Tag Archives: Michael Pavelka

“Cell Mates” at the Hampstead Theatre

Edward Hall always puts on a classy show. His direction for this first revival of Simon Gray’s 1995 play is, typically, clear and careful. And Hall always gets great performances from a cast: here Geoffrey Streatfield plays the spy George Blake, alongside Emmet Byrne as Sean Bourke, who “sprung” him from prison, and both are superb. Joined by Philip Bird, Cara Horgan and Danny Lee Wynter, who play different characters aiding and abetting the criminals in the UK and then Russia, it’s as fine an ensemble as you could wish for. The production also boasts an impressive set from Michael Pavelka that feels ready and waiting for a West End transfer.

The only problem is that this is a disappointing play that Hall has an unjustified faith in.

While Cell Mates is based on a thrilling real-life story, complete with Blake’s extraordinary break-out from Wormwood Scrubs prison and subsequent life in Russia, the play steers away from a documentary feel or political commentary. Fair enough. But for a piece rammed with spies and the Cold War, it seems perverse to include so little tension. A scene in Blake’s safe house shows Gray’s strength for farce, expertly executed here, while making the KGB officers we meet funny is fine (Wynter is especially good at this), the play isn’t really a comedy either. The focus is Blake and Bourke’s relationship: why the latter helped the former, and why he was subsequently betrayed and imprisoned when visiting Blake in Moscow. Unfortunately, the duo’s friendship isn’t made interesting enough.

Blake and Bourke’s first meeting is gnomic, if intriguing. Scene II starts to reveal some idea of why Bourke might be around – he wants to be a writer and senses “a story to tell and a story to sell”. While this motif is taken up as both men work on books when in exile it does not settle the question of their bond or provide motivation for what they go through together. Talk of a “country of the future” and ideologies is given the briefest lip service. Streatfield and Byrne depict the stress of imprisonment in an accomplished way but the question of their attachment becomes an overwhelming puzzle. Their friendship may well be inexplicable, but Gray doesn’t speculate or explore it in depth and the void created makes the play a pointless struggle.

Until 20 January 2017

www.hampsteadtheatre.com

Photo by Marc Brenner

“Funny Girl” at the Menier Chocolate Factory

Sheridan Smith once again proves she’s a great star by making this the fastest selling production in the Menier’s history. But let’s not forget how brave her decision was to take on the part of Fanny Brice. Few roles in theatre are so intimately connected with one performer – Barbra Streisand no less – and this show is all about its leading lady. The joy here is that, like her predecessor, Smith makes the piece work.

Jule Styne’s musical about the Ziegfeld Follies comedy star – a rise to fame and failed marriage story – is too feeble a plot, despite the string of hit songs and Bob Merrill’s witty lyrics, to be anything other than a star vehicle. This production does well to showcase the talents of leading man Darius Campbell. And Marilyn Cutts can kvell with the best of them as Fanny’s Yiddisher mama. But both characters are written flatter than a matzo and are ultimately unsatisfying.

Smith’s interpretation of Brice is startling, even riveting. Of course, it’s clever to steer clear of Streisand’s well-known recordings, although a handful of occasions when the famous phrasing is simply better are still, studiously, avoided. But make no mistake – Smith owns the role with perfect comic timing and an ability to belt out a song if she has too. Most importantly is her sheer charm, which makes Brice’s success easy to believe. There are few performers who can win an audience over so quickly and completely.

New York bigwig Michael Mayer is the director here – a coup for the venue. And Isobel Lennart’s book has been spruced up by Broadway legend Harvey Fierstein. A transfer to the Savoy was quickly announced and there’s already speculation about the show travelling across the Atlantic. It’s clear the production is itching to get into a bigger space, and expanding Michael Pavelka’s design would be all too easy. I’d be happy to see it again and suspect it could be a rare instance of a move that is better bigger.

Until 5 March 2016

www.menierchocolatefactory.com

Photo by Marc Brenner