Tag Archives: Millicent Wong

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“Orlando” at the Garrick Theatre

The star casting of Emma Corrin should, quite rightly, attract an audience to this new play based on Virginia Woolf’s classic novel. Corrin wears their heart on a variety of gorgeous sleeves while addressing deep questions about the identity of the gender-swapping century-traversing character lightly. “Who am I?” interests as much as torments this iconic figure, and Corrin is as energetic as emotional.

For all Corrin’s achievement, it is playwright Neil Bartlett who impresses me most by producing a piece that gives us Woolf’s work… and so much more. Starting with the Elizabethans, Bartlett brings in Shakespeare (from the sonnets to Hamlet to The Merchant of Venice), Woolf, of course, but also a nod to Chekhov, touches of bawdy and even some Kander and Ebb. It’s all tremendously clever and fun. The script is as witty as it is intelligent, as approachable as it is erudite.

Emma-Corrin-and-Deborah-Findlay-in-Orlando-photo-by-Marc-Brenner
Emma Corrin and Deborah Findlay

The playful and mind-bending in Woolf’s novel is made to fit on stage marvellously. Michael Grandage’s superb direction takes every chance to enforce theatricality and the result is engaging throughout what feels like a very brief 90 minutes. The pace is startling, yet observations on history and prejudice are clear. The action is guided by the brilliant Deborah Findlay, who plays Orlando’s equally long-lived maid and gets some of the best gags. The sparse staging uses Peter McKintosh’s superb costumes to take us through time and show transformations in simple, effective style.

Orlando-company-photo-by-Marc-Brenner

Bartlett’s Orlando is also about Virginia Woolf. The author isn’t just a character – she is a chorus, with nine performers donning comfy cardis and specs. What would be the collective noun for that? Surely not a pack of Woolfs? The show has too much generosity for that…a Bloomsbury of Woolfs? No, a room of Virginias! The group take us through the writing of the novel, remind us of Woolf’s lectures, while Bartlett’s script shows her as an inspiration. How the work affected Woolf’s life, as well as some of her own story, is interwoven in a moving fashion. And the cast takes on a variety of other roles – different ages and genders again – providing moments in the spotlight for Lucy Briers as Elizabeth I and Millicent Wong as an 18th-century sex worker.

Fluidity is all, and Grandage appreciates that theatre can explore this particularly well. And there’s more. Orlando lives for centuries, but the search for love is always relevant. The show isn’t just contemporary in addressing “Ladies and Gentleman and Everyone”. Constraints imposed by others versus definitions claimed by oneself are examined… and exploded. Background plays a part, with a topical concern for ‘authenticity’ that seems appropriate for a piece so big: Corrin is a star very much of the moment and clearly revels in the radical ideas here. Bartlett presents fluidity on the West End stage with an unapologetic touch that is gleeful. The show becomes an optimistic celebration. Like conditions for women, a recurring theme given its due, things are getting better. All that history has a point, it’s leading somewhere. What is Orlando’s favourite time? It’s now!

Until 26 February 2022

www.michaelgrandagecompany.com

Photos by Marc Brenner

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“Henry V” at the Donmar Warehouse

A lot of people like to see a star on stage. The attraction for Max Webster’s new production of Shakespeare’s history play is Kit Harington. And the Game of Thrones actor more than earns his presumably vastly reduced wage. Although the production has its moments, Harington is the focus of these in what is an uneven affair that’s too stop-and-start to call it a success.

The large cast takes on multiple roles – which is, normally, sure to impress. And all the more so when the cast is bilingual. For Webster’s version of the play has French characters speaking French. Which makes sense – and makes a point – but creates mixed results.

The scenes in French prove a distraction, as you can’t help wondering if the performer is a native speaker. And when it comes to the different roles, it is all too obvious which one each cast member prefers. Efforts to distinguish the different parts (through accents or body language) are often poor. Kate Duchêne is a notable exception but, overall, there’s a lot of talent for little result.

The language isn’t the only distraction. Andrzej Goulding’s video work is good, but it is too big for the stage. As with Fly Davis’ impressive design, the Donmar’s intimacy is negated. Is a transfer so badly desired? A stage this small feels crowded very easily, yet Webster ignores this. He clearly just wants a bigger space. At one point we even have some marching on the spot… yuk.

Henry V is famous for Shakespeare’s appeals to our imagination. The chorus’ speeches can be inspiring, but here they are lacklustre – Millicent Wong’s delivery is strangely petulant. In attempting moments of realism, the show doesn’t deliver. I don’t think using guns helps, but fight scenes frequently look clumsy. Their direction, by Kate Waters, is, again, really for a different venue.

The production is not a failure. The addition of strong singing is revelatory – there are powerful voices in the cast that gave me goosebumps. It’s a shame that additional music (including, sigh, some Handel) is all over the place. Several scenes have a rawness which is striking (the final scene for Danny Kirrane’s particularly unappealing Pistol is notable).

Above all, Harington’s Harry is a great. The anxiety of ruling and war are etched on this king’s face, and the play between politician and regular guy is riveting. Star appeal saves the show. Which is good, but a little disappointing.

Until 9 April 2022

www.donmarwarehouse.com

Photo by Helen Murray