph Millson who plays leading man Garry. One of the more physical roles, which always gets applause, Millson is also great with his character’s tongue-tied moments. The irony that he criticises playwrights but can barely string a sentence together is delicious. By the end he is practically barking single words to indicate props missing or in the wrong location.

Alexander Hanson is another highlight in the role of the show-within-a-show’s director, Lloyd. Joining the action from the auditorium, his weariness as he climbs the stairs to the stage gets laughs before he even opens his mouth. Hanson deals with Frayn’s fast paced dialogue expertly, delivering insults superbly.

As for the real director here – Lindsay Posner – experience with the show pays off. Having directed a revival back in 2011, there is a confidence that again makes it tempting to see the show as easy work. Of course, it isn’t! Any good farce is exacting – they require precision – and Noises Off is a very good farce. All those sardines and doors that confuse the characters are just as tricky to deal with for real. And making each mistake look genuine is even harder. That Posner and his cast make it all seem so easy is something to make a lot of noise about.

Until 15 October

Photo by Nobby Clark

“The Truth” at Wyndham’s Theatre

French playwright Florian Zeller’s well-deserved success continues with this sparkling comedy of manners about adultery. As with his previous hit, The Father, Christopher Hampton adapts and the production comes from Bath, this time via the Menier Chocolate Factory. Twisting perspectives and playing with expectations, Zeller’s winning formula engages the audience in an enthralling fashion. This is edge-of-your seat comedy – as exciting as it is funny.

The staging is an austere affair – the flair comes with the writing and director Lindsay Posner keeps the action and performances taut. Four friends and their affairs, the deceit and double crossing, interrogations and revelations, are delicious. The thoughtful overtones of a play so self-consciously about lying are held in check to serve the high-quality humour.

Alexander Hanson, as Michel, gives a gleeful performance as an arch hypocrite who sees guilt as “useless” and lying as the sensitive thing to do. Hanson gets the lion’s share of the lines, followed by the mistress, a convincingly chic Frances O’Connor, her husband, who is his best friend, and the wife. The latter two, played by a wonderfully dry Robert Portal and Tanya Franks (brilliant in the final scene), may be on stage less but it’s testament to the script and cast that this play feels such a firm four-hander. The betrayed have secrets of their own (of course!), providing shocks and laughs.

The circle of lies Zeller constructs is viciously funny and satisfyingly clever. Silly slips and people trapped into telling the truth all happen in a wealthy milieu where discretion is the obsession. With lashes of Gallic sophistication only adding to the fun for a London audience, the wit and irony here is finessed to perfection.

Until 3 September 2016

www.delfontmackintosh.co.uk

Photo by Marc Brenner

“Relatively Speaking” at Wyndham’s Theatre

It’s always a pleasure to see one of our most loved actresses, Felicity Kendal, on stage. A superb comic performer, she really comes into her own in Lindsay Posner’s revival of Alan Ayckbourn’s Relatively Speaking, which opened at Wyndham’s Theatre last night. The show confirms that when it comes to farce, Kendal is unmatched.

Relatively Speaking was Ayckbourn’s first West End hit, in 1967 – the summer of love – and it’s a comedy of mistaken identity surrounding adultery, with a battle of the sexes as a biting undercurrent. A young girl (Kara Tointon) about town travels from London to Buckinghamshire, pursued covertly by her boyfriend (Max Bennett), who aims to meet her parents, but instead encounters her lover and his suspicious wife. It’s a slim affair and all the more impressive for that: sleek and streamlined in construction, Posner puts his foot down and races through in under two hours.

Tointon and Bennett play the young sixties swingers convincingly, and are a pleasure to watch. Though Peter McKintosh’s designs are excellent, it’s a relief to report this production is nostalgia-free. Ayckbourn’s characters seem real and recognisable, regardless of the crazy situations they find themselves in. It’s a welcome take on this most mythic of decades, as well as being the key to great comedy.

The philandering Philip is played impeccably by Johnathon Coy. This golf-playing, sherry-spitting adulterer provides further insight into Ayckbourn’s changing times – and yet more laughs. There’s a joyousness in the writing that makes you feel Ayckbourn is having as much fun as the audience, with the hoops he jumps through to avoid resolution. The characters discover the truth while simultaneously pretending more and more.

No one plays this game more deliciously than Kendal. As the slightly dim, yet ‘perfect’ wife, she knows less than anyone, a position Kendal exploits to gain our sympathy. Kendal is a spry figure, full of energy, commanding attention with perfect timing. She could easily steal every scene, such is her charisma, but her disciplined performance is never overplayed. It’s only fitting that in the end Kendal gets the upper hand and the last of the evenings many laughs.

Until 31 August 2013

www.delfontmackintosh.co.uk

Photo by Nobby Clarke

Written 21 May 2013 for The London Magazine

“The Turn of the Screw” at the Almeida Theatre

You know that a ghost story works if it makes you jump. I can faithfully report that Rebecca Lenkiewicz’s new adaptation of Henry James’ classic story, The Turn of Screw, elicited from this reviewer a couple of good gasps, a genuine shudder and one squeal so pronounced that the Almeida Theatre should really think about planting me in the audience for subsequent performances.

James’ novella about a governess going to care for two children, who it seems are haunted by former staff members, is a subtle work. Any adaptation is going to blunt the original but here the payoff in terms of entertainment provides justification. Lenkiewicz opts to emphasise the psychosexual content, which won’t be to all tastes. But this decision adds to the drama, and the thrills, in a logical enough fashion.

The direction from Lindsay Posner is efficient and all the performances competent, with an admirable star turn from Anna Madeley as the governess. But it’s Peter McKintosh’s impressive design, with creepy sounds from John Leonard and moody lighting from Tim Mitchell, which really makes the night. The spooky atmosphere may not be subtle but, then again, nor is screaming during a show – it’s good fun though.


Until 16 March 2013

www.almeida.co.uk

Photo by Nobby Clark

Written 28 January 2013 for The London Magazine

“An Ideal Husband” at the Vaudeville Theatre

We sometimes forget what a political writer Oscar Wilde was. An Ideal Husband is the story of a successful MP whose corruption comes back to haunt him. A crime he once committed, and upon which his fortune is based, is used to blackmail him in a play that is as much a comedy of morals as of manners.

This is a luxurious production. Designer Stephen Brimson Lewis’s golden sets deserve the applause they receive, and are all the more impressive for not being slavishly historical. Lindsay Posner’s direction is similarly lavish, the pace is leisurely, so that we can fully savour Wilde’s delicious ironies.

Alexander Hanson and Rachael Stirling play the couple that faces ruin from the unravelling scandal. Both work well with the play’s occasional melodrama, and inject real emotion into their very Victorian marriage. Samantha Bond excels as, “that dreadful Mrs Cheveley, in a most lovely gown” who is, “as large as life and not nearly so natural”. Bond is fresh and deliciously wicked as this crinolined thief and blackmailer.

Elliot Cowan’s performance as the Viscount Goring is revelatory. Goring is the Wildean dandy we all expect but Cowan not only delivers his aphorisms admirably, he adds a depth to the character that includes a truly steely edge.

Both Goring and his fiancée Mabel, charmingly performed by Fiona Button, tackle Wilde’s epigrams with just the right amount of knowing glances, for some of them are silly. But one line resonates: “Always pass on good advice. It is the only thing to do with it.” My advice? Get a ticket for this classy production as quickly as you can.

Until 26 February 2011

Photo by Nobby Clark

Written 12 November 2010 for The London Magazine

“House of Games” at the Almeida Theatre

David Mamet often writes about professionals, including estate agents, and in the entertaining House of Games it’s the turn of therapists and conmen. Tense and comic in turn, Richard Bean’s version of Mamet’s 1987 film, holds your attention over its 90 minutes, but it fails to really convince.

Nancy Carroll plays Dr Margaret Ford and manages to create a strong stage presence despite problems with the role. Harvard-educated Margaret decides to write a book on conmen but without any preliminary research. Clinical to the point of caricature, she jokes about being Amish, yet runs into an affair with Michael Landes’ charismatic card shark like a doting schoolgirl.

Of course we know that Margaret is going to be tricked. Even if the con is predictable it is fun to watch, mostly because of the team of charming shyster’s she encounters. Trevor Cooper manages to be funny while offensive and John Marquez dim yet appealing.

Despite the casts skills at comedy, director Lindsay Posner injects several moments of suspense, many connected with Margaret’s one time patient Billy. Played superbly by Al Weaver, Billy gets the laughs and then becomes frightening. Combined with Django Bates impressive score there are some highly atmospheric moments.

All the conmen identify themselves as skilled actors. It’s a third profession we are supposed to be thinking about, yet this tempting subtext isn’t pursued sufficiently. Margaret moves from writing science to fiction – so she starts pretending for a living too. Her agent applauds this but it seems a wasted coda and an unsatisfying end that leaves you feeling a little conned.

Until 6 November 2010

www.almeida.co.uk

Photo by Simon Annand

Written 17 September 2010 for The London Magazine