Tag Archives: Noel Coward Theatre

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“Shakespeare in Love” at the Noël Coward Theatre

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Films brought to the stage are often maligned, but Shakespeare in Love, which opened this week at the Noël Coward Theatre, should make all playgoers happy. Theatre power couple Declan Donnellan and Nick Ormerod, world renowned for their Cheek by Jowl Company, make it a hot ticket. Skillfully adapted by Lee Hall, from Tom Stoppard and Marc Norman’s Oscar winning 1998 hit, this is a clever crowd pleaser it’s easy to recommend.

Hall wisely retains much of the original script. All the jokes created by a modern eye on the imagined creation of Romeo and Juliet are as funny as ever. The romance is preserved and the story’s second love affair – with the theatre – is expanded. The ensemble engender an intimate complicity as they remain on stage to interact with the young playwright Will during his hopeless love affair with the aristocratic Viola De Lesseps.

With the movie in our minds the performers have a lot of live up to – it was a film with no shortage of stars. The cast acquit themselves well, with David Oakes benefiting most from a beefed up role as Christopher Marlowe. Director Donnellan uses the many small roles to focus attention on the lovers – showing their differences in rank and contrasting overblown acting with their sincerity as the romance mirrors and molds that of the fictional Romeo and Juliet.

Shakespeare In Love 6 - Company with Tom Bateman as Will. Photo by Johan Persson ∏Disney
Tom Bateman

In the star roles Tom Bateman and Lucy Briggs-Owen give exciting performances. Bateman has the looks for a leading man and gives Will a Byronic feel that he builds well. Briggs-Owen is full of ambition, keen to get the laughs and conveying a spirit that makes you fall in love with her character. Viola is the star and her desire to become an actor is the motivation that is inspirational.

Donnellan marshals Shakespeare in Love with efficiency and Ormerod’s set is impressive. Could the play have been more adventurous? Probably. The finest addition is the music from Paddy Cunneen that has a boldly crafted authentic feel. But the production sensibly decides to please those who loved the film and here it’s an unqualified success. There’s even a dog that almost steals the show – sure proof those in charge know what people want: love, and a bit with a dog.

Until 25 October 2014

www.shakespeareinlove.com

Photos by Johan Persson

Written 23 July 2014 for The London Magazine

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“The Full Monty” at the Noël Coward Theatre

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Already a triumph in its hometown of Sheffield, The Full Monty received its London premiere last night. Adapted by Simon Beaufoy from his own hugely successful 1997 screenplay, this is yet another safe bet for a West End hit. It’s all about auditions at the moment, and this well-loved story of unemployed steel workers who decide to become strippers deftly uses rehearsals and try-out tribulations to build to the (quite literal) denouement. It’s so well done, in fact, that any cynicism is blown away: this is a terrifically fun show with a big heart that London should love.

On a technical level, The Full Monty is a masterclass in direction from Daniel Evans. He’s always a treat to see on stage as an actor and, with a string of achievements as artistic director at Sheffield Theatres, he has firmly established his talents behind the scenes as well. Here he excels, pacing the show perfectly, balancing its humour with emotional impact.

Evans has secured superb performances from his talented cast. Kenny Doughty leads as charismatic lad-about-town Gaz, desperate for cash to pay maintenance so he can see his son. Roger Morlidge gives a sensitive performance as his cumbersome best friend, and there’s a cracking cameo from Rachel Lumberg as the latter’s wife. Their former foreman-turned-choreographer is played with satisfyingly dryness by Simon Rousse, the only Conservative voter in sight. To suit broader tastes there’s fine work from Sidney Cole, Craig Gazey and Kieran O’Brien, who is accompanied by a gasp-worthy prosthetic addition.

Of course it’s crude – it’s about strippers after all – and some jokes show their age. A couple of scenes carried over from the film are weak, simply feeding a desire to see the movie recreated on stage. More impressive are new touches; an expanded exploration of a gay relationship and the use of Robert Jones’ nimble set, which sees cranes, girders and sparking machinery used to great effect.

The laughs are plentiful but, beyond the giggles, Evans uses Beaufoy’s scenario to explore all manner of sensitive issues, from gender roles to unemployment. This celebration of men of all shapes and sizes is a real make ‘em laugh, make ‘em cry treat with plenty to think about. In fact, it’s a refreshing blast of Northern wind.

Until 14 June 2014

Photo by Hugo Glendinning

Written 26 February 2014 for The London Magazine

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“The Cripple of Inishmaan” at the Noël Coward Theatre

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The latest star on stage in Michael Grandage’s season at the Noël Coward theatre is Daniel Radcliffe, taking the title role in The Cripple of Inishmaan. Martin McDonagh’s 1996 comedy, set around the arrival of a film crew making a documentary in 1930s Ireland, is a viciously funny piece that’s worth seeking out regardless of casting.

All eyes are on Radcliffe, of course, and the pressure on the critic to give a verdict pales in significance with that on him to perform. His accent isn’t as strong as those of other members of the cast, and he doesn’t have the same comic aplomb, but there’s nothing here to be ashamed of. Making the role even more physically demanding than it needs to be is testament to his determination, and his thoroughness impresses.

And in terms of Radcliffe’s career this is a clever move. The Cripple of Inishmaan is an ensemble piece. Radcliffe gets further credit from a controlled performance as part of the group; there’s never an attempt to upstage, and his intelligence about the dynamics on stage, shared by director Grandage, is clear.

Pat Shortt and June Watson
Pat Shortt and June Watson

There are several wonderful performances to enjoy. Pat Shortt shows himself the natural comedian as Johnnypateenmike, the village’s self-appointed news service: the scene with his ‘drunken mammy’ June Watson had me in tears of laughter. And Cripple Billy’s adopted aunts Ingrid Craigie and Gillian Hanna have a marvellous command of the stage that reveals their appreciation of McDonagh’s language.

It is the writer who is the real star here. McDonagh’s depiction of a rural community so dull that Billy’s only entertainment is to watch cows, and so insular that everyone regards this as a little risqué, is deliciously offensive. The jokes are worthy of any stand-up and the entertaining plot turns continually enforce serious, satisfying themes. McDonagh’s playfulness, with audience expectations and prejudices, make this revival a welcome one. And you get to see a star into the bargain.

Until 31 August 2013

www.michaelgrandagecompany.com

Photos by Johan Persson

Written 24 June 2013 for The London Magazine

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“Privates on Parade” at the Noël Coward Theatre

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Privates on Parade marks the start of the Michael Grandage Company’s exciting residence at the Noel Coward Theatre. Peter Nichol’s play about an army song and dance unit in Malaysia during a time of colonial struggle, has “the Queers and the Boys” camping it up to entertain the troops. The service is a refuge for gay men and misfits fleeing from Atlee’s Britain, but the vicissitudes and corruption of Army life, along with a mad major, make the escapism on stage essential: no matter how hard these guys try, their lives are far from a cabaret.

Taking the flamboyant lead is the Unit’s ‘Auntie’, Acting Captain Terri Dennis, a man on a mission to do his best for the boys on stage and off. Simon Russell Beale is hilarious in the role (his Marlene Dietrich routine has the audience in stitches), but he’s more than this – showing us the man behind the costumes. He makes the crass seems classy and the double entendres close to wit. The ensemble’s rendering of Denis King’s songs is skilful, with just the right amount of fluff to remind us that these men are, for the most part, amateur performers and conscripts far from home.

By contrast, it’s when the music ends, that things start to drag. Only Harry Hempel manages to match Russell Beale in finding the depth needed when the piece aims at intense drama. The end-of-empire politics of the play are supposed to jar with the high jinks on stage but the elements of farce in military life aren’t played with a dark enough edge and the rest of the show is so funny you really just want to focus on that. Grandage is lucky that Russell Beale as Carmen Miranda still makes the show worth it.

Until 2 March 2013

www.michaelgrandagecompany.com

Photo by Johan Persson

Written 13 December 2012 for The London Magazine

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“Hay Fever” at the Noël Coward Theatre

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The winter is over and what better way to clear the head than a trip to see Noël Coward’s Hay Fever? Howard Davies’ fabulous new production is spring-like in its appeal; fresh and life affirming, it positively bounces along and is a sure hit.

Coward’s comedy about a bohemian family and their unfortunate weekend guests is one of his finest and liveliest works. The Bliss family are wonderful characters, dripping with 1920s glamour. In keeping with their ecstatic nomenclature, the Blisses are out of this world – inhabiting an altogether more theatrical sphere.

Lindsay Duncan is perfect as the matriarch Judith. Not that one would dare use that term in front of her. Sexily voiced and revelling in her “celebrated actress glamour,” she casts everyone in a play of her own making – whether they like it or not. Drama follows her like an expensive scent, with hilarious results. And not good drama either – it takes talent to act this badly. Duncan delights as she hams it up creating ‘scenes’ that include her baffled visitors.

L-R Olivia Colman (Myra Arundel) and Freddie Fox (Simon Bliss) in Hay Fever at the Noel Coward Theatre. Photo credit Catheri
Olivia Colman and Freddie Fox

Hay Fever has a strong supporting cast, including rising star Freddie Fox, whose cheek bones alone make him perfect for period drama, and Jeremy Northam, who gives a charmingly understated performance. Two more members of this talented ensemble must be highlighted. Phoebe Waller-Bridge plays Judith’s daughter, getting a laugh out of every line, and Olivia Coleman is Myra – the only guest to challenge the Bliss phenomenon. Far more at home in London, Myra cattily accuses Judith of “rusticating” in the country. It’s a glorious put-down, delivered sublimely in a play full of clever insults, which is sort of ironic, since nothing but praise should be written about this play or this production.

Until 2 June 2012

Photo by Catherine Ashmore

Written 27 February 2012 for The London Magazine

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“Deathtrap” at the Noël Coward Theatre

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Deathtrap – A Comedy Thriller, is a stylish affair. The smoking gun sign outside the Noel Coward theatre; the set by Rob Howell that looks great in a storm; and there is even the opportunity to praise graphic designer, Adam Wiltshire, for his clever artwork. On top of that, the whole thing is quality entertainment, living up to its claim to be both comedy and thriller.

You’ll laugh, and you’ll jump out of your seat. At some points you may very well squeal. Granted, not a dignified reaction – but tremendous fun. Borne along by Matthew Warchus’ subtle direction, this is an evening to enjoy.

But there will be no squealing about the plot here. It’s only fair to respect the programme’s request – to keep the storyline a secret and not spoil the fun for future audiences. Without dropping any spoilers, a once successful thriller writer, observing that “nothing recedes like success”, is driven to drastic action. Ira Levin’s cleverly crafted play is as much about the theatre as the action in it, but is no less thrilling for that.

Hugely successful on Broadway, Deathtrap’s main draw for British audiences is Simon Russell Beale. Happily, his co-stars are also superb; Claire Skinner sports a jolly American accent and Jonathan Groff makes an impressive West End debut. Estelle Parsons has a great comic turn as a psychic who has moved next door (an uncomfortable neighbour for someone planning a murder).

But it’s Russell Beale who steals the show. A great classical actor with comedy credentials confirmed at the National Theatre’s London Assurance, getting this many laughs while sculpting waves of tension, is impressive even with such a great script. It is proof that there is nothing the man cannot do.

Until 22 January 2011

www.delfontmackintosh.co.uk

Written 15 September 2010 for The London Magazine