Tag Archives: Regent’s Park Open Air Theatre

“Antigone” at the Regent’s Park Open Air Theatre

Inua Ellams’s adaptation – after Sophocles – is a strong piece full of bold thinking. As a play about democracy, the work feels timely. And there is a passion to both the writing and the production that creates a formidable energy.

Antigone is re-imagined as a youth leader from a Muslim background. One of her brothers becomes a police officer and the other a terrorist. It’s the latter who is denied a burial by Prime Minister Creon, who passes oppressive anti-terrorist laws and gets rid of the bill of human rights.

The changes are though-provoking and benefit from fulsome characterisation: not just Zainab Hasan’s lead role, which she performs with aplomb, but all Antigone’s family, who are depicted with equal care. The result is great roles for her brothers Eteocles and Polyneices, played by Abe Jarman and Nadeem Islam respectively. And her sister Ismene, played by Shazia Nicholls, is far more than the usual foil. Creon, who has been looking after the family, is made a strong study in power and Tony Jayawardena’s performance in the role is superb.

Ellams’s appraisal is full of intelligence, leaving the efficacy of protest an uncomfortably open question. Our heroine is released from prison through public opinion rather than debate – it’s ratings that count for rulers. And Ellams has a strict eye on privilege; it’s made clear that Antigone and her family have power. The roles of Haemon and Eurydice come to the fore, making important parts for Oliver Johnstone and Pandora Colin who bring a great deal of emotion to the show.

Sections of the script in verse are the highlight: Ellams’s language brings force to the stage. But while the choreography from Carrie-Anne Ingrouille is good, the music by Michael ‘Mikey J’ Asante is overpowering. Sound is often tricky at Regent’s Park but isn’t the only problem in the production. Ellams’s plotting is great – this Antigone is exciting – but Max Webster’s direction feels rushed. A fast pace doesn’t always make a play more thrilling; the production comes across as nervous.

There are, also, tensions between the original and what Ellams’s has made from it. The contrasts are welcome but cause clucky moments. The remnants of Sophocles’s play, like the characters’ names or concerns for the city state, lead to stumbles. The show needs more change rather than less. Overall, this isn’t a big problem. And the solution seems easy – keep the structure of the source but do away with the ornament – but it does stop good ideas becoming great theatre.

Until 24 September 2022

www.openairtheatre.com

Photos by Helen Murray

“101 Dalmatians” at the Regent’s Park Open Air Theatre

While adults like lots of shows that are aimed at kids, giving children’s theatre a broad appeal isn’t a necessary condition for praise. This new musical from Douglas Hodge, based on Dodie Smith’s book, deserves plenty of stars but is aimed so firmly at youngsters it doesn’t offer much to anyone over 12.

Even the average teenager could get restless with the frantic energy in Timothy Sheader’s production. With Toby Olié’s strong puppetry and Colin Richmond’s shouty set, the feeling of a cartoon or Saturday morning TV show fills the stage. If you’re as old as I am, you might end up with a headache.

Which is not to say that the show shouldn’t earn your respect.

There are clever lyrics and jaunty, if not particularly memorable, songs. A stronger second half includes good numbers for children in the cast. It just isn’t a soundtrack you would want to listen to at home. Johnny McKnight’s book (from a stage adaptation by Zinnie Harris) is a touch too crammed and could move quicker – but it is fun.

There’s a great villain too, of course, in Cruella De Vil. Updating the furrier’s best friend into a social media influencer is a great idea. Willing to risk “eternal Dalmatian” in hell to get a coat of puppies is a pun that was the highlight of the night for me. Kate Fleetwood takes the role (and a pair of very high-heeled boots) in her stride and gives a performance to be proud of.

In short, there’s little to fault in the production. Cruella’s accomplices make a pair of nicely old-fashioned crooks for George Bukhari and Jonny Weldon. And there are appealing performances from the dog’s “pets”, i.e., their owners, played by Eric Stroud and Karen Fishwick. Singing for the dogs and being literally a part of the puppet means that Danny Collins and Emma Lucia get even more points. The performances are bright and bouncy; even addressing the audience is done with an eye on their age.

There is a reservation it seems fair to raise – the venue itself. The Open Air Theatre has a tradition of work for children but this gorgeous location doesn’t seem particularly well used. Howard Hudson’s lighting design further on in the show gives an idea of what we are missing. And it is late at this time of the year. With a 7:45 start time for a relatively long show, most of the target audience are well past their bedtime by the time they get home.

Until 28 August 2022

www.openairtheatre.com

“Carousel” at the Regent’s Park Open Air Theatre

The joy of theatre is that it changes all the time – it’s alive. And most can agree that Rodgers and Hammerstein’s classic musical, wonderful as it is, needs some changes. The show’s lead, wife-beating fairground attendant Billy Bigelow, is a tough sell for our times. And the too casual acceptance of his violence, including that from Mrs B, means that the romance leaves a nasty taste, despite the sublime score. Boldly attempting a new kind of Carousel, director Timothy Sheader can be applauded – the aim is admirable – even if the production doesn’t quite succeed.

Tom Scutt’s bare design is an indication that this Carousel isn’t going to be pretty or charming. Any nostalgia about the New England setting is replaced with British regional accents that manage to bring an air of working-class realism surprisingly well. And Drew McOnie’s excellent choreography shows us a world of work and violence. The only sheer delight is a wonderful Carrie Pipperidge, where Christina Modestou’s lilting Welsh voice made me wonder how she would deal with all manner of show tune standards.

Carly Bawden and Christina Modestou in Carousel at Regents Park
Carly Bawden and Christina Modestou

Women come to the fore in Sheader’s vision for the show. To be fair to Rodgers and Hammerstein, that isn’t hard. Carly Bawden’s Julie – the lead with bad taste in men – intrigues; she has an otherworldly quality to go with her out-of-this-world voice. Joanna Riding’s matriarchal Nettie is convincing, while the carousel owner Mrs Mullin is made a forceful presence by Jo Eaton-Kent. The ensemble provides memorable moments, confronting the audience and Billy about his crimes.

Carly Bawden and Declan Bennett
Carly Bawden and Declan Bennett

As for our kind of hero, Declan Bennett’s Billy has none of the usual charisma… fair enough. Billie is a weak, feckless character (too easily swayed by Sam Mackay’s somewhat pantomime villain, Jigger) and Bennett does this well. But Billy being boring makes the love story at the heart of the show unbelievable. We know Julie is a fool to fall for him, but if the audience doesn’t fall as well – just a little – the show becomes robbed of emotion.

A chilly Carousel then, but that isn’t the biggest problem here. While Sheader’s vision can be respected – it’s clever and clear – changes to the score are less successful, and updating the music is a riskier affair. Again, the approach is bold: a classic American score has hints of Americana (with surprisingly modern touches), but seemingly at random. The additions will keep you guessing – they entertain – but hampered by excessive amplification the sound is sometimes cheap and tinny. Overpowering the singers more than once, the music is almost unpleasant. And that can’t be the kind of new ride Sheader intended.

Until 25 September 2021

www.openairtheatre.com

Photos by Johan Persson

“Romeo and Juliet” at Regent’s Park Open Air Theatre

It’s great to be back in the theatre, especially at my favourite outdoor venue. Last year’s revival of Jesus Christ Superstar was a blessed break between lockdowns I’m still grateful for. But even loving the location, and welcoming the opening of a new season, this production isn’t going to set anybody’s summer on fire.

At just over an hour and half, director Kimberley Sykes’ version of Shakespeare’s tragic love story is speedy and serves as an effective introduction to the play. Being used to interpretations (with different times and locations), you might find this no-nonsense version, with no tricks or twists, a relief. But there’s also a sense of something remiss in such a stripped back show.

Take Naomi Dawson’s scaffolded design. This is a set that has its moment… no spoilers here. But is it worth the wait? For most of the show the cast seem lost, running around and providing the audience with little sense of a space inhabited (Juliet’s balcony is deliberately ill-defined). Giving small attention to Prince Escalus adds to a sense of characters out of any time or place.

One conceit Sykes does introduce is to have characters who die leave the stage and join the audience. But these ghostly presences in the stalls add little. And a break in the logic ends up frustrating – Juliet undergoes the same experience, raising from the dead, after taking her sleeping draft. But of course, she isn’t dead.

Regrettably, this is a production it is hard not to damn with faint praise. The performances are competent and the delivery clear. Isabel Adomakoh Young and Joel MacCormack take the title roles and acquit themselves well. There might be more romance, but leads are good in scenes with Peter Hamilton Dyer’s Friar Lawrence. There’s also an impressive Mercutio to enjoy in Cavan Clarke’s controlled performance.

There just isn’t anything remarkable here, so the overall impression is of a perfunctory production. But let’s end on a high note, with Giles Thomas’ music for the show. Combining dance with a suggestion of Vaughan Williams, the score adds romance and tension managing to be noticeable while never overpowering the action. Thomas’ work is excellent and provides the show with a much-needed highlight.

Until 24 July 2021

www.openairtheatre.com

Photo by Jane Hobson

“Jesus Christ Superstar” at Regent’s Park Open Air Theatre

It wasn’t the pandemic that scuppered my first effort to see this revival of Timothy Sheader’s award-winning production, but the British weather. A word about that trip, though, since the atmosphere was wonderful, even if torrential rain brought an early end to the evening. It just wouldn’t be summer without a trip to Regent’s Park Open Air Theatre and the weather was a comforting touch of normality.

More importantly, front-of-house staff get the first cheer here: kitted out in PPE, but always smizing, they were welcoming and excited, even while wearing a visor and taking a temperature. Getting back to the theatre is the important thing. And, even with the show’s billing as a concert, the chance to hear Andrew Lloyd Webber’s masterpiece is welcome – for Tim Rice’s excellent lyrics as much as the score. But that ‘concert’ description is modest. True, there’s no set for the show. And performers are careful to socially distance. But the idea of a fresh look at the Gospel story is present and powerful. And the manner in which current constraints have been used by Sheader, his cast and his choreographer Drew McOnie is brilliant. The production is far from a reduced experience.

From the moment when performers simultaneously take off face masks (to a cheer), the show is gripping. The use of microphones and cables as props, albeit an invention born from social distancing necessity, is effective. And McOnie’s work really comes into focus. Isolated movements, reflecting the emotions of whoever is singing, don’t just feel appropriate to our times – with the space around each performer, intensity is increased. There feels like more to look at and more appreciate than ever.

Jesus Christ Superstar focuses on characters’ immediate, personal relations to the story (including speculation as to Christ’s frame of mind with the marvellous number Gethsemane). This makes the acting in the roles – and Sheader’s direction of them – key. Declan Bennett’s Jesus is mercurial and complex, full of humanity, with a unique charisma. As all know, the show belongs to Judas, and a surprisingly sweet-sounding Ricardo Afonso explores circumstance and motivation in dynamic fashion. Current reviews already testify to the achievements of the cast. Their performances are a further aspect of the show that even the most simple of staging enhances rather than detracts from.

Until 27 September 2020

www.openairtheatre.com

"Evita" at Regent’s Park Open Air Theatre

This production of the Andrew Lloyd Webber and Tim Rice classic must surely be the musical revival of the year. Recruiting director Jamie Lloyd has resulted in the biggest ever box-office success for Timothy Sheader’s open-air venue.

Lloyd’s irreverent streak suits early Rice/Lloyd Webber surprisingly well. It’s useful to remember that Evita started out as a concept album – free from the constraints of staging. Lloyd presents a stripped back version, akin to a concert, where the paraphernalia of politics relies on Soutra Gilmour’s costume design along with balloons, cheerleaders and confetti cannons galore. There isn’t much sense of place or period – instead we get a naked examination of power that feels it could be set any time or place… including now.

While ostensibly a biography of Eva Perón, néeDuarte, the controversial First Lady of Argentina between 1946 and 1952, Evita is really the story of two people – or should that be two approaches to government? The titular lead’s relationship with the show’s narrator, Che Guevara, is symbiotic as much as adversarial and Lloyd brings this out fearlessly. There’s a creepy scene suggesting a ménage with President Perón and the characters are made to share physical discomfort. At other moments, their intimacy suggests a twinning and is heartfelt. The duo proves fascinating.

Samantha Pauly as Eva Perón and Trent Saunders as Che in 'Evita' at Regent's Park Open Air Theatre
Samantha Pauly as Eva Perón and Trent Saunders as Che

Lloyd’s appreciation of Evita and Che is brought out wonderfully by his leads Samantha Pauly and Trent Saunders. Saunders is a magnetic presence who commands the stage; never mind the character, you could have him on a poster quite easily. With Pauly, at first, freshness is the key; she presents a young girl who is quick to laugh, even giggle. It’s only when the middle-classes are mentioned that Eva gets mad, frightening, in fact. She’s a political animal, which highlights the misogyny she experiences to great effect. As her health declines, Eva’s even angry with God. The contrast, if this isn’t insulting shorthand, is that Che is Rock while Eva is inspired by Pop; both are stars but the differences raise interesting questions. You may have heard the roles sung with more nuance, maybe with more beauty, but these are intelligent performances delivering Lloyd’s requirements.

The show’s dream sequence (the Waltz for Eva and Che) has everyone at their very best – it is amazing theatre. While Che is beaten, tarred and feathered with paint and confetti, Evita narrates her illness as under her control – “the choice was mine and mine completely”. Recall that Lloyd Webber and Rice’s previous work was Jesus Christ Superstar and the mind starts to boggle. Note that Che strips himself, while Eva’s saintly status has been played with all along. Lloyd brings out messianic tones of political cults with devastating force.

Samantha Pauly as Eva Perón and Company in 'Evita' at Regent's Park Open Air Theatre
Samantha Pauly as Eva Perón and Company

In reminding us how political a story Evita is, Lloyd focuses on protest. Filling the production with menace raises questions about populist regimes that are regrettably pertinent. Lloyd’s greatest ally is choreographer Fabian Aloise, who should surely be looking forward to awards season given his fantastic work here. A crack ensemble of dancers, integral to the action, power the show. Performing as the aristocracy and military one moment and then the descamisados the next, they fight for and against Evita with the most exquisite movements. Aloise deserves full praise for contributing to Lloyd’s astounding vision.

Until 21 September 2019

www.openairtheatre.com

Photos by Marc Brenner

“Little Shop of Horrors” at Regent’s Park Open Air Theatre

If this production is anything to go by, director Maria Aberg has green fingers – she nurtures this hit musical about a carnivorous plant from outer space marvellously.

Adapted from Roger Corman’s B-movie back in the early 1980s, Little Shop of Horrorsis a youthful work from the legendary Alan Menken, packed with musical ideas and barely a bum note. It includes the catchy-as-anything title tune, the brilliant romantic theme ‘Suddenly Seymour’ and the hilarious number ‘Be A Dentist’ – all of which you’ll be humming long after the show ends.

The book and onomatopoeic lyrics by Howard Ashman are great fun and there’s an underlying wit that continually impresses. The story of a freakish flower that changes the fortunes of its florist shop owners is told at a cracking pace, while the fact that growth comes at a price makes the piece a simple but effective morality tale. It’s quirky, dark, campy and cultish – all qualities appreciated by Aberg.

The mock low-budget design from Tom Scutt recalls the show’s Off-Broadway origins and original film source, full of anarchic energy and surprises – an achievement in such a polished production – and adds great charm. Scutt’s wonderfully detailed costume designs are fantastic, too, and his skyscrapers in shopping trolleys a nice nod to the skid-row setting.

Jemima Rooper and Marc Antolin
Jemima Rooper and Marc Antolin

Our hero Seymour isn’t really as sweet as he seems, or maybe he’s just dumb. Either way, Marc Antolin does a great job in the role, sounding great and with terrific stage presence. Jemima Rooper has a nice edge as his love interest and a trio of narrators (Renée Lamb, Christina Modestou and Seyi Omooba) are superb – each has real star quality. A couple of performances are too broad, mistaking the show’s fine edged comedy: Matt Willis’ dentist lacks thrills and Forbes Masson’s Mr Mushnik is reduced to a cheap gag.

Vicky Vox as Audrey II

It’s Seymour’s nemesis, the plotting plant he names Audrey II, that is the star. The clever move is to use not just puppetry here but to cast a drag queen in the role and Vicky Vox steals every scene – this Audrey II really reigns. You’re kept wanting more of Vox, leading to a truly spectacular encore number, including a new wardrobe for everyone, where the show’s crazy creativity is unleashed, making sure the audience leaves blooming.

Until 22 September 2018

www.openairtheatre.com

Photo by Johan Persson

“Jesus Christ Superstar” at Regent’s Park Open Air Theatre

Artistic Director Timothy Sheader scores tops marks yet again for his venue’s annual musical. Sheader has wowed with grown-up and demanding shows before, but in this production of Tim Rice and Andrew Lloyd Webber’s concept album/rock opera even the glitter is gritty. This abbreviated Passion of Christ could win converts with its charged staging of ‘The Flagellation’ alone.

Updates to the music are respectful, coming mostly from the vocals. The score feels fresh and the rock guitars aren’t just retained, they are revelled in. More startlingly contemporary is choreographer Drew McOnie’s work and the athleisure clothes from designer Tom Scutt. Jesus and the apostles aren’t hippies but hipsters. It makes sense. Flares, glitter, a glam-Rocky-Horror outfit for Peter Caulfield’s excellent Herod and Judas’ hands dripping in silver paint, show carefully colour-coded scenes. All aided by Lee Curran, whose lighting for the finale is breath taking.

Sheader emphasises community (those ‘Shoreditch’ touches have a point). This is a big cast and it encircles the auditorium before mounting the stage, grabbing microphones and playing around with the stands, cultivating the idea this being a concert. The performative angle provides insight into the piece. And such a commanding use of the ensemble adds emotion as those who followed Jesus quickly turn, to hound him, then demand his death.
JESUS CHRIST SUPERSTAR by Webber, , Lyrics - Tim Rice, Music - Andrew Lloyd Webber, Director - Timothy Sheader, Designer - Tom Scutt, Choreography - Drew McOnie, Lighting - Lee Curran, Regent’s Park Open Air Theatre, London, UK, 2016, Credit - Johan Persson - www.perssonphotography.com /
There are as many superstars on stage as you could pray for. Anoushka Lucas is an excellent Mary, making the most of her show-stopping number. Tyrone Huntley (above) is a faultless Judas, with a soaring range and tremendous power. As the lead, Declan Bennett may strike you as lacking charisma – his Christ is introspective – but when power is called for Bennett delivers and his acting is astonishingly focused. Moments when it is difficult to hear what Bennett is singing are an especial pity, given that these are Tim Rice’s best lyrics. It’s testament to the strength of the production that a normally fatal flaw does little to diminish the power of this revelatory show.

Until 27 August 2016

www.openairtheatre.com

Photos by Johan Persson

“The Seagull” at Regent’s Park Open Air Theatre

Given that The Seagull opens with its hero Konstantin putting on an outdoor performance, Regent’s Park feels a pretty good match for Chekhov’s play. The stunning venue is enhanced by Jon Bausor’s splendid design – a giant mirror hangs above the action, literally adding another dimension to reflect upon. Matthew Dunster’s production looks fantastic, but sadly there’s too much chasing after laughs so the play falls curiously flat.

The problem isn’t so much with Torben Betts’ new adaptation of the play – although the language is sometimes too direct, it can be good to shake up a classic. This version is easy to follow and feels modern. Rather, it’s Dunster’s emphasis on the comedy; he gets plenty of laughs but the humour doesn’t build and the play’s more poignant moments feel thrown away. Some characters suffer dreadfully: Medviedenko, the teacher, is reduced to a comedian with just one punch line, the ever-miserable Masha a wailing drunk and the young leads are simply too gauche. Matthew Tennyson and Sabrina Bartlett hold the stage as the aspiring artists Konstantin and Nina, and their naiveté gets laughs but both actors aren’t given a chance to delve deeper.

Other roles fare better. The writer Trigorin’s ego fascinates. Alex Robertson makes him funny and irritating – a petulant take on the character that’s interesting. And Janie Dee’s Arkadina manages to be at once jolly and roundly three-dimensional. Dunster is strongest with group scenes, highlighting uncomfortable dynamics as an “angel of the awkward silence” is said to descend. Also interesting are the two servants (Tom Greaves and Tara D’Arquian), who giggle at innuendo and silently respond to events.

The production also has the novel device of using a voiceover for character’s thoughts. It’s certainly startling but privileges certain players too much. Frustratingly, despite being inside their heads, we don’t feel any closer to them, and this internal dialogue is used indiscriminately and again mostly just for laughs. Nice try, but this showy device is symptomatic of a production that tries hard but doesn’t hit anything… apart from that poor seagull, of course.

Until 11 July 2015

www.openairtheatre.com

Photo by Johan Persson

“Porgy and Bess” at Regent’s Park Open Air Theatre

Regent’s Park Open Air Theatre’s annual musical is always at the top of my must-see list. For 2014, artistic director Timothy Sheader is more ambitious than ever with a production of the Gershwins’ iconic Porgy and Bess. The show lives up to expectations in near miraculous fashion – it’s an easy five stars.

The musical landscape Gershwin created to reflect the doomed love affair, between the crippled Porgy and the drug-addled fallen woman, Bess, is legendary. Musical director David Shrubsole has done a remarkable job, with the largest number of musicians ever working at the venue, to reinforce the adventurous nature of the score. This production reminds us how mind blowing Porgy and Bess must have sounded in 1935.

Sheader’s stripped-back production brings out the power of the story. What this man does with a few chairs and tables is fantastic. Firmly placing the protagonists within context is masterfully done. We are transported to a different world – full of pain and prejudice – and never doubt its coherence. Good and bad are clear here, brutality omniscient, but Sheader’s attention to detail insures complexity and depth.

The cast is superb. Sharon D Clarke and Golda Rosheuvel play the matriarchs of the setting, Catfish Row. Leading a stunning chorus, they sound fantastic and are utterly convincing as women committed to fighting for their community who suffer cruel lives with dignity. As Bess, Nicola Hughes is magnificent, her voice stunning. A study in sensuality, repentance and conflict, she takes Bess to the edge and comes perilously close to testing the audience’s affection for her.

Arthur Kyeyune and Tyrone Huntley with Cedric Neal as Sporting Life. Photo Johan Persson
Cedric Neal

Three cast members from America join these truly leading ladies. Phillip Boykin and Cedric Neal play very different bad guys: the instinctual Crown, who claims Bess as his woman, and the insinuating Sporting Life. Boykin is a powerful presence with a voice to match. Neal, like many a stage devil, gets great lines, his It Ain’t Necessarily So as intoxicating as the drugs he peddles. In the title role, Rufus Bonds Jr is deeply moving, with a voice that will melt your heart. Seeing any one of these performers on stage would be a privilege. Seeing all of them is an honour.

Until 23 August

www.openairtheatre.com

Photos by Johan Persson

Written 30 July 2014 for The London Magazine