Tag Archives: Lyric Hammersmith

“Fangirls” at the Lyric Theatre Hammersmith

Of many exciting musicals opening in London this year – there are a lot – you might not expect this arrival from Australia to be a five-star favourite. The subject matter is the fandom surrounding a teenage boy band, and one young girl, Edna, with a plan to “save” the lead singer from his own celebrity when he tours to her town. So far, so fun. The show has its own dedicated following – there are Fangirls fan girls – because it really is for everyone: full of surprises, exceptionally smart and very funny.

The music, book, and lyrics are all by Yve Blake, which should make you ‘stan’ her. Blake is brave, not least in having the lead singer of her fictional boy band being a Brit called Harry. The show’s tone is boldly dark and downright rude. I’m not sure how suitable it is for youngsters, but that’s surely just me showing my own age! Of course, you laugh at reactions to the pop idol, the fans are “literally dead” at a concert announcement and there’s a mother character (a fantastic role for Debbie Kurup) for older audience members to relate to. 

But hold on… don’t dismiss these “silly little girls”. The twist is that Fangirlstakes them seriously.

Blake has researched it all, creating an authentic voice for the show… literally. The lyrics are original, and the teenage speech patterns have fascinating effects. The plot has shocks, not least when Edna puts her plan into action (a fantastic end of the first act that I defy you to see coming). But there’s a point behind the technique. Through exploring the impact of the internet, the writing of fan fiction and the fan community, there’s insight into the lives and (unrequited) loves of this cohort that is frequently heartbreaking.  

These girls’ self-esteem is fragile. The parasocial relationships with Harry, and their imaginary conversation with him, reveal fears and real-life difficulties in powerful lyrics. One number, ‘Disgusting’, is a highlight. As it happens, there’s an interesting parallel with another summer hit, Mean Girls, but, for my money, this packs more punch. As the group sings that “nobody loves you like me” (all of them, of course), the lyrics are shared by Edna’s mother singing to her daughter – their relationship is a big theme that gets ample attention.

“Actual philosophical poetry” 

The score is just as clever. A concert from the boy band is a lot of fun, but it is clear from the start that the fictional hits are used in a novel way. Blake can write a pop song and Thomas Grant, who performs as Harry, does very well with them. But it is genius (and, again, funny) to make them a little bit bland. They are clearly a long way from the “actual philosophical poetry” one fan claims them to be. Then, when the fans take them over, adapting them and weaving them into the wider score, they are improved!

The fans as a chorus are utilised a lot and sound great. They move brilliantly, too, with clever suggestions of awkwardness around sexual or violent movements that show the skills of choreographer Ebony Williams. The production’s strength is a credit to director Paige Rattray. There are strong parts for Edna’s friends played by Miracle Chance and Mary Malone, but smaller roles are also well realised with standout performances from Terique Jarrett and Gracie McGonigal. 

Final praise to Jasmine Elcock (a former talent-show competitor herself), who takes the lead role and is an excellent singer and actress with sure command of the show’s comedy and drama. Edna has a lot to learn and plenty of problems, so watching her struggle and grow is superb. And Elcock becomes a star along the way. What can say? I’m a fan.

Until 24 August 2024

www.lyric.co.uk

Photo by Manuel Harlan

“God of Carnage” at the Lyric Hammersmith

Yasmina Reza’s 2008 play was a huge hit in Paris, London, and New York. The story of parents who meet to discuss their sons fighting – and end up at odds themselves – is neat and entertaining. This production, from Nicholai La Barrie, makes it easy to see why the play was such a success.

The show is funny and thought-provoking – two big ticks. The way the adults become “infantile themselves” might not be subtle but it is amusing. Moving from questions of parenting to a battle of the sexes – as neither marriage is happy – ensures tension mounts. Regrettably, the production doesn’t add much to appreciating the piece. The cast are competent, everything runs slickly…but there no surprises.

There’s plenty of closely studied work to enjoy though. Freema Agyeman and Martin Hutson play the parents of the child who has been injured. From “people of good will” to an admission of being only “moderate on the surface”, the performers inject humour if, possibly, a little too much energy. Ariyon Bakare and Dinita Gohil play opposite them, their more financially successful characters are also played for laughs from the start. The result comes too close to flat, especially Alain who, even given that he is a lawyer, we dislike too easily!

If too much is overplayed, especially some unconvincing machismo and onstage drinking (only Gohil really manages here), there can be no doubt about the privilege with a capital P in the play. Each of the performers comes over as entitled in slightly different ways. As the characters start to argue and say that the day is the worst of their lives, there is less and less sympathy for any of them. Some bold moments come with Alain’s claim they are all making too much of boys fighting. La Barrie, and his cast, do well when focusing attention on this aspect of the script.

Despite being only 15 years old, the play hasn’t aged well. It’s possible a stronger sense of place and time might be needed. Lily Arnold’s gorgeous design doesn’t do much to help here (although the revolve is handled exceptionally well by La Barrie). Time has blunted some of Reza’s satirical edge. It’s not just talk about mobile phones and man bags; of course, Alain’s phone calls are supposed to be annoying, but anger about them arrives too quickly.

More seriously, it’s easier nowadays to see the confrontation that is going to arise between all four characters. It’s a shame to say it, but it’s almost hard to believe they wait so long before fighting. With less tension, there is little sense of danger in the production. While Reza’s work is often described as a comedy of manners, there are serious moments. The questions around human nature are clear; is it going too far to entertain the idea of a clash of cultures? The piece could get far darker. With the drama diluted, this God of Carnage ends up too down to earth.

Until 30 September 2023

www.lyric.co.uk

“School Girls; Or, The African Mean Girls Play” at the Lyric Hammersmith Theatre

Jocelyn Bioh’s play soars above the average high school drama because of its brilliant comedy and its Ghanaian setting. The plot is deceptively simple and playfully predictable, as well as remarkably effective and hugely entertaining. For this UK première, the play is, also, brilliantly performed.

With its subtitle nodding at a Hollywood film (American culture looms large over these children’s lives), the schoolgirls of the title have the kind of cliques you find the world over. Bioh has written fantastic characters led by Paulina (Tara Tijani), who is the school Queen Bee and nasty with it. But from the start, none of her followers are that meek, which leads to a lot of humour. Ama may be the first to answer back, but Gifty and Mercy have minds of their own, and Nana rebels quickly. It is the entrance of new girl, Ericka, that sets up the drama, and more great jokes follow.

The performances are accomplished. Led by Tijani, Heather Agyepong, Francesca Amewudah-Rivers, Bola Akeju and Jadesola Odunjo (a cracking stage debut) convince as a clique full of tension and discontent. Anna Shaffer is also superb as the new arrival, carefully revealing her character’s life story.

Every line is made the most of, but that’s only half the fun – reactions to the insults or slights are brilliant. Pay attention and keep your eyes peeled. Director Monique Touko has engendered detailed performances that are a delight.

Deborah-Alli-and-Alison-A-Addo-credit-Manuel-Harlan
Deborah Alli and Alison A Addo

The teens are funny in their naivety (the 1986 setting adds here) but competing in an international beauty contest becomes a big deal for Paulina. She isn’t the only one taking it seriously. A recruiter, a former pupil at the school and Miss Ghana 1966 herself, turns up. Alongside the school’s admirable headmistress, these are two strong roles for Deborah Alli and Alison A Addo, who anchor the show and provide the potential for debate – the contest can change lives, but at what cost?

The highlight of the show is a trial pageant. Given the 1980s fashion, costume designer Kinnetia Isidore is the real winner here but, after a singing section (that reduced me to tears), we get a twist that emphasises the racism and colourism these characters face.

Paulina is revealed as “crazy and desperate” – the lies we’ve been laughing at are truly pathetic. And, sadly, Paulina knows it. When she tells the fairer-skinned Ericka: “the world has already decided you are better than me”, it is heart breaking. The end of the show is bravely downbeat and the energy Touko has kept so electric plummets, but it serves to illustrate how perfectly controlled the whole production has been – top marks all around.

Until 15 July 2023

www.lyric.co.uk

Photos by Manuel Harlan

“Othello” at the Lyric Hammersmith Theatre

Frantic Assembly’s inimitable style gets great results in their acclaimed version of Shakespeare’s tragedy. Director Scott Graham’s production manages to please those who love the text and those new to it. A brisk, clear edit makes the play approachable, while the company’s dedication to physical theatre offers insight for those who have seen the play many times.

Famous moments are, mostly, present and correct. Omissions are interesting (Othello’s fit doesn’t happen) while the military setting is loosely applied. But themes of jealousy and revenge are presented with startling clarity. The brisk action creates momentum, while the poetry is still delivered with satisfying technique.

Michael-Akinsulire-in-Frantic-Assemblys-Othello-Photo-Tristram-Kenton
Michael Akinsulire

Michael Akinsulire takes the title role and gives a magnetic performance with plenty of threat that is careful to preserve the character’s intelligence. You believe Othello is a good leader and strategist despite the way he is manipulated. Akinsulire’s is a generous performance that benefits from the show highlighting other roles to great effect.

The three female roles of Bianca, Emilia and Desdemona are strengthened by strong performances from Hannah Sinclair Robinson, Kirsty Stuart and Chanel Waddock. Desdemona’s final scenes are distressing to watch but it seems preferable that all three women put up a fight (quite literally in Waddock’s case). Graham’s detailed work with Joe Layton’s laddish Iago is insightful – there’s less sense than usual that he enjoys his plotting, which makes him all the more frightening. As for the dupes Iago uses: Felipe Pacheco’s Rogrigo adds humour while Tom Gill’s scene as the drunken Cassio is brilliant.

Frantic-Assemblys-Othello-Photo-Tristram-Kenton

The key to the success of Gill’s tricky Act Two Scene Three is movement. It isn’t just that the extended acrobatic dancing makes more sense of his inebriation than a glass or two of wine – who wouldn’t get dizzy – the machismo enacted creates the air of intoxication. The technique works superbly in scenes of violence as performers pose aggressively or weave around and over each other. And the choreography is also excellent for scenes of romance – this Othello is sexy.

For all this praise for those working hard on stage, the star of the show might be designer Laura Hopkins. Setting nearly all the action in a bar (you can almost feel the sticky floor) leads to the production’s memorable pool table, more leapt on and over than played upon. The walls, which concertina in and out, creating corners perfect for plotters, are used to fantastic effect. The combination of style with substance makes this production a winner.

Until 11 February 2023

www.lyric.co.uk

Photos by Tristram Kenton

“A Doll’s House” from the Lyric Hammersmith Theatre

Artistic director Rachel O’Riordan’s brief introduction to this chance to see her superb work online – unfortunately only for one day – was offered with “recovery and hope for the future” in mind. There’s the important call for donations, but also a reminder of theatre’s importance as a place for diversity, inclusion and seeing stories from different perspectives. Her choice of Tanika Gupta’s acclaimed version of Ibsen’s classic illustrates her point perfectly. It’s fantastic theatre.

While O’Riordan points out that the recording was for archival purposes, as opposed to broadcast, so the action is often shot from the Gods – this doesn’t detract from a show that sounds and looks great from the start – with music from Arun Ghosh and gorgeous design by Lily Arnold. And what is on offer here is very special. Gupta takes a plot from Ibsen, an urgent objection to hypocrisy and injustice, and deep psychological insight with complex characters. But transposing Ibsen’s Norway for India ruled by the Raj adds immeasurably – it’s one of the finest ‘new versions’ I’ve seen.

While Ibsen’s period setting is preserved, the extra layer of colonial and racial concerns adds power. Nora, now Niru, is married to a British official, and the prejudice she has faced, along with Indian unrest, form a backdrop for the action. Yet Gupta handles all this with a light touch that O’Riordan appreciates throughout. That’s important – some things said may shock but this would have been the characters’ everyday lives. Nuances of complicity and acceptance as much as anger at injustice are all present. Gupta is blunt about British rule, and particularly justice, but Indians are also criticised. And the patriarchy is a target, too.

If any of this sounds a little… worthy… Gupta also impresses by how exciting she makes the play. There’s a great sense of menace as “past evils and mistakes” circle around every scene. Dr Rank, the at-death’s-door depressive becomes a serious character, the flirtation with Niru queasily upsetting as well as erotic. Niru’s old friend Mrs Lahiri, who admits her jealousy, makes a great role for Tripti Tripuraneni while Das (Krogstad in Ibsen) is just as good. Das is the play’s villain, a “thoroughly nasty specimen”, but he is also a complex character as Assad Zaman adds real fire to the role.

The lead roles share Gupta’s skill with characterisation and the result is a triumph for both Elliot Cowan as Tom Helmer and Anjana Vasan as Niru.

Cowan’s character has a little too much resting on him in this version but it is still an effective disappointment to see how far he falls. His love for his wife, however misguided, convinces. Their marriage is developed with great detail. Vasan’s performance is suitably nuanced and incredibly rich: flirty, sulky, stubborn, hopeful and despairing, the common factor is an intoxicating energy. When it comes to a scene of Niru dancing, on display for Tom’s English friends so that plenty of uncomfortable connotations come to the fore, Vasan is truly riveting.

There is a strength behind Niru that is gripping. As the plot resolves, her dream of happiness is still broken and her “stern” look at Tom is fully justified: he insultingly offers her “classes” but Niru isn’t the playful pupil anymore. Moving to freedom with more resolution than Ibsen imagined, taking what’s best from her literary predecessor, Gupta gives us the ending we really want. 

Available 20 May 2020

To support visit www.lyric.co.uk

Photo by Helen Maybanks

“Faustus: That Damned Woman” at the Lyric Hammersmith Theatre

We know that Faustus, who famously sold his sold to the devil, makes for a good story. It’s been told often enough. This new version from playwright Chris Bush is a mixed bag, but it does a lot with the tale’s potential, and modern twists make the story approachable and intriguing.

Changing the gender of the protagonist is a good start. The show provides a star role for Jodie McNee who plays Johanna Faustus with gusto. She’s ready to spar with Satan as much as sign Beelzebub’s book, and sexism becomes the big evil in the play.

Part of Johanna’s motive for her diabolic bargain is to be independent – to be her own woman in 17th-century London. Cue witches, corruption and the plague. Bush sets up an entertaining story with interesting ideas.

Director Caroline Byrne does a good job creating an exciting atmosphere, handling historical flavour well. There’s strong support from Katherine Carlton, Alicia Charles and Emmanuella Cole. Line Bech’s costume design also deserves a nod.

But things start to go awry with the show’s humour – there’s a playfulness with the past that doesn’t always work. The jokes are good, but dilute the tension too much. Take Mephistopheles, the devil contracted to serve Faustus: Danny Lee Wynter does well with the wit in the role, but that wit doesn’t help the play as a whole.

A further big idea is sounder – Faustus has a plan to “save the world to shame the devil”. It’s never clear how selfish our heroine is; Bush and McNee do well to keep this question open. But, of course, doing good isn’t easy, and the show becomes more a wait to see what will go wrong. While the passion that drives Johanna has an interesting origin, her anger becomes abstract and simply isn’t hot enough.

As the action moves into the future and starts to engage with technology, this coolness increases. The play gets less surprising and at times a little silly. Messing around with Elizabeth Garrett Anderson and Marie Curie turns into a diversion rather than a serious point; GM foods and minds uploaded into the cloud follow too quickly. The latter is intriguing in a play obsessed with souls (a tricky topic in 2020) but needs fuller development.

“Wait” is the show’s final word. And I like the way it’s given to Johanna. But by that point it feels as if we’ve seen enough, and Bush hasn’t managed to inject any sense of peril about what might come next. An order to the devil is appropriate for this feisty Faustus – but it’s a damp squib of an end for a play that wants to be fiery.

Until 22 February 2020

www.lyric.co.uk

Photos by Manuel Harlan

“Solaris” at the Lyric Hammersmith Theatre

Reading Stanisław Lem’s science-fiction classic as preparation for this theatre trip, the book struck me as full of brilliant ideas but impossible to stage. The titular planet is as much the subject of the novel as the scientists who investigate it. Lem’s description of a global organism that (somehow) thinks, and creates giant structures from its ocean waters, has to be left to our imaginations. Adapter David Greig’s clever move is to refocus the book towards the emotional drama (incidentally, not Lem’s forte) that arises when the investigators make contact with this alien life-form.

Jade Ogugua, Polly Frame, Keegan Joyce and Fode Simbo in "Solaris"
Jade Ogugua, Polly Frame, Keegan Joyce and Fode Simbo

What goes on has plenty of dramatic potential. The scientists have “visitors”, recreations from their memories, who are loved ones long dead: the lead, Kris, is united with an old flame, Ray, while her colleagues are haunted by their mother and daughter. Greig fills out Lem’s scenario nicely but the structure he opts for feels too cinematic – Solaris has been filmed twice – and director Matthew Lutton embraces just that with too much vigour. It’s technically impressive, and Paul Jackson’s lighting design is excellent, but it isn’t just a question of taste that makes me question this filmic quality. Compare the frequent short scenes, which at first provide drama but become tiresome, with that of a drinks party for Ray (pictured above) – a fantastic addition, given time to develop, and far better suited to the stage.

Kris is the narrator in the novel, which leads to a major role performed by Polly Frame. But opening out the story means that Greig does not give her quite enough to work with. Frame shows terror and joy well but there’s little in between and she fails as any kind of sceptic. Jade Ogugua and Fode Simbo play her colleagues: as deep thinkers, the characters bring out Lem’s ideas, but the performances fail to create an emotional resonance. Kris’s visitor Rey has a much meatier role that Keegan Joyce tackles with gusto. The strange state of his almost-human character becomes as moving as it is fascinating. The best performance comes on film as Hugo Weaving establishes his character’s excitement at the scientific discovery being made.

Hugo Weaver and Polly Frame in "Solaris"
Hugo Weaver and Polly Frame

Designer Hyemi Shin keeps the novel’s 1960s sci-fi aesthetic. It’s appealing enough, although all that video tape might puzzle younger audience members, and enforces the production’s stylish appeal. But the show doesn’t engage with science quite enough. No matter how rattled by events, the characters on stage aren’t given the chance to convince us that they’re professionals. One key scene has liquid oxygen kept at the kitchen sink. I’m not sure who, apart from Heston Blumenthal, would risk that.

More seriously, the production unravels towards the end. Like the scientists who study Solaris, the book’s cult following attracts interpretations. It’s all part of the fun and Greig’s input comes with ecological fears and a touch of the Pre-Socratic Thales that highlights the theme of water. Both are interesting enough but arrive too late in the show for satisfactory exploration. The ideas form part of a truncated finale that ignores the adaptation’s strength – its emotional impact. Despite some rich investment from its whole creative team, the abbreviated conclusion means this Solaris ends up as short-change sci-fi.

Until 2 November 2019

lyric.co.uk

Photo by Mihaela Bodlovic

“Noises Off” at the Lyric Hammersmith Theatre

The delicious irony that lies behind Michael Frayn’s classic is as effective as ever in this new revival. Taking us behind the scenes of a farce, from disastrous rehearsals to the exhaustion of a show that’s been on the road too long, actually demands great technical skill. Every deliberately forgotten line or missed cue, each slapstick move and faulty prop needs executing to perfection. Director Jeremy Herrin and his cast have the know-how and, with that in place, the audience can sit back and laugh.

Without diminishing Herrin’s achievement – as well as the coming-and-going of the farce being performed there are the backstage shenanigans going on – Frayn’s play is so perfectly written you can’t fail to get caught up in it. It’s clear from the midnight rehearsal we start at that all is not well. In Act Two, which takes us literally behind the scenes, tensions within the company come to the fore. And by the end of the show those naughty noises we can hear, from the exasperated performers, are nearly drowned out by audience laughter.

If a trick is missed, maybe Lloyd Owen could make it clearer that his character, the exasperated director of the show, is the company lothario. Likewise, the love interests – on stage the actress Brooke (Amy Morgan) and behind the scenes the stage manager Poppy (Lois Chimimba) – could benefit from more laughs from the play’s love triangle. But all the cast are incredibly hard working. For once in the theatre it pays to show the crowd that you are breaking into a sweat, and results are fantastic.

Leading the laughs are Deborah Gillett and Meera Syal as old hands Belinda and Dotty, who are full of endearing gossip. Syal flips from formidable to vulnerable as her elderly character, who has put money into the tour, has to work increasingly hard for a return. There are fantastic turns, too, from Daniel Rigby and Jonathan Cullen as two nice but dim actors who quibble about bags and boxes or questions of motivation. Every ‘love’ or ‘darling’ gets a giggle and, as affection turns into aggression, the play gets funnier and funnier.

Showing the show deteriorate as tensions mount is beautifully done – remember we’re seeing pretty much the same thing three times here! The perspective alters, of course, quite literally when we are behind the scenes, but it’s the creation of a mood by all the cast that does the work. Each scene may be manic but the characters have different paces as exhaustion and desperation sets in. Command of the piece’s tempo means that Herrin gets the final applause. Listening to his onstage counterpart, the advice is to deliver the show with plenty of “bang”. We have that, but the action never escalates into something incomprehensible. As a final accolade for Herrin and his crew, the sense of tenderness towards the theatre in Frayn’s play is clear. The commitment that the show must go on, even if that’s just for the “small crowd at the front of the back stalls”, is unquestioned. Admiration abounds for all involved with a fantastic play that’s brilliantly delivered.

Until 3 August 2019

www.lyric.co.uk

Photo by Helen Maybanks

“Dead Dog in a Suitcase (and other love songs)” at the Lyric Hammersmith Theatre

This welcome return of Kneehigh’s much admired reworking of John Gay’s The Beggar’s Opera is ripe for our times. The show is dark – recreating 18th-century villains in a world of corrupt politicians and organised crime, it pushes into pitch black territory. Politically crude and frequently rude, this is a protest piece with anarchic urgency that condemns money, power and the state of the world.

Writer Carl Grose is stark in his views of human nature, which is the key to the show’s satirical punch. The action is led by Martin Hyder and Rina Fatania, who give brilliantly overblown performances as small town mafiosos murdering their way to a mayoralty. For law and order, Giles King’s maniacal chief of police is frightening stuff, flip-flopping between bribery and blood lust. His target is Macheath, a sinister hitman in this version. Rendered cold rather than charismatic in Dominic Marsh’s sterling performance, Macheath brings the personal into politics, deciding between a life of love, a noble death or a career in crime. The result isn’t pretty. Interestingly, the sexual politics in the piece haven’t been updated as much as you might expect. Macheath’s women are still dopey for him, though the roles are performed with spice by Beverly Rudd and Angela Hardie.

Rina Fatania

Maybe the madness for Macheath is appropriate in a show that calls for a touch of chaos all around. Consider the music. All those songs promised in the title are eclectic to an extreme, and composer Charles Hazlewood’s range of references is awe inspiring. There’s a trade off with coherence – and few will enjoy all the numbers – but each song adds to the crazy appeal of the show, and the energy from Mike Shepherd’s direction, with his talented cast of actor musicians, is considerable. The detail throughout is fantastic, not just with Grose’s tongue-tying script – this is a keep-your-eyes-peeled show. With swapping suitcases and plenty of multiple roles (Georgia Frost does especially well here), you don’t want to miss a moment.

While the call for changes in society and for personal responsibility are not convincing enough in this grim vision of our state, they are depicted well through the only character we come close to caring for – Patrycja Kujawska’s Widow Goodman forms the spine of the show (and her violin playing is fantastic). It’s a shame that Punch – yes, as in Judy – gets the last word. While Sarah Wright, who led the puppetry on press night, is fantastic, Punch’s nightmarish commentary ends up overwhelming. That Punch talks most of the sense on stage is downright depressing. We’re not in that much trouble, are we?

Until 15 June and then touring until 13 July 2019

www.lyric.co.uk

Photos by Steve Tanner

“The Seagull” at the Lyric Hammersmith Theatre

Simon Stephens is a busy man. This week his play Heisenberg received its UK premiere and his new version of Anton Chekhov’s classic has opened. Dauntlessly tackling the 1895 piece, full of unrequited love triangles, the passion and depression in the original comes into focus. There’s no period frippery – not a samovar in sight – no agendas and the sometimes ponderous discussions of Art (capital A) feel unforced. The language is efficiently modern and startlingly down to earth: “get a grip,” says one character. Stephens has grabbed Chekhov ferociously.

There’s plenty of fresh insight and energy all around, abetted by Sean Holmes’ direction and a strong cast. The production is marked by direct addresses, admittedly not all successful, that illustrate a determination to engage the audience. Brian Vernel’s Konstantin has an indie rock star vibe (despite the classical mix in the show’s excellent soundtrack) that makes him feel modern. His unrequited love, Nina, gains a similarly contemporary touch from Adelayo Adedayo’s performance. The character is desperate for fame, fame, fatal fame. But when that dead seagull is presented by Konstantin in a plastic bag she wallops him with it: good girl! Getting in the way of their love, Nicholas Gleaves plays the writer Trigorin with a dash of aloof celebrity that aids the coherence and relevance of Stephens’ approach.

Cherrelle Skeete as Marcia
Cherrelle Skeete as Marcia

The real star of The Seagull is the actress Irina, and Lesley Sharp grasps this part magnificently. While her desperate love for Trigorin is clear, and explicitly depicted, the production calls for her comic skills and Sharp delivers. This snobby Sloane gets laughs for every “darhling” she utters. There are a lot of laughs all around in this production, with the play’s many characters each getting a turn, as desires battle with a cynical cruelty that’s surprisingly funny. Stephens has a great eye for eccentricity and the crazy things this boho crowd gets up to. As the depressed Masha, renamed Marcia with an impressive performance from Cherrelle Skeete, observes: “People are just odd.”

Humour is maintained for a long time. I suspect it might annoy some people. But we know The Seagull is a tragedy and changing key is Holmes’ biggest achievement. For the final scene, mental health issues come to the fore. We see how obsessive, in their own ways, all these characters are. A lot of anger is revealed and not just in the case of our young lovers. The delusions and detachments we’ve been laughing at become dangerous amongst such fragility and an acute sense of the toll time has taken on all. Stephens appreciates the complexity of Chekhov’s vision and has orchestrated it in a new and exciting manner.

Until 4 November 2017

www.lyric.co.uk

Photos by Tristram Kenton