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“Handbagged” at the Kiln Theatre

It feels odd to watch not one but two versions of Queen Elizabeth on stage so soon after her death. A respectful minute’s silence before last night’s show, lead by director Indhu Rubasingham, indicates careful thought has gone into letting Moira Buffini’s five star play go ahead.  But for all the fun in this hilarious piece, which cheekily imagines the Queen’s private meetings with her Prime Minister Mrs. Thatcher, her Majesty comes off very well.

That public statements were not allowed to our constitutional monarch means Buffini can make the Queen a contrast to the Prime Minister. Turns out the richest woman in the world had a lot of concerns about social inequality. And her passion for the Commonwealth gives a global perspective in contrast to Thatcher’s little Britain. But there’s also tenderness in Buffini’s writing about the Queen – she’s presented as a fun, witty woman and a caring mother.

All the Queen’s admirable qualities are conveyed by the actors taking on what must be a particularly challenging role right now. Both Abigail Cruttenden and Marion Bailey, as younger and older versions respectively, give strong performances and make a lot of the lines even funnier than they already are; you could happily spend the night watching Bailey’s every expert move.

Buffini is harder on Thatcher. The role is written with more anger and is possibly closer to caricature. The performances from Naomi Frederick and Kate Fahy respond appropriately. Frederick, as the younger version, manages to suggest nervousness about dealing with a figure she reveres that generates a little sympathy. Fahy’s line in dignity, as she looks back on her time at the top, is convincing no matter her views. The scorn with which both women can say the word ‘socialist’ or ‘wet’ is tremendous.

The way all four characters interact as they try to take charge of the story about Britain during the Thatcher years is hilarious. The blend of sarcasm and sincerity is perfect – the quartet of perspectives battle to tell and interpret what happened. The subject of Thatcher’s dementia provides a moving moment and yet another layer of consideration about interpreting the past. Buffini’s script is dazzling and you don’t want to miss a word.

There’s more to Handbagged than some fantastic comedy and strong impersonations – although both of these make the show a must-see. Two more characters join the stage – ‘Actors’ played by Romayne Andrews and Richard Cant who also impress as a variety of famous faces with great lines. The main role of these super supernumeraries is to highlight what putting on a play – and a play about history – entails.

Pointing out what Thatcher and the Queen don’t want to discuss, slowing down the show to their frustration or embarrassment, the ‘Actors’ interjections are often funny and make sure that their characters are satisfyingly full. Attempts at directing these powerful women are brilliant moments, aided by the show’s real director too. Rubasingham directed the first production of the play, almost ten years ago, and her knowledge shines through, brimming with joyous confidence about the strength of what’s on stage: the respectful, you might say faithful, approach to this modern classic seems very much in keeping with our times.

Until 29 October 2022

www.kilntheatre.com

Photo by Tristram Kenton

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"The Deep Blue Sea" from NTLive

This week the National Theatre’s fund-raising offering is sheer class. Carrie Cracknell’s 2016 production of Terence Rattigan’s play is a traditional affair that oozes quality, with a solid script, stunning set and stellar performances.

The Deep Blue Sea is far from easy sailing. It starts with its heroine, Hester, having just attempted suicide, as the affair that broke her marriage is coming to an end. Concern over mental health has progressed since Rattigan was writing in 1952 but the playwright’s insight into depression offers much to learn from.

Rattigan’s preoccupation, however, is Hester’s passion. Her love for her husband, eclipsed by that for RAF pilot Freddie Paige, is fascinating. The romance is dangerous – this sea is stormy. Hester sees no chance of escaping a love that will not work: she and Freddie are “death to each other”. The production’s first triumph is to make sure Rattigan’s piece doesn’t descend into melodrama.

Tom Burke in The Deep Blue Sea. Image by Richard Hubert Smith
Tom Burke

The love triangle provides strong roles for Peter Sullivan and Tom Burke, who are excellent. Their chemistry with their leading lady is astonishing. Burke is especially strong in making the occasionally odious Freddie convincingly alluring as an “homme fatale”. But the show belongs to Helen McCrory whose performance as Hester is flawless. Sharp and wry, the mix of “anger, hatred, shame” is conveyed in every move.

There’s a sense of British reserve behind all the action, darkly adding to the potency, but McCrory and Cracknell keep this as under control as Hester’s emotions. Moments when Hester is alone and can let go – holding her face to the light or crawling on the floor in desperation – are awe-inspiring in their emotional power.

The Deep Blue Sea image by Richard Hubert Smith
Tom Schutt’s impressive set

Focusing on a sense of community within the boarding house setting, aided by Tom Schutt’s impressive set full of solicitous neighbours, means Cracknell adds to the play. A brilliant scene where Hester is joined by the women in the piece (played by Marion Bailey and Yolanda Kettle) alters our focus. It’s a move all the more remarkable given that the play, through Rattigan’s biography, is often discussed for its gay subtext.

If interested, try to track down a copy of Mike Poulton’s play Kenny Morgan, about the suicide of Rattigan’s lover (and a fascinating work in its own right). There is a danger that The Deep Blue Sea can be overpowered by this biographical note. But Cracknell has provided a space for the play to exist independently; an achievement for any revival that makes Rattigan’s script and his legacy stronger.

Until 16 July 2020

To support, visit nationaltheatre.org.uk

Photos by Richard Hubert Smith

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“Handbagged” at the Vaudeville Theatre

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Moira Buffini’s Handbagged, which after a hit run at the Tricycle Theatre had its West End premiere last night, tells the story of Margaret Thatcher’s reign as Prime Minister by imagining her private audiences with the Queen. The characters Liz and Mags reenact their 1980s meetings and are watched over by Q and T – the same figures in later life, who are portrayed as staging the show and provide an acerbic additional commentary on the action. For every joke there’s an equally amusing interjection, so you get two laughs for the price of one – brilliant.

Now, playwrights are not generally Thatcher’s natural constituency, so it is no surprise that the highlights picked out by Buffini are predictably low points. The Miners’ strike, the Falklands, South Africa and the Poll Tax: there are plenty of targets for satire. But Handbagged isn’t just funny, it’s intelligent as well. The history lesson here is cleverly told and not as biased as you might fear. As well as the notion that the ultimate establishment figure is to the left of Mrs T, the Queen’s devotion to the Commonwealth is given its due. And Thatcher is allowed to answer back – well, it would beggar belief to think she would give a playwright an easy time.

Acknowledging the evening as a theatrical production full of “artifice and sham” adds an honesty to the piece. Those meetings were private after all, speculation about their relationship just that, and Buffini wisely never presents her work as the final word. It’s fun: not only do we get discussion about whether there should be an interval – carry on through or enjoy your ice cream? – but the real anger at some of Thatcher’s decisions is given a magically light touch.

In their capacity as the show’s ‘producers’, Q and T recruit two jobbing actors to play a huge variety of roles, and they end up trying to take over the show. Jeff Rawle’s repertoire of accents is astounding and Neet Mohan is superb as he endures the “stroke of casting genius” that sees him dragged up as Nancy Reagan.

Handbagged is superbly performed. Under Indhu Rubasingham’s skillful direction, all four leading ladies excel. These are reinventions rather than simple impersonations (although Marion Bailey’s top lip deserves an award of its own). More credit then to Bailey, Stella Gonet, Lucy Robinson and Fenella Woolgar for injecting real heart into the roles. There is gravitas, when it comes to key speeches the women gave, and emotion at traumatic events. Staying just the right side of parody, Woolgar in particular never takes her eye off this fine balance. Politics has seldom been presented so originally or with such great laughs.

Until 2 August 2014

Photo by Tristram Kenton

Written 11 April 2014 for The London Magazine