Tag Archives: Trafalgar Studios

Uncategorized

“The Maids” at the Trafalgar Studios

Jamie Lloyd might well be the perfect director for iconoclastic playwright Jean Genet. Both share an irreverent bold approach and a Baroque intensity epitomised in Lloyd’s stirring production of Genet’s 1947 piece. The sick, twisted, sexualised fantasies of two servants, role-playing the murder of their mistress, are made “drunk, wild, beautiful” in this visually arresting and accomplished show.

Lloyd also has a way with stars, enticing exciting talent to the West End and getting the most from many a performer. The luminaries here are Uzo Aduba (from Orange is the New Black), joined by Zawe Ashton, playing the titular revolting servants. Ashton gives a fine performance, Aduba a tremendous one. Intense from the start, Ashton drags up as her mistress for a disturbed ‘ceremony’ that’s an orgy of degradation, violence and kink – her jerky movements unsettle and excite. Aduba is an astonishing presence on stage, frightening and engrossing, her intelligent appreciation of the rhythm of the text carrying you forcibly through the traumatic, suspenseful, action.

Laura Carmichael and Uzo Aduba in The Maids CREDIT Marc Brenner
Laura Carmichael and Uzo Aduba

When Mistress arrives it’s a blunt shock to find she’s every bit as bad as we’ve been led to believe. Laura Carmichael holds her own (no small achievement given the brevity of her role) portraying a superficial, doll-like rich bitch. This contemporary, recognisable, figure allows Lloyd to emphasise the play’s political content: the accents may be American but a London audience is instantly connected to Kensington.

Fun is had by Lloyd, in keeping with the work of translators Benedict Andrews and Andrew Upton. Genet’s rich themes are explored bravely but there’s also humour from some of the exaggeration here – the maids giggle more than you might expect. The language is blue (very) but I can’t imagine Genet would blush. It’s surprising you don’t see this play revived more often. Lloyd’s production is a valuable addition to the reputation of a modern classic.

Until 21 May 2016

www.atgtickets.com

Photos by Marc Brenner

Uncategorized

“Constellations” at the Trafalgar Studios

One of the strongest plays written in recent years, Nick Payne’s Constellations continues its huge success with Michael Longhurst’s impeccably directed production finishing a nationwide tour in the West End. If you haven’t already seen the play, then you must go. If you have seen it, you shouldn’t need persuading to go again.

This mind-bending romance, full of laughter and tears, explores theoretical physics and the concept of the multiverse – where every action, or inaction, creates infinite parallel realities. I’m not saying I fully understand the theories, but what use the script makes of this scientific speculation is remarkable – repeating lines in short scenes to show altered situations and outcomes.

Roland and Marianne, whose lives we follow, start or don’t start a love affair, which runs both smoothly and unevenly. The changes in situations are funny – especially at a first meeting or a chance reunion at a ballroom dancing class – an exhilarating mix of intelligent humour and belly laughs. But running through the play is Marianne’s illness, a heart-wrenching memento mori explored with such sensitivity and originality it is inspiring.

Payne’s writing is a gift to an actor. Taking on the roles of the couple who do and don’t get together, do and don’t betray one another, affords brilliant opportunities to show off skills and allows Joe Armstrong and Louise Brealey to shine. Armstrong has instant appeal – his beekeeping character wins your heart. Brealey’s performance has more variety, moving back and forth from gawkish scientist to a somewhat cold, cynical figure. When it comes to her character’s illness, she is magnificent. I remember crying when I first saw Constellations and it happened again as Marianne is forced to communicate via sign language in a brave and brilliant scene.

Constellations is an excellent drama and an hilarious comedy, but just as exciting is the way Payne has made questions of life, love, death and morality central to the theories he explores. This multiverse is far from abstract when it comes to the issue of Marianne’s euthanasia – what those white coats have been working on has implications for us all.

Until 1 August 2015

www.royalcourttheatre.com

Photo by Helen Maybanks

Uncategorized

“Richard III” at the Trafalgar Studios

Leave a comment

Jamie Lloyd has all the bases covered with his new production of Richard III. After an acclaimed first season at the ‘transformed’ Trafalgar Studios, theatregoers are excited and bringing another star to the stage attracts a new crowd. Taking on Richard is Martin Freeman, of Hobbit and Sherlock fame, giving an assured performance within a show full of eye-catching touches.

Lloyd would, I am sure, be proud to be called populist. This Richard III is remarkable for its clarity. Helpful gestures ensure those pesky family trees, important to claiming the disputed throne, are clear. Staged as a Cold War thriller, set among military coups in the 1970s, there’s a cinematic air that aids the plot and adds a contemporary feel.

Also, there’s plenty of action. It’s often commented that the killing in Richard III takes place off stage. Lloyd is having none of this: Richard brutally murders Anne before our eyes and the blood flows freely – if not quite enough to justify the pre-show hype around being splattered if you are in the front rows.

Angling the play as a spy story and all the gore make the show feel fresh and enable Lloyd’s interpretation. I wonder if anyone else feels they have seen too much filming and recording on stage by now? Nonetheless, a sense of paranoia is efficiently created. Seated in a war room, playing with toy soldiers, this is a modern military world familiar from recent Shakespearean productions. It’s a shame that Richard’s famous line about his horse is thrown away but, if not revelatory, Lloyd is on sound enough ground.

Freeman’s Richard is a serious fellow, as it’s the politics and the twisted practicalities of power that are emphasised. There are laughs, but quite a few are sacrificed to the speed of delivery and that bloodthirsty touch. The acting is consistent and intelligent, with touches of charisma and addresses to the audience that will please fans.

It is the thoroughness that makes you admire Lloyd. This is a strong supporting cast – especially of women. Maggie Steed gives a bold performance as an increasingly bizarre Queen Margaret, calmly sipping tea as prophecies of doom are fulfilled. Gina McKee, too talented an actress for the relatively small role of Queen Elizabeth, is outstanding – bringing home the emotional impact of Richard’s tyranny. Jo Stone-Fewings is also superb as Buckingham, Richard’s “other self”, presenting the crown as if won at a game show.

Final praise to Ben and Max Ringham for their sound and music. With a microphone frequently used to emphasise public announcements, sound indicating changes of scene and music that makes the atmosphere gripping, the Ringhams’ work is a good example of how detailed and committed this show is.

Until 27 September 2014

www.trafalgartransformed.com

Photo by Marc Brenner

Written 11 July 2014 for The London Magazine

Uncategorized

“A Handful Of Stars” at the Trafalgar Studios

Leave a comment

Theatre 503’s well-received revival of Billy Roche’s A Handful Of Stars has transferred to the equally intimate Trafalgar Studios 2. This bleak coming-of-age story produces some excellent performances and has an impressive, understated quality.

Paul Robinson’s sensitive direction builds a quiet tension and reflects the play’s brooding desperation. Young friends Jimmy and Tony, played by Ciarán Owens and Brian Fenton, live in a small town with little to do except play pool and no aspirations other than joining a members-only snooker club. Tony comes to accept his future but Jimmy becomes wild and goes on the rampage.

Left Keith Duffy (Stapler) and right Michael O'Hagan (Paddy) in A Handful of Stars at Theatre503 Photographer Richard Davenport
Keith Duffy

The play is full of well-drawn and well-acted characters. Boyzone and Coronation Street star Keith Duffy understandably features in the promotion of the show. Duffy is good, confident and full of charisma, but his part, as a boxer at the end of his career, is one of the smallest. Joining him as foils for the youngsters are the elderly Paddy (Michael O’Hagan) and the miserly Conway (Colm Gormley). Pontificating and gossiping, both add a wary edge when dealing with Jimmy.

In a play very much about men, Maureen O’Connell holds her own as Linda, briefly Jimmy’s girlfriend, who further reveals his emotional inadequacy. Jimmy dwells on a haunting memory of brief affection between his parents that proves the key to all these young lives lack.
The relationship between Jimmy and Tony is skilfully depicted, their teenage banter mixed with a subtly suggested insecurity. Fenton’s gawky Tony is torn between fear of, and for, his friend. The show relies on the character of Jimmy, and Owens gives a sterling performance. A wild one in a familiar mould, through Roche’s skilful writing he is sure to connect with many who can remember a disappointed youth.

Until 25 July 2014

www.atgtickets.com

Photos by Richard Davenport

Written 2 July 2014 for The London Magazine

Uncategorized

“Another Country” at the Trafalgar Studios

Leave a comment

The Theatre Royal Bath and Chichester Festival Theatre’s revival of Julian Mitchell’s Another Country is now showing at the Trafalgar Studios. The 1981 play, which imagines the school days of a future spy, to all intents the real-life traitor Guy Burgess, is an accomplished text and this fluid production, directed by Jeremy Herrin, serves it well.

Set in a prestigious public school, the play begins with a pupil’s offstage suicide. This tragic death compels the lead character, Bennett, to confront his homosexuality and take comfort from his only friend, a schoolboy communist, Judd. It’s possible Herrin could have injected more tension by conveying just how much the political machination of the prefects matter to these youngsters. But Peter McKintosh’s set and, above all, the writing itself recreate the world of the school with conviction. Despite levels of repression that could strike you as clichéd, melodrama is avoided.

Rather than teenage angst we have an intelligent examination of class and community. Cold War politics seem a distant issue now, but there are plenty of arguments raised by these juvenile protagonists that make you stop and think. The youngsters here are far removed from those we know today, being by turn strangely naïve and remarkably articulate, but the deep passions that arise in youth and their impact later on in life remain compelling themes.

To consider another kind of legacy: the play has always been a springboard for acting talent. The cast is well drilled and highly professional. Rowan Polonski makes a superb Fowler, a youth brimming with religious fervour, and Mark Quartley convinces as the stressed head of house Barclay. As Bennett, Rob Callender is sure to be compared to Rupert Everett, who performed the role in the 1984 film. But what Callender lacks in terms of instant charisma he makes up for in terms of credibility as a gawky schoolboy – Everett never appeared this gauche – and his is a better interpretation of the role. As Bennett’s communist comrade Judd, acting scion Will Attenborough gives a tremendous performance, managing to inject passion into the polemic and demanding we sit up and listen to every word he says.

Until 21 June 2014

www.atgtickets.com

Photo by Johan Persson

Written 27 April 2014 for The London Magazine

Uncategorized

“The Pride” at the Trafalgar Studios

Leave a comment

Nearly six years after its premiere at the Royal Court’s upstairs theatre, Jamie Lloyd once more directs Alexi Kaye Campbell’s play, The Pride, this time at the Trafalgar Studios. A story of gay life, set in 1958 and 50 years later, it deserves to be seen again, and by more than those who could squeeze into the Royal Court’s smaller space. Examining changing attitudes and personal politics, the play insures a broad appeal – just – by virtue of its heartfelt emotions.

The Pride is occasionally verbose. Kaye Campbell doesn’t wear his learning lightly, but there is no doubt the writing is accomplished. Lloyd’s direction is the key to its success: he brings out the drama and speed in a script that could lag and his bold staging, with a mirror used to create a spooky confluence between the ages, injects theatricality.

L-R Mathew Horne & Al Weaver - The Pride - Trafalgar Studios - Photo Marc Brenner
Mathew Horne and Al Weaver

A time-travelling structure, flying between the 1950s and the present with exciting speed, allows the actors to shine. Harry Hadden-Jones and Al Weaver play the lovers Philip and Oliver, wracked with guilt and fear in the Fifties and just as confused with their contemporary freedoms. Three cameo roles performed commendably by Matthew Horne provide the majority of the play’s humour. But the star is Hayley Atwell as Sylvia, Philip’s wife in the past and Oliver’s friend in the present – the most interesting roles in the play performed with great skill.

The historical scenes pack the most punch, as there seems to be so much more at stake. The contemporary version of Oliver’s character, battling with fidelity and a sex addiction, seems trivial in comparison. But Kaye Campbell has a powerful idea – highlighting hard-won freedoms as a call to action among the gay community for continued political involvement. At a time when legislation in Russia focuses attention on gay rights globally, the play seems topical and important: the cast’s appearance at the curtain call with protest placards, dedicating their performance ‘To Russia with love’, deserves applause.

Until 9 November 2013

Photos by Marc Brenner

Written 21 August 2013 for The London Magazine

Uncategorized

“The Hothouse” at the Trafalgar Studios

Leave a comment

Director Jamie Lloyd’s residence at the Trafalgar Studios continues with a new production of The Hothouse. After the success of his first show, James McAvoy’s Macbeth, it’s a bold choice in the West End to present this early satire by Harold Pinter – a difficult piece that, if successful, makes the audience distinctly uncomfortable.

Set in a sinister state-run ‘sanatorium’, managed by a group of malingering civil servants whose behaviour descends into something close to farce, the play has an air of general paranoia that Pinter refined in later work. Lloyd embraces the comedy so that the evening becomes entertaining, albeit if it lacks a little in bite.

The cast has a ball. As head of the hospital, Simon Russell Beale plays a blustering buffoon, turning red in the face with superhuman facility, his hands revealing a nervous energy that mesmerises. John Simm’s reserved performance as his facetious factotum is skilled, but pales in comparison. John Heffernan’s intelligently camp depiction of a third staff member takes best advantage of the play’s overblown irreverence. The only one to point out the criminal corruption of the institution and flirt with whistleblowing, Heffernan makes his character complex and frightening.

The play isn’t without problems: the only female member of the cast, a thankless role that Indira Varma does her very best with, is written as sex object that dates the piece and does little credit to its author. For all Lloyd’s skill at farce – and the cast’s ability to do justice to Pinter’s demanding, brilliant dialogue – with little weight given to the horror of the abuse of power, The Hothouse fails to get you heated about the issues of freedom and authority that should arise.

Until 3 August 2013

Photo by Johan Persson

Written 10 May 2013 for The London Magazine

Uncategorized

“The Silence of the Sea” at the Trafalgar Studios

Leave a comment

A very different kind of wartime drama, based on a novella written at the start of World War II by French intellectual Jean Bruller, aka Vercors, The Silence of the Sea is about an unusually quiet form of resistance. A German soldier is billeted with a French couple whose delivery of the silent treatment tests his sanity. It’s a form of rebellion that demands determination and restraint – both from its protagonists and the creative team of the play – and the results are startling, compelling and easy to recommend.

The Silence of the Sea is sophisticated stuff, not least in its nuanced approach to the occupying Nazi: a philosophising Francophile of remarkable amiability, he’s a musician at home so that the silence of his unwilling housemates becomes a torture to him and leads him to confide more and more.

The three complex roles produce some fine acting. Leo Bill brings just the right edge to his unusually sensitive warrior, showing great skill in just holding back from winning us over, and Simona Bitmaté gives an intense performance as the young woman forced to live with him. But it’s the excellent Finbar Lynch who has our attention, with asides to the audience that show his remarkable ability as a storyteller.

The production marks the end of the Donmar’s initiative for young directors at the Trafalgar Studios, supported by United House, and that’s a pity. The director here, Simon Evans, has excelled. Generating fantastic performances that feel in-depth but not indulgent, with the help of some great sound design from Gregory Clarke, he makes this tiny venue drip with atmosphere, and cleverly glides over the play’s more pretentious moments to focus on its powerful drama.

Until 2 February 2012

www.donmarwarehouse.com

Photo by Simon Kane

Written 15 January 2013 for The London Magazine

Uncategorized

“Zelda” at the Trafalgar Studios

Leave a comment

Critics have pointed out that this is the year of The Great Gatsby. With several stage versions, and Baz Luhrmann’s film in production, the author F.Scott Fitzgerald is much discussed. So it’s good to see another side to the story – that of his wife Zelda – in Kelly Burke’s powerful one-woman show. It’s a fascinating tale that succeeds in establishing its subject as a personality in her own right.

Burke is a captivating presence. Having written the show using texts by Zelda herself, she’s close to her subject. She makes Zelda both fun (it’s easy to see how she captivated the social scene of her day) and tragic, finding herself “thoroughly broken” after the Fitzgeralds make a Faustian pack with psychologists that has her imprisoned in a mental hospital, fighting for her creativity and only allowed to write, with a pencil, for an hour a day.

But, as with Nick in The Great Gatsby, Zelda isn’t a narrator we can trust. The creative symbiosis between her and Scott is exaggerated and this leads to tense drama. Burke’s intelligent performance makes Zelda beguiling – positioned on the edge of sanity with admirable restraint. The end arrives with a painful enforcement of the costly price Zelda paid for her life with the great man Fitzgerald. This is a carefully layered piece, superbly performed, that will stay with you far longer than its hour-long duration.

Until 4 October 2012

www.atgtickets.com/trafalgarstudios

Photo by Richard Davenport

Written 20 September 2012 for The London Magazine

Uncategorized

“Three Days In May” at the Trafalgar Studios

Leave a comment

You don’t have to be much of a history buff to know plenty about World War II. The conflict is part of our national consciousness – constantly referenced and a rhetorical mine for commentators. But the idea that, at the start of the war, none other that Winston Churchill, along with his Tory colleagues, countenanced capitulating to Hitler, will be news to most of us. No wonder playwright Ben Brown has leapt on this fascinating subject for his new play, Three Days In May.

Brown skilfully treads a fine line between drama and history lesson. Using Churchill’s secretary as a narrator may be unimaginative but James Alper’s appealing performance matches the clarity of Brown’s writing. With the scene set, a narrative of political manoeuvring and debate on reason and conscience can begin. Director Alan Strachan’s production is understandably static and tension can’t really mount (we know the outcome after all) but Three Days In May successfully conveys the drama of those dark times.

The focus is obviously on Churchill – the novel take is his battle with Cabinet colleagues Chamberlain (Robert Demeger in fine form), and Halifax, performed with magnificent hauteur by Jeremy Clyde. Halifax was the preferred choice to lead Britain in the war (did you know that?) but was an advocate of appeasement. Brown presents his arguments forcefully, setting up a great ‘what if’ scenario.

But it’s the role and performance of Churchill that should ensure ticket sales for Three Days In May. Warren Clarke has the perfect touch of imitation to invoke the man and Brown gives him plenty to work with. Churchill was a driven, controversial figure with more than a touch of instability, and Clarke’s performance calls to mind Ivor Roberts-Jones’ statue, just down the road in Parliament Square – isolated, somewhat menacing and magnificently independent.

Until March 3 2012

www.atgtickets.com

Photo by Keith Pattinson

Written 4 November 2011 for The London Magazine