Tag Archives: Lyndsey Turner

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“1536” at the Almeida Theatre

Ava Pickett’s new play uses the popular fascination with the Tudors to good effect. The year of the title is, as you might remember from your history lessons, when Anne Boleyn was executed by Henry VIII. But instead of the Royal Court, Pickett looks at a small village in Essex, far removed from events, with three women who are friends and (approximately) working class.

The focus gives the piece just enough originality. And it allows it to be speculative. We know little about lives such as these, so some modern sensibilities can be injected without too much trouble. Which is not to say the play isn’t well researched – it’s convincing how information gets through to the women, as is their awareness of how their society, and their status, is shifting.

Pickett’s dialogue is good. Avoiding ‘thee’ and ‘thou’ makes the characters sound fresh and easily relatable. And there’s plenty of humour: pointing out the “loads of paperwork” in Henry’s divorce is great (although there is a reliance on expletives to get laughs). Director Lyndsey Turner’s staging adds energy, too, with quick, cinematic scenes and bold colours from Jack Knowles’ lighting design.

As you might guess, the year in question is used to examine the patriarchy. It’s interesting to note striking similarities with another strong play, Julia Grogan’s Playfight, which also has a trio of very different young women and details a struggle that seems to have changed less than you would hope. But as there isn’t much to argue with, no matter how well it’s all presented, there aren’t many surprises here.

One interesting twist is that Pickett provides a close study of how attitudes change. Jane’s flirtatious cheekiness falls out of “fashion” as the play progresses. As men lose their sense of humour, the women suffer – and they warn each other to change their behaviour to keep with the times. It’s a thought-provoking observation that builds dramatic tension effectively, if not subtly.

There are also touches of the soap opera here: affairs, pregnancy and violence are all added at speed. The action comes close to getting out of hand, but strong performances and well-written characters save the night. Sienna Kelly takes the lead as Jane, barely off the stage and excellent in every scene. Liv Hill and Tanya Reynolds offer superb support, the detail in their depictions aiding the writing. All added together, 1536 proves a year to remember.

Until 7 June 2025

www.almeida.co.uk

Photo by Helen Murray

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“The Little Foxes” at the Young Vic

Family dramas don’t come sharper than this. Lillian Hellman’s classic about the business affairs of the Hubbard siblings brims with tension in Lyndsey Turner’s production. A stunning cast does justice to quality writing, making this a real cracker of a show.

Leading the action is the ever-excellent Anne-Marie Duff, who plays the formidable Regina. There’s subtlety as well as high emotion in Duff’s portrayal of this desperate woman, who is ruthless, but perhaps not quite as competent as she might believe. While it’s hard to take your eyes of Regina, Duff and Turner are too good to make her the sole focus.

The men who come up against Regina’s plotting are excellent. Her two brothers – played by Mark Bonnar and Steffan Rhodri – are a great exercise in compare and contrast, showing two chilling sides of the business world. Does Benjamin’s cool pragmatism or Oscar’s stubbornness and stupidity scare you more? And there are two roles for John Light to excel in. Very neat casting has him double as a potential business partner and then transform into Regina’s dying husband. In both cases, it’s his money everyone is after, but Light gives the two characters startling depth.

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John Light

Turner moves the play away from its original turn-of-the-century setting. Instead of 1900, Lizzie Clachan’s design is late 1960s, with some of the costumes sneaking into the 1970s. Tingying Dong’s sound design is very ‘now’, with some great choral arrangements from composer Phillippe Cato. There are, subsequently, incongruous mentions of horse-drawn carriages along with some very dated attitudes. And it makes the status of the African American servants (further excellent performances from Andrea Davy and Freddie MacBruce) something of a puzzle. Presumably the intention is to bring the audience up short, to move us away from comfy period piece and illustrate how enduring these concerns about big business are.

With the fictional family described as “locusts” more than once, it’s easy to see a critique of capitalism in Hellman’s work. There are nods to how greed impacts a whole community. Arguably, though, there is a cautious conservatism driving this – the motivation is more about taking care than any radical critique. 

It is the impact on the family that is at the heart of The Little Foxes. Throughout the play, Regina’s sister-in-law acts as a foil, being from a wealthy old family, now imprisoned in a loveless marriage. It’s a tricky role that Anna Madeley excels in, creating a sympathetic character and revealing alcoholism with super skill. As the play progresses, Regina’s young daughter comes to the fore. How will what she has seen shape her? So final praise goes to Eleanor Worthington-Cox, who takes this role so capably, moving centre stage, showing her character’s development and providing the play’s thrilling final moments.

Until 8 February 2025

www.youngvic.org

Photos by Johan Persson

2023

“The Witches” at the National Theatre

Given its record of seasonal family treats, you might describe the National Theatre’s Christmas shows as venerable. But few have been as eagerly anticipated as this new musical adaptation of Roald Dahl’s classic. It’s a thrill to report that it lives up to expectations.

Lucy Kirkwood’s book is superb. The action is swift and ambitious, scary and complete with the surreal touches that Dahl fans love. It takes kids seriously – specifically that they can be interested in mortality – so, it’s suitably dark as well as humorous, with risqué touches that make it wickedly funny.

It can’t be as easy as Kirkwood, and director Lyndsey Turner, make it look. Not only is the book well-loved, but there’s a big coven of witches who need special effects – they turn children into mice – and that’s before you add singing and dancing. The budget and the cast are huge, the illusions (Chris Fisher and Will Houstoun) grand, and Lizzie Clachan has excelled herself with the set and costume design.

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Daniel Rigby and company

Turner might use the Olivier better – the show would be more at home in a proscenium theatre. But, like Kirkwood, she has excelled at making the most of the characters – a collection of roles performers can get stuck into and enjoy themselves with. There’s our hero Luke’s witch-hunting grandmother, the manager of a hotel and its chef. These are super roles for Sally Ann Triplett, Daniel Rigby and Irvine Iqbal, respectively. Suitably larger than life, the adults take over from the children (who are very good, by the way).

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Katherine Kingsley and her Coven

Not forgetting, of course, the witches themselves. Katherine Kingsley has a great time as the Grand High Witch, bringing some Dietrich-style glamour to the role. She commands the crowd and has a powerful voice. But all the coven are strong and work superbly as an ensemble; they sound great right from the brilliant opening number, while Stephen Mear’s choreography has exciting touches.

And Dave Malloy’s music is fantastic. That there are so many adult voices in the show helps. The songs are more than catchy and varied, just as the lyrics, from Malloy and Kirkwood, are more than witty and clever. There are surprises here… hurrah! Careful modern touches (like TikTok) make the lines sparkle. The music has bold moments of percussion, repetition and acapella.

Can you remember the last time a family show felt this fresh and exciting? Oh yes, it was Matilda! The ‘other’ Dahl musical and still one of the best shows around. There are similarities, of course, but a lot here is bigger – the ambition and the sound. What they really have in common is their originality – both have a voice of their own, and everyone, of any age, can enjoy them.

Until 27 January 2024

www.nationaltheatre.org.uk

Photos by Marc Brenner

2022

“The Crucible” at the National Theatre

Lyndsey Turner’s new production of Arthur Miller’s classic looks and sounds great – no small achievement given its famous setting of seventeenth century Salem run by Puritans. Design supremo Es Devlin uses a lot of rain onstage while Tim Lutkin’s superb lighting also impresses. The music from Caroline Shaw is good – a mix of hymns and background soundscape that is atmospheric but not too spooky. Behind the fancy touches is a solid production of an excellent play.

There’s nothing faddish when it comes to a revival (if that happens to concern you). For Miller, the historic witch hunts are a parallel to McCarthyism in the 1950s. Turner doesn’t stretch to any twist. I thought the crazy children, who say they have seen devil and end up “jangling the keys of the kingdom” might provide a spin. But the audience can make up its own connections – thank you – Miller’s study of hysteria and revenge is powerful enough.

Turner has confidence in the piece. Miller’s preface and an afterword are added, pretty neutral inclusions in my opinion. Respect for the text is referential (after all, it really is brilliant) and despite ending up a long evening, the production is gripping.

The key is not to question how credible events seemed. The accusations the girls make are going to raise eyebrows nowadays – could people really believe them? Likewise, the twisted logic of the theocracy that falls for their tricks: yes, the idea of dancing was scandalous! But the dark motives in the play are serious and Turner aids the piece’s gravitas.

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Brendan Cowell and Rachelle Diedericks

The younger cast members do a great job when it comes to a degree of restraint – not easy when you are supposed to be possessed by the devil. The leader of the pack – Abigail -seems far from “wild” and her cohort Mary suitably scared through strong performances from Erin Doherty and Rachelle Diedericks. There is a sense neither girl really knows what they are doing but are carried along by events.

It’s the adults in the show who are the focus. A suitably bland Paris, the community’s minister, becomes increasingly manic in a controlled performance from Nick Fletcher. John Proctor, the play’s flawed hero, takes a back seat: Brendan Cowell must wait until the very end to shine. Instead, it’s his wife, played by the excellent Eileen Walsh whose steely self-righteousness interests more. Walsh suggests the power as well as the costs obtained from the character’s “cold” persona.

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Erin Doherty and Fisayo Akinade

Above all, the court itself is the focal point. More than just the villains of the play, Miller is careful to present the arguments of those who come to judge. There are two figures with different journeys here: the Governor Danforth (played expertly by Matthew Marsh) who balances arrogance with conviction. And an excellent Reverend Hale – a great performance from Fisayo Akinade – whose flip between repentance and cynicism when he realises the disaster he is embroiled in, is brilliantly done. It’s these figures of authority that interest most  – and Turner interrogates them superbly.

Until 5 November 2022

www.nationaltheatre.org.uk

Photos by Johan Persson

2022

“A Number” at The Old Vic

This is an excellent revival, directed Lyndsey Turner, of Caryl Churchill’s popular sci-fi two-hander. The scenario of cloned children, head-to-head in conversations with their father, gives instant drama. The sons, played by the same actor, of course, are either discovering their parentage or have been abandoned. How they and their father react means the different scenes offer huge potential for interpretation.

The script is a prospect sure to excite actors, and Paapa Essiedu and Lennie James leap at the opportunities. Which is not to say the play is easy to get your head around. You can see the pitfalls with Es Devlin’s design. Having the walls and ornaments all the same colour is clever – a play on identity and difference. But such concepts quickly become portentous.

“Positive spirit”

Turner avoids the potential weight of the script and the fact that it is a famous play. This version of A Number is clearer, lighter and funnier. Revelations about the father’s history (that could be cryptic or odd) are treated like a thriller: exciting but also creating sympathy. The humour is almost exaggerated, Essiedu especially has great comic skill. The “positive spirit” of the first character we meet (a contrast with another ‘version’) lifts the play. Which is not to say serious concerns aren’t raised.


The nature/nurture debate is explored swiftly and effectively in A Number. Too quickly you might argue, as the show is only an hour long. Essiedu’s confusion, anger or interest in the different characters he takes on are all thought-provoking. Big issues of independence and identity are raised, as are themes of memory and responsibility.


Under Turner’s confident direction, Essiedu and James impress with their ability to bring out the play’s arguments so naturally. These are excellent performances that belie such demanding roles. Churchill’s text is as heavy with concepts as the experiment both men are part of. To make the debate feel so human is a big achievement.

Until 19 March 2022

www.oldvictheatre.com

2021

“Under Milk Wood” at the National Theatre

Poetry on stage is never easy. And when Dylan Thomas’s text comes with the legacy of a famous reading (Richard Burton, no less) a new production becomes even trickier. Lyndsey Turner’s brave attempt benefits from a star draw and strong performances from a large cast, but struggles to deliver anything new or to please old fans.

The big idea is to start the play within a care home. Additional material is provided by Siân Owen. Our narrator (Michael Sheen) jogs the memory of his dementia-suffering father (Karl Johnson). Thomas’s themes of memory and mortality are clear. But this preface (how could it be considered anything else?) makes the show longer than needed. And an hour and three quarters without an interval and wearing a mask feels very long indeed.

Maybe you have the patience. But while the show feels lengthy, the delivery – undoubtedly impressive – is too often rushed. And this is not an easy text to follow. Turner, with the help of movement director Imogen Knight, has taken the challenge of bringing a ‘play for voices’ to the stage vigorously. The lives of those living in Milk Wood come and go with alarming speed.

It’s easy to enjoy the cast, who take on the roles of villagers as “one spring day” goes by. I’d single out Alan David as making me laugh the most, while Siân Phillips manages to convey different ages of characters quite magically. There are nice touches with minimal props and excellent costume changes (bravo, set and costume designer Merle Hensel). Emotional moments between father and son are highlighted by the issue of alcoholism, and the “always open” Sailors Arms pub is a vivid presence within the play.

Thomas was not nostalgic. You can imagine the temptation… all those simple lives in an easier past. There is charm and humour here but, admirably, Turner avoids rose tints. A call to observe the balance between seeing the best and worst sides of people has weight as a result.

Sheen can command a stage. And he sounds fantastic. But with a show this dark – literally – and often pin-drop-quiet, it’s all too easy to slip from the level of concentration he brings to the role. The “noise of the hush” is an exquisite phrase to describe the life of this community… the trouble is that I heard a snore above it more than once. This production is an achievement on the part of its cast. Unfortunately, it requires a feat of endurance for an audience.

Until 24 July 2021

www.nationaltheatre.org.uk

2020

“Far Away” at the Donmar Warehouse

Although it has a running time of only 45 minutes, there’s nothing little about this masterpiece from Caryl Churchill.

Believe it or not, despite the brief duration, Far Away could even be thought of as three plays rather than one. Maybe the scenes, despite shared character names, don’t have to be connected? 

Churchill’s invention provides a trio of dystopian visions, each scary and increasingly bizarre, held in tense suspension with one another. 

First there’s a trip to the proverbial woodshed, then a workshop producing hats for a judicial display. Finally, we see the world at war in a peculiar fashion. This is political turmoil that straddles allegorywith prescient fears in a unique fashion.

Of course, Churchill didn’t invent dystopian dramas, and she uses Orwellian overtones expertly. But it’s easy to see how influential this text from 2000 has already been. The mix of sci-fi with macabre touches means the play hasn’t dated a jot. And this production does the text proud.

Lizzie Clachan’s set combines simplicity with theatrical surprises. The sound design from Christopher Shutt will give you goose bumps without being ostentatious. And director Lyndsey Turner admirably resists the temptation to spin out the stories. The only extravagance is the use of supernumeraries, drawn from the Donmar’s ‘Take The Stage’ programme, who do a great job. But their appearance is brief. There’s a recurring theme here – a respect for Churchill’s marvellous economy.

Far Away at the Donmar Warehouse
Aisling Loftus and Simon Manyonda

Take the characters that we meet, so briefly and in such complex circumstances. Turner’s cast is superb in creating a sense of ordinary individuals no matter how removed from us the situations seem. Jessica Hynes, Aisling Loftus and Simon Manyonda provide just enough glimpses into the everyday lives of the roles they take. While appearing respectively as Harper, Joan and Todd twice, the characters change dramatically, revealing extraordinary skill from the actors and creating incredible tension. That such richness can come from such austerity really shouldn’t be possible! Churchill’s writing is breath taking – every line in Far Away works close to the bone.

Until 4 April 2020

www.donmarwarehouse.com

Photos by Johan Persson

2019

“Top Girls” at the National Theatre

Lyndsey Turner’s revival of Caryl Churchill’s classic play has a reverential air. With such variety in the writing – starting with a fantasy dinner party, turning into a domestic drama and becoming increasingly political – there’s no doubting the text’s importance. But in this staging, the humour in the writing stumbles, the edge is blunted and the production is luxurious to a fault.

The novel, and expensive, move is not to double up roles as most productions of the play do. So performers playing guests at the opening scene, women from different cultures and times, don’t reappear in other roles. Using actors the calibre of Amanda Lawrence, Siobhán Redmond and Ashley McGuire for just one scene seems positively wasteful and it also isolates the brilliantly bizarre prologue scene.

There can be no quibbles about the cast – or Turner’s massive investment in them. The play is capably driven by Katherine Kingsley as the highflying executive whose success we scrutinise. And there are strong performances from Liv Hill and Lucy Black as her estranged family. It’s possible these roles don’t have to have be portrayed as quite so downtrodden – Churchill’s point is still made if they are just ‘normal’ people – but the play’s themes of inequality and individuality are depressingly pertinent.

Ian MacNeil’s design is bold in its variety of spaces – restaurant, office and home are all very different – and the scene changes are impressive. And dealing so well with characters speaking over one another gets more praise for Turner. In short, the production is without question technically accomplished. But is all this sleek professionalism necessary? Or appropriate? Does a dinner party with the long dead or fictional characters need so stylish a setting? Or the shabby world of corporate recruitment have to look so lush? Turner has too much respect for Churchill’s work not to present it impeccably, but the play is strong enough for productions to take a more inventive approach with it. There’s a disappointing lack of energy, or anger, that seems inappropriate: Churchill’s message is there, but the challenge is not.

Until 20 July 2019

www.nationaltheatre.org.uk

Photo by Johan Persson

2017

“Saint George and the Dragon” at the National Theatre

The always excellent John Heffernan takes the title role in Rory Mullarkey’s new play and gives a truly heroic performance. But can he save the day and the play? Almost… yet not quite, although it’s still a pleasure to see him on stage. Looking at our national legend at the nation’s theatre is a neat idea, as is writing the story as a contemporary allegory (in three chapters). Unfortunately, this brave effort delivers too little.

The opening act, set in a parodied mediaeval world, gets the show off to a great start. With Pythonesque touches, Heffernan makes the foppish George a figure to laugh at, while retaining just the right amount of dignity. His damsel in distress in updated effectively by Amaka Okafor, making their courtship a lark. As for the Dragon, Julian Bleach has a great deal of fun playing his earthly form, camping it up terrifically. It’s all staged slickly by director Lyndsey Turner, with Rae Smith’s design looking great. It’s silly but it’s funny, charming even, and very enjoyable.

After a year George returns to his island home, which has undergone an industrialisation that has enslaved its people. The Dragon isn’t a monster, but “every system needs a master” and, suited and booted, he is bureaucracy incarnate. It’s another great turn from Bleach and his now imprisoned former henchman, played by Richard Goulding, does well from the confines of a prison set. But this time the dénouement is thin and unconvincing; the Dragon too easily vanquished. It’s simplistic and too predictable.

To continue with a lack of surprises, after another year, George returns again – this time to a version of the present. Cue skyscrapers descending on to the stage in a This Is Spinal Tap moment that Smith has had enough experience to have avoided. And that’s the least of the problems with this unhappily ever after ending. The Dragon continues incorporeal – his evil inside us all – and there’s no place for saints, nowadays. Heffernan excels as a George out of time and perfectly reflects the play’s questioning of heroes and heroics. But this is slim stuff for a long play, as the repetition indicates, as well as being bleak and naive. Both Mullarkey and Turner lose control with an overblown finale that’s uncomfortably messy. And really just downright silly.

Until 2 December 2017

www.nationaltheatre.org.uk

Photo by Johan Persson

2017

“The Treatment” at the Almeida Theatre

Martin Crimp’s 1993 play is an exploration of truth and lies that uses art like a prism. The key question is who ‘owns’ a story – is it the teller or all of us? It’s a structuralist trope that gives rise to vivid characters who enliven the play’s opaque moments. And it’s a lot more fun than it sounds.

The piece pivots on husband and wife “facilitators” in the movie business, depicted skilfully by Julian Ovenden and Indira Varma. This gloriously devilish duo is working on the eponymous treatment that will become a film. Unbelievable, yet recognisable, the couple and their project turn out to be extremely funny.

Ian Gelder
Ian Gelder

Their treatment is of the ‘real life’ tragic story of an odd woman called Anne, recruiting a struggling writer (the excellent Ian Gelder) along the way. Aisling Loftus produces a figure disturbed and disturbing in Anne, using the role’s cipher-like qualities to advantage. Anne’s would-be amanuensis falls victim to the Shakespearean pretentions he tries to force upon her story (“vile jelly”, anyone?) in a shockingly grisly scene. How could the film being worked on relate to true events this strange? Combine the smart satire around the New York pseuds with Anne’s fragile mental health and art doesn’t stand a chance.

Gary Beadle
Gary Beadle

The film’s progress has a quasi-magical impact on real lives. Scenes of the movie’s planning are interspersed with Anne and her estranged husband (played by Matthew Needham), giving us an alternative view. Similarly, the high-profile actor/producer brought on board – a charismatic role for Gary Beadle – manipulates Anne’s story further. Meanwhile, his claim that “art changes everything” is debunked by the unsettling elision of truth and fiction.

Supernumeraries from the Almeida’s community programme provide a large cast that adds a well-used note of realism. Lyndsey Turner’s sure-footed direction, with Giles Cadle’s stark staging and Neil Austin’s lighting, combines naturalism with the bizarre and exaggerated superbly. A description of the moviemakers’ luxurious world as “allergic” to reality is typically solipsistic. Everyone involved, including the audience, is struggling to get to the bottom of motivations. But there’s fun to be had working out what’s going on – this is entertaining avant-garde.

Until 10 June 2017

www.almeida.co.uk

Photos by Marc Brenner