Tag Archives: Paul Wills

“Mrs Henderson Presents” at the Noël Coward Theatre

Let’s not be prudish – for the West End it’s essential to put bums on seats. Taking a lesson from its real-life subject – a nude variety show presented by the eponymous producer during WWII – there’s plenty of flesh on display here and scope for good old-fashioned smutty humour. At least in 2016, Mrs Henderson’s girls are given a voice, although the exploitation of their naked bodies is glossed over as an opportunity for them to be extraordinary. And the show’s boast of bravely running throughout the Blitz provides predictable flag-waving sentimentality. Neither crowd-pleasing tactic is particularly edifying.

This is not, of course, the fault of the cast. And while Terry Johnson’s book is surprisingly leaden, his direction is good, as are a strong set from Tim Shortall and costumes by Paul Wills. Tracie Bennett and Ian Bartholomew are excellent leads as Mrs Henderson and her right-hand man, Vivian Van Damm. Entering the theatre business is a whim for her and he is Jewish – this seems to be all we need to know about them. There’s a sweet love story for Emma Williams, who leads a strong ensemble, but a general lack of emotional attachment to an assortment of quickly sketched characters. The biggest disappointment comes with a dreadful role for Jamie Foreman, a pointless narrator and comedian with dire jokes – a warm-up man who leaves you cold.

Indeed, Mrs Henderson Presents is a pretty frigid and calculated affair. Much could be forgiven if the songs were good but George Fenton and Simon Chamberlain’s tunes are mostly forgettable. The first half is particularly foggy and while things do pick up there’s really only one adventurous number – foolishly the only chance for Williams to show off a great voice. The real shock comes from Don Black’s lyrics, at times so banal that you start guessing which rhyme will come up next. Unforgivably, one song has lad, mad and bad in one verse. The performances on offer might mean the show should be a hit but the lyrics are merde.

Until 18 June 2016

www.mrshenderson.co.uk

Photo by Paul Coltas

“Richard II” at Shakespeare’s Globe

While The Merchant of Venice quote, handily emblazoned on tote bags in the Globe’s shop, tells us “all that glisters is not gold”, the theatre’s new production of Richard II is a solid 24-carat affair. Shakespeare’s deposed king is often presented as a star vehicle, but director Simon Godwin provides a carefully crafted ensemble piece that gives every character their due and is all the better for doing so.

Which is not to say that Charles Edwards isn’t magnificent in the title role. Against the golden backdrop of Paul Wills’ set and accompanied by Stephen Warbeck’s impressive score for trombones, Edwards strikes a suave figure. But it doesn’t take long to see a delusional aspect to this infantile King, set up by a prologue scene of his childhood coronation. In an admirably understated performance, especially during his imprisonment, Edwards shows this hollow crown is unhinged and tarnished by religious fervour.

The impact Richard’s divine right to rule has on society is highlighted by the luckless Aumerle, a role that Graham Butler gets a great deal from. One of Richard’s “caterpillar” sycophants, then betrayers, like his ruler, he seems strangely juvenile. One reservation: in this serious show, Godwin introduces humour into the scene of Aumerle’s treachery. While the text suggests jokes and the piece allows William Chubb and Sarah Woodward to shine as the Yorks, surely going all out for laughs is a misfire.

Much better are the muddled motivations of Richard’s courtiers. Godwin creates a sense of unprecedented events unfolding – with Chubb, again excellent, as a conflicted Regent and a superbly sinister Northumberland played by Jonny Glynn. Even the gardening scene, which I always think should be pruned, is handled well, using the audience in the complicit manner that directors at the Globe can seldom resist.

Godwin’s usurping Bolingbroke is a relatively complex figure, suggesting that events might have overtaken a once loyal subject. David Sturzaker gives a sterling performance in this strangely opaque role; a virile presence, we see the politician but also an emotional intensity that adds a layer to a play so much about surface presentation. Underlying the production’s traditional feel and gorgeous look is a satisfyingly intelligent assessment of the play’s themes.

Until 18 October 2015

www.shakespearesglobe.com

Photo by Johan Persson

“A Number” at the Menier Chocolate Factory

How would you feel if you discovered you had been cloned? Caryl Churchill’s A Number asks this question, focusing on the philosophy of identity, and twisting, like a strand of DNA, between the reactions of children who discover they are clones and the motives of a parent who allowed it to happen.

Jonathan Munby’s minimalist production strips the less than hour-long play down to its essentials, with two protagonists facing each other, strategically placed, and in constant confrontation. Paul Wills’ design invokes the science fiction motif.

The Menier has achieved the considerable coup of securing Timothy West and his son Samuel to work on the play again – they first appeared in it in Sheffield a decade ago. Both performances are impeccable. West senior skilfully reveals his character’s darker side while junior gets to play three cloned versions of himself with terrific subtlety.

The Wests deal with the staccato writing and complex rhythms expertly but the text seems forced and becomes annoying. While you can’t fault Churchill’s ambition or doubt her vigour, there simply isn’t enough of this play to make it work. With so much to develop, the final scene disappoints.

Leaving the audience wanting more seems a risky strategy for a playwright. The early finish has its benefits – you will have plenty to discuss in the Menier’s lovely bar – but it does little justice to the talent involved in this production that they ultimately only serve as the opening speakers in a barroom episode of The Moral Maze.

Until 5 November 2010

www.menierchocolatefactory.com

Photo by Manuel Harlan

Written 5 October 2010 for The London Magazine