Tag Archives: Nicholas Rowe

“The Cabinet Minister” at the Menier Chocolate Factory

Arthur Wing Pinero’s class comedy has been updated by Nancy Carroll for this fine revival. The Victorian piece, about a politician and his wife up to their elegant ears in debt, zips along with plenty of laughs. And Carroll appreciates that even in a comedy, some moments should be played straight. Her adaption is as smart as it is funny.

Carroll also takes the stage, and is superb, as Lady Twombley, whose profligacy threatens her husband’s already perilous political career and the prospects of her children. Things are so bad there’s the “threat of sprouts” as the family might retire to the country and grow their own food; Carroll makes us see her character takes the fate seriously – which makes it all the funnier.

In the titular role, Nicholas Rowe anchors the action. And the chaos increases when his wife becomes indebted to parvenu money lenders Fanny and Bernard Lacklustre. Here are two fun villains, played Phoebe Fildes and Laurence Ubong Williams. The Lacklustre’s ambitions and action aren’t so different – just not as hypocritical. You might end up quite liking them! Pinero treated all his characters harshly and this talented cast never forget that point.

As the Twombley capital diminishes, the clock is ticking to make a good marriage for kids. In practice this is all masterminded by the excellent Sara Crowe who plays an aunt with a “motive”. Enter the Scottish Macphail clan – well, mother and eligible son (played with suitably extravagant accents by Matthew Woodyatt and Dillie Keane) – on the lookout for a bride.  Because The Cabinet Minister is a romance too! Carroll and Rowe’s considerable chemistry helps immeasurably. But it is Rosaline Ford and George Blagden who play the couple to root for. Blagden, as “poor, unhinged, and a little pungent” Valentine, a character who has travelled the world to escape his privilege, is a surprisingly recognizable figure.

While it is fun to see how little politics (and people) have changed since the play was written, the point can be overplayed (a coda shows a modern moment that doesn’t pay off). Along with the cast playing instruments, which is impressive but adds little, the production is a little fussy at times. But director Paul Foster does an excellent job overall. As the plentiful innuendo, puns and glorious putdowns indicate, it is the language that provides the jokes: impeccably delivered and making the show great fun.

Until 16 November 2024

www.menierchocolatefactory.com

“Raving” at Hampstead Theatre

Three couples on a disastrous weekend away in Wales. This is the premise for Simon Paisley Day’s new play, Raving, which opened last night at the Hampstead Theatre. It’s a satisfyingly traditional set-up for a comedy of manners. Boasting superb performances as well as plenty of gags, it should prove another hit for a theatre that director Edward Hall is taking from strength to strength.

An actor himself, Day knows how to craft lines that will get a laugh, and the cast, all experienced comic actors, really capitalise on the script. Hall directs with just the bubbling suggestion of a farce, while keeping the pace appropriate to observational comedy. The couples are instantly recognisable ‘middle-aged parents with stressful lives’. You have a vivid impression of the homes and children they are taking a break from, and can easily imagine which part of London each lives in.

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Barnaby Kay and Tamzin Outwaite

The first arrivals are the neurotic Briony and her sex starved husband Keith. Barnaby Kay makes his character instantly appealing and Tamzin Outwaite is tremendous, turning on the tears and irrational fears at a speed that’s hilarious. As teachers, Briony and Keith see themselves as lower middle class (I am sure that wasn’t always the case) and don’t gel with the better-off Serena and Charles.

The toffs of the play are the tops. Nicholas Rowe’s ex SAS Charles is a scream, bettered only by Issy Van Randwyk whose filthy laugh as Serena I wanted to bottle and keep. They have “four or five” children and just “leave them to it”. No parenting books in their library and they spend too much time in the bedroom, with Charles all over Serena “like German measles”, to read a lot anyway.

In the middle of the pecking order come Ross and Rosy. The seemingly perfect couple who “don’t do late” but do yoga instead. They have problems with au pairs. Robert Webb and Sarah Hardland deal cleverly with their unappealing characters. When the predictable breakdown happens and the raving really starts, it still feels edgy.

The piece has its problems. The introduction of a younger woman, a Sloane with a drug and sex addiction, doesn’t convince, even though the talented Bel Powell does her best. Similarly, the character of the farmer the couples rent a cottage from, while ably performed by Ifan Huw Dafydd, introduces less tension than desired. There are longueurs during the finale, as the couples sexual kinks and dependencies are revealed with a too-obviously confessional tone, but the performances are strong enough to keep the laughs coming.

Until 23 November 2013

www.hampsteadtheatre.com

Photos by Manuel Harlan

Written 25 October 2013 for The London Magazine

“The Madness of George III” at the Apollo Theatre

It seems we love the Royals right now. What with last year’s wedding and the forthcoming jubilee, there’s a feelgood factor about pageantry that our first family is riding high on. It’s well known that the Windors aren’t big theatregoers, which is a shame since they will probably miss this new production of The Madness of George III.

Alan Bennett’s 1991 textbook play, dealing with one of George III’s periods of mental breakdown (probably from the hereditary condition of porphyria), has aged superbly. Progressing from the Theatre Royal Bath, this production is highly polished. Against the backdrop of Janet Bird’s intelligent design, Christopher Luscombe’s direction is clear and pacey. While lacking satirical bite, the politics of the period are presented well, with fine performances from Nicholas Rowe and Gary Oliver as Parliamentary rivals William Pitt and Charles James Fox using the Royal family as pawns to gain power.

And Bennett’s gags about the parlous state of 18th-century medicine still shine. Peter Pacey plays the King’s first doctor with suitable sycophancy. Clive Francis is commendable as the radical physician Dr Willis whose techniques reveal the ridiculous dangers of court protocol (such as not being allowed to question the King directly) and who gets the play’s best line: “the state of monarchy and the state of lunacy share a frontier.”

The role of George III is a dream for any leading man. David Haig lustily rises to the challenge of bettering Nigel Hawthorne’s much loved representation in the 1994 film. Haig is best at showing us the King as a likeable character: the benevolent ‘farmer’ George whose “indirect and infinite curiosity” annoys his equerries but charms the audience.

Often, if you are rich, you aren’t mad – just eccentric. So Haig works hard to convince us that George losing his mind isn’t just quaint but something painful. His performance forces this point home. We can smile when the King says he would rather go to Japan than Kew, but portraying George as an intelligent man, aware of his own tragedy is Haig’s main achievement, making this a more moving evening than you might expect.

Until 31 March 2012

www.nimaxtheatres.com

Photo by Robert Day

Written 24 January 2012 for The London Magazine