Tag Archives: Sara Powell

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“Vanya and Sonia and Masha and Spike” at Charing Cross Theatre

Christopher Durang’s award-winning comedy is a Chekhov mashup that regular theatregoers should lap up. Full of clever references that are witty and sometimes silly. Durang’s admiration for his playwriting predecessor is endearing. But the question arises – will you enjoy the play without knowing your Russian classics?

I think the answer is yes. Without pretending I got all the allusions, Vanya and Sonia and Masha and Spike is an effective family drama with plenty of laughs.

A trio of siblings (get it) bicker while strangers (yes, one wants to be an actress) challenge their routine. Masha is a successful actress and supports Vanya and Sonia financially, but the latter are frustrated by their comfortable rural existence. Masha has troubles, too – her toy-boy version of Trigorin (a good spin) is an indication of her angst.

Durang is justly confident that the closed environment and close observations of human nature will work – and he’s good with them. Sometimes it’s the more modern additions – jokes about Hollywood and a rant against social media – that jar more than the Chekhov. Preparation for a costume party feels a little like an extended sketch – but this highlight scene is excellent.

Best of all are Durang’s characters and the performances, impeccably directed by Walter Bobbie. The “monstrous” Masha is meat and drink to Janie Dee – she is simply marvellous. Michael Maloney and Rebecca Lacey, as the siblings pining for another life, have impressively moving moments in controlled performances. And Lacey’s impression of Maggie Smith is worth the price of a ticket alone.

There’s a strong debut from Lukwesa Mwamba as the star-struck ingénue. And Sara Powell’s eccentric cleaning lady is a fantastic creation (note how her predictions change from being doom and gloom). Charlie Maher’s Spike – attractive “except for his personality” – made me laugh the most, but pick your own favourite.

Durang may not wear his learning lightly, but he is a strong enough writer not to lose his identity. There are bitter touches, yet the quirky humour is gentle and distinct from Chekhov. We’re allowed to like everyone and laugh at them. Watching the family get closer, and starting to hope, proves heart-warming. And we’re even given a happy ending.

Until 16 November 2021

www.charingcrosstheatre.co.uk

Photo by Marc Brenner

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“Richard III” at the Arcola Theatre

Greg Hicks is dream casting for Shakespeare’s villainous monarch. An experienced RSC actor who commands the stage with just a shrug of his shoulder, he delivers every line impeccably, making director Mehmet Ergen’s production unmissable. This Richard carries a chain to pull himself upright but it could clearly be used as a weapon. He’s nasty and thuggish, a bar room brawler not to mess with – there’s no nonsense here about the character’s charisma. Hicks shows the world through a psychopath’s eyes rather than presenting us with a cunning politician, and using the king’s cold logic to create a chilling persuasiveness that leaves you gasping.

A mature cast join Hicks, securing further praise for the production. Peter Guinness is particularly strong as Richard’s partner in crime Buckingham. This is where the politicking comes, with a cloak-and-dagger feel aided by noirish staging, with Ergen using Anthony Lamble’s split-level set boldly. The big news is a superb Catesby, the sinister instigator of Richard’s plans, with Matthew Sim making an elegant assassin out of a usually minor role with super-spooky meticulous gestures. Strong female characters are another reason to love the play: Jane Bertish is an excellent deposed Margaret, her curses on the “bottled spider” Richard containing a sense of the tragedy that motivates her. Sara Powell gives an emotional portrayal of Queen Elizabeth that also impresses.

It’s a grown-up affair all around. Ergen is comfortable with his audience managing to work out contemporary resonances in the play if they wish, but there’s no sense of this being forced on us. Of course, the play isn’t performed in doublet and hose, but there’s no obvious spin or agenda, and this, ironically, feels original. Ergen even credits us with knowledge about the play’s propaganda content. Jamie de Courcey’s Richmond has a dash of the heroic that would have made the Tudors proud. Winning against the tyrant “raised in blood” gives the play a resolution worth suspending cynicism for. A final intelligent touch – one of many – in a strong production with consistently fine acting.

Until 10 June 2017

www.arcolatheatre.com

Photo by Alex Brenner

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“Disgraced” at the Bush Theatre

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It’s easy to see why Ayad Akhtar’s play, Disgraced, which receives its UK premiere at the Bush Theatre, has been such a critical hit. Directed by Nadia Fall, it’s a classically constructed, painfully topical story about how religion and terrorism touch the lives of four successful New Yorkers.

Amir is an apostate, forcefully rejecting his Muslim background, a faith that is embraced by his young nephew Abe, and of interest to his Caucasian wife Emily, an artist in awe of the “formal language” of Islamic tiles. Their friends are a Jewish curator, Isaac, admiring of attempts to make art “sacred”, and his wife, Jory, an African-American lawyer, who is Amir’s rival at work.

The main quartet don’t travel that well. They seem a contrived set and it’s difficult to gage how humorous their chitchat is supposed to be. Amir’s objections to Islam and removal from his heritage are intended to be an “issue”, but British audiences know a touch of self-loathing is perfectly normal and might find the absence of deprecation a little suspicious.

That said, the talented cast make the most of the roles and breathe a great deal of life into them. Nigel Whitmey has the hardest job as the curator, Sara Powell makes her smaller role as his wife stand out and Danny Ashok gives a credible performance as a young man slipping toward radicalism. In the lead roles Hari Dhillon and Kirsty Bushell are spectacular, both showing the development of their characters and their intense emotions marvellously.

It’s when the veneer of civilisation breaks down that the play takes off. Much like Yasmina Reza’s God of Carnage, when the booze flows and the gloves come off, things get very dirty indeed. And, with its focus on religion, Akhtar’s play comes close to the bone, especially in light of recent tragic events here in London. Many of the views expressed seem incendiary and the violence in the play is truly shocking.

If you like your drawing room drama intense, this one is for you. Akhtar’s attempts to open the swish Upper East side to some big issues is admirable, but whether or not he succeeds, or really just shows we can all use history, politics and religion ignobly, is debatable. Where disgrace lies is the open question concluding the play, but one thing is sure, Akhtar and this talented team in London, have nothing to be ashamed of.

Until 29 June 2013

www.bushtheatre.co.uk

Photo by Simon Kane

Written 24 May 2013 for The London Magazine