Tag Archives: Tony Jayawardena

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“Nye” at the National Theatre

If you can make a claim for any politician being a hero, it’s Aneurin Bevan, founder of the NHS and the subject of Tim Price’s new play. But there are pitfalls in dramatising this remarkable life. Despite stellar performances and efforts to inject energy into the show, we all know the story and there’s very little to say.

Price does well. We get the story from Bevan’s death bed, so we are ready to shed a tear from the start. There’s a lot of personal history covered, as well as big events to make it feel insightful. A lifelong friend and a formidable wife are brought to the fore, making great roles for Roger Evans and Sharon Small. Oh, and there’s a strong Winston Churchill cameo from Tony Jayawardena. Taking the title role, Michael Sheen plays all ages of the great man’s life while maintaining the show’s conceit – that what we’re watching comes from a morphine-induced stupor. Barely leaving the stage for two and half hours, Sheen delivers a brilliant performance. 

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Sharon Small

Director Rufus Norris keeps the action rolling with a big bag of tricks. There are lovely moments of movement, with characters lifted and carried around the stage, credited to co-choreographers Steven Hoggett and Jess Williams. A scene in a library from Bevan’s childhood is just gorgeous. Lighting design and projections (Paule Constable and Jon Driscoll) make the most of Vicki Mortimer’s set of giant hospital screens. Clement Atlee’s remote-control desk deserves a mention. And there’s even a song and dance number at one point. You can’t say there’s a lack of ideas. Yet each scene is just a little too long, each idea just a touch laboured. Not only does the show end up feeling like a long night, but all the effort feels clinical.

The biggest problem is that the examination is cursory when it comes to setting up the NHS. Struggles in Parliament and with the British Medical Association, which could make a whole play, are brief. There are goosebumps, but they are down to Sheen, who brings a conviction to the role that is inspiring. Bevan’s outsider status is clear – but it is seen as an advantage as much as a handicap. His growth into power, from activist to politician, is not something to be ashamed of. You can agree with it all, but also note a lack of dramatic tension. There just isn’t much debate in Nye, even if the oratory itself is excellent.

Until 11 May 2024

www.nationaltheatre.co.uk

Photos by Johan Persson

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“Marjorie Prime” at the Menier Chocolate Factory

Given that it deals with dementia, grief and artificial intelligence it’s not a surprise that Jordan Harrison’s play is fairly hard work. But given that there’s little so little action in the piece, Marjorie Prime packs a remarkable punch. Tightly written, fraught conversations lead to a chilling conclusion, which I suspect was the inspiration for the whole show.

Although the 2014 play has already been a hit – and a film – plot spoilers are especially tricky as so much of the piece’s power come from its twists and structure. It doesn’t seem too naughty to say the show opens with Marjorie and her ‘Prime’ – a robot that looks like her husband 50 years ago and is learning to be like him to aid her memory. Creeped out yet?

Harrison is light on the science behind AI, and some might like more explanation – or even more exploration of problems that, surely, come with the very idea. The technology is accepted (which is probably an accurate prediction) and doesn’t follow a cliché of becoming evil. Richard Fleeshman seems underused in the robotic role, but his calm performance is entirely appropriate. Likewise, Dominic Dromgoole’s cool direction appreciates the play’s tone. Understatement is fine… this is all scary enough in its own right.

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Tony Jayawardena and Nacy Carroll

How AI impacts on Marjorie, her daughter, Tess, and son-in-law, Jon, leads to troubled characters and excellent performances. Taking the title role, Anne Reid gives a brilliant portrayal of someone suffering from dementia, which is all the more moving through flashes of humour. The complicated relationship between Marjorie and her daughter results in a passionate performance from Nancy Carroll that almost steals the show. Tony Jayawardena gives a further fine portrayal as Jon, who ends up haunted by the past, too. Let’s not say how.

The characters are, oddly, unsympathetic, despite what they are going through – it’s a surprising move, skilfully done, but adds to the piece’s cold tone. Problems with memories and how personal identity is formed might be a little predictable given the scenario; the script almost wants to move on from the themes. The result is that the play relies on its intriguing conclusion. And here is a plot spoiler – Harrison’s unexpected idea about what happens to AI when we are no longer around makes for a brilliant scene. I’m just not sure much else about the play is that memorable.

Until 6 May 2023

www.menierchocolatefactory.com

Photos by Manuel Harlan

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“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

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“Young Marx” at the Bridge Theatre

There’s nothing more exciting than a new theatre. And, bearing in mind that Nicholas Hytner’s new venue is the biggest in London for a long time, its opening night is a major cultural event to really celebrate. In truth, it’s a bit of a box of place – in one of those luxury housing developments you wish you could afford but wouldn’t live in if you could – trying hard to be swish (expensive sarnies) and smelling a bit too new. But the play’s the thing and, to open his new home Hytner, has collaborated with regular favourites to deliver a real crowd pleaser.

The true history of Karl Marx’s early years living in London is fascinating, with a fact-stranger-than-fiction appeal – it seems that Marx was an expert in economics but couldn’t handle his own money. The lead role provides an enviable part for Rory Kinnear, who embraces this larger-than-life, Bohemian (yes, really) philosopher. With One Man Two Guvnors and Dead Ringers writers Richard Bean and Clive Coleman at work, the play is, as you would expect, good, old-fashioned funny.

With the excellent Oliver Chris as Friedrich Engels, the two revolutionaries make a comedy double act. They even have a piano, until the bailiffs call and, as invited, literally, take a chair. There’s more than a hint of the Marx Brothers here – there’s even a cigar or two. Add numerous emigrés with funny accents (Tony Jayawardena is a highlight as the impoverished family’s doctor) and you have more than enough comedy ingredients. Kinnear is even good for some slapstick. Hytner enjoys this stuff – as do audiences – and his direction is faultless.

Just to make sure all bases are covered, we get some light extrapolation of Marxist ideas to give us something to think about, and it’s pretty evenly handled, with nice touches of hindsight. And there’s pathos: the death of a Marx child is movingly portrayed. The treatment of Marx’s wife and mistress short-changes two excellent actors – Nancy Carroll and Laura Elphinstone – and it becomes hard to believe these women stuck around. And there is angst: that Marx fears unleashing the “virus of hope” with his writing is an interesting idea, but we need to see more of Marx’s power, rather than just being told about it. Maybe that would have made things too serious?

Young Marx tries hard to be a hit – and it deserves to be one. Even with the best reputation and address book in the business, starting a new commercial theatre is a brave move by Hytner and his producer Nick Starr. As new plays go, this is a pretty safe bet. But Hytner understandably has a cautious eye on commercial success. A big show to get people talking is exactly what is needed and my fingers are crossed for just that.

Until 31 December 2017

www.bridgetheatre.co.uk

Photo by Manuel Harlan

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“Twelfth Night” at Shakespeare’s Globe

Emma Rice has chosen well for her last show as director of the Globe, with a cross-dressing comedy that updates the Bard for our gender-fluid times. If you don’t think Shakespeare and Sister Sledge mix, then be warned – Rice’s energy, sensitivity and sense of irreverence are bountiful. The disco lights are on and it’s time to celebrate her reign at The Globe.

Let’s not forget that organising a good party is hard work and can call for tough decisions. There are moments of forced jollity – musical chairs proves messy – and a close reading of the text isn’t invited. But the passion in Twelfth Night is frenzied and Rice’s insight is to allow this. Nasty edges have poignancy, fate is presented as a choreographed natural phenomenon (cleverly mocked as a touch of “community theatre”) and the laughs are manic.

The twins, Sebastian and Viola, whose adventures we follow, are used to anchor the show. In these roles Anita-Joy Uwajeh and John Pfumojena impress, respectively showing a touching vulnerability and sounding particular gorgeous. The confused suitors who fall for the ship-wrecked siblings are played by Annette McLaughlin, who makes for a joyous Olivia, and Joshua Lacey, whose river-dancing-mullet-sporting-lothario Duke is the funniest I’ve seen.

Marc Antolin
Marc Antolin

The trio of pranksters in Olivia’s house continue the strong comedy. Sir Toby, Fabian and Maria, played by Tony Jayawardena, Nandi Bhebhe and the super-talented Carly Bawden (another strong voice) really go for it. The revelation is Marc Antolin as Aguecheek, transforming the role with physical comedy, ad-libs and fluorescent Y-fronts. And a lisp… sorry, but lisps are funny.

Katy Owen
Katy Owen

What the production takes seriously is drag, spoiling us with cabaret star Le Gateau Chocolat, whose Feste steers the tempestuous proceedings like a glittering, magical MC. It’s impossible to steal a show from six feet of sequins, but Katy Owen’s Malvolio holds his/her moustachioed own. Funny again (well, most jokes are better with a Welsh accent), Owen tackles bullying intelligently, tempting us to join in, then allowing the character to retain some dignity. Role-play can be dangerous.

All good parties depend on their soundtrack. Rice’s secret weapon is Ian Ross, whose compositions dominate the show: driving plots, aiding comedy, interacting with the text – check them out online. Using so many lines as lyrics enforces how productive treating the text loosely can be. It annoys purists when Shakespeare is tampered with, but Rice does so intelligently, aided by additional lyrics and lines from Carl Grose. The revisions sustain her imaginative interpretation, making the play both accessible and stimulating and her the sadly departing hostess with the mostess.

Until 5 August 2017

www.shakespearesglobe.com

Photos by Hugo Glendinning