Tag Archives: Trevor Nunn

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“The Third Man” at the Menier Chocolate Factory

The creative crew for this new musical thriller, based on Graham Greene’s spy classic, cannot fail to impress. The book and lyrics are by the renowned Don Black and Christopher Hampton. The music is from none other than George Fenton. And Trevor Nunn himself directs. The experience behind the show is almost intimidating and the result of all this consummate skill makes it hard to find flaws. With one caveat.

Black and Hampton do their strong source material proud. The story of old friends Holly Martins and Harry Lime in post-war Vienna is well known but thrilling. Greene’s themes of innocence and corruption become vivid, the moral dilemmas vital. There are strong moments of absurdity and cruel humour while exposing villainy. The lyrics may not excite, but they are a model of clarity. Best of all, the characters are fantastic.

Martins describes himself as a “hack writer who drinks too much”. But he is much more and, as Sam Underwood’s fraught performance in this enormous role reveals, he intrigues. Is he a hapless figure who finds the desperation on the streets of Vienna contagious? Or is he troubled on arrival? There’s something unnerving as well as innocent about the laugh Underwood employs. And, as the night goes on, he genuinely looks ill.

Lime appears late in the story, but the criminal mastermind looms large over everything. Simon Bailey’s charisma in the role – and a jaunty entrance number – make the wait for his arrival worth it. The stage is electric whenever Bailey occupies it. Meanwhile, the bigger winner in making the story a musical is the love interest, Anna. Performed with skill by Natalie Dunne, the character has a satisfying agency. And as a cabaret singer she provides some humour. The big idea is to emphasis the romance in The Third Man.

The love songs are some of the score’s finest moments, though Fenton’s music is accomplished throughout. If there aren’t enough memorable tunes for all tastes, this is an erudite score to study. Full of references and interest, it sets time and place with intelligence. The theme tune of the film (by Anton Karan) does appear – oh, so, very well placed – but its inclusion is the least of Fenton’s achievements.

Final praise is for Nunn’s direction – big and ambitious, despite the small venue. Nunn is too enthralled by the famous film – it was by Carol Reed, after all! Which cannot apply to Rebecca Howell’s choreography, at its best in more manic moments. Paul Farnsworth’s set and costumes are appropriate studies in shades of grey. Add Emma Chapman’s lighting design and it all looks very stylish. If the action is followed too faithfully, the amount packed on to the stage is fantastic.

With all this undoubted ability, where is my reservation? This crew knows what it’s doing and has created a grown-up musical that is credible. Nor can you question the amount of work behind the show or on stage from a committed ensemble. Not only does everyone run around (a lot), it is clear that every decision is considered. But – it is a strange flaw to find – that becomes the problem. There’s no spark, no adventure. Everything runs so very well that there is nothing unexpected. So, while The Third Man is a musical to admire, it is not, theatrically, a thriller.

Until 9 September 2023

www.menierchocolatefactory.com

Photo by Manuel Harlan

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“Les Misérables” at the Sondheim Theatre

‘If it ain’t broke don’t fix it’ is not the maxim of Cameron Mackintosh. Despite enormous success, the RSC’s production of Alain Boublil and Claude-Michel Schönberg’s musical has been restaged. Previously a touring version, the ‘new’ show comes from former cast members and now directors Laurence Connor and James Powell. It’s obvious how well they know the piece. And don’t worry – Les Mis is as wonderful as ever.

If a little upstaged by the fantastic concert version of the show, which filled in after lockdown, Connor and Powell have clear ideas. I won’t be drawn into saying if the result is better or worse, but there’s no reasons Trevor Nunn’s previous version should be considered definitive. If the new version seems more static, maybe more traditional, it’s still a crowd pleaser.

The moral struggle between convict turned religious convert Jean Valjean and police inspector Javert, a very literal embodiment of law and order, is focused to the point of perfection. There are social issues, romance and, of course, revolution. The marvel of Nunn and John Caird’s adaptation is not just that all of this is easily followed by an audience, but that it enthrals.

Jon-Robyns-as-Jean-Valjean-Photograph-Johan-Persson
Jon Robyns as Jean-Valjean

There is a rawness to some of the vocals that might raise eyebrows. Squeezing out all possible drama – and the show is melodramatic anyway – is prioritised by Connor and Powell. Bradley Jaden’s Javert is a charismatic figure, fraught with angst. If the role is overshadowed by Valjean, that’s down to Jon Robyns’ star presence. Both male leads give terrific performances.

The comedy is particularly strong, mostly due to the always excellent Josefina Gabrielle and Gerard Carey as the dastardly Thénardier couple. And there’s a superb Enjolras (leader of the 1832 revolt the show documents): Jordan Shaw brings a beauty to the singing of this role that I hadn’t appreciated before.

Connor and Powell have clearly inspired their cast. And credit where it is due, plenty has been learned from Nunn: the staging isn’t fussy, several scenes are powerful because of their simplicity. There is justified confidence in On My Own(and a great performance from Sha Dessi). It’s a shame Empty Chairs at Empty Tables has less impact; I just can’t imagine how that could have been improved.

Talking about the revolution

The redesign comes from Matt Kinley, also long associated with the show. The big news is that the famous revolving stage is gone! The world hasn’t stopped turning as a result, but I did miss it: there’s a little too much marching on a spot. The action, you might say energy, is literally more frontal – with characters facing the audience almost obsessively.

It’s clear where money has been spent. Javert’s final scene does look better. And the projections of Parisian sewers are more technically advanced. Yet backdrops (inspired by Victor Hugo’s paintings) impress mostly because of their size. It’s all part of the production being a little, well, flatter. That isn’t always a bad thing: the show also seems speedier.

Nunn was no stranger to a tableau, but the new production feels frozen at times – almost too eager to focus on key moments that are literally in the spotlight. Lighting designer Paule Constable has done lovely work that’s dramatic and directs attention. But occasionally there is a halting feeling to the show. It’s as if everyone is posing for a photo.

These are observations rather than criticism. You are sure to enjoy Les Misérables as much as ever – the music and the performances are marvellous. Debating if the production is tighter and more direct or maybe a little less exciting is now part of the fun. If I’m not sure anything really needed fixing, this new Les Mis is far from broken

www.lesmis.com

Photos by Michael Le Poer Trench and Johan Persson

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"Beckett Triple Bill" at the Jermyn Street Theatre

It’s easy to see why this programme of short plays by Samuel Beckett is already a sell-out hit. A superb cast and direction from none other than Trevor Nunn make it a very special treat. The chance to see a famous piece – and two that deserve to be better known – makes it perfect for Beckett fans and newbies. Check out the theatre’s gala performance on the 30 January if you’re flush, or its 5@5 day tickets if you’re youthful, and here’s hoping for a transfer!

First up, the most famous piece, Krapp’s Last Tape is presented is with taut precision. As its titular hero listens to a recording he made in the past, the idea that we become very different people during the course of our lives is palpable. James Hayes takes the role and gives a performance of remarkable variety – not a nuance of Krapp’s interaction with his past voice is missed. It really is theatrical perfection.

Niall Buggy at the Jermyn Street Theatre credit Robert Workman
Niall Buggy

For me, the big thrill comes next with Eh Joe, which has Niall Buggy listening to another recording, this time an imagined voice from his past. Buggy gives a tremendously focused performance – he doesn’t say a word – but his character disintegrates as his memories haunt him. In a nod to its origin as a piece for television, his face is filmed, adding to a sense of paranoia. The accusing ghost from his past is a voiceover performed by Lisa Dwan. Reminding him of affairs and failings, it becomes truly terrifying. While Joe tries “throttling the dead in his head” he also needs them – when the voices end so will his life – the past defines us and the only escape is death.

Niall Buggy and David Threlfall at the Jermyn Street Theatre credit Robert Workman
Niall Buggy and David Threlfall

It might be a bit of a relief to end the programme on a lighter note. While The Old Tune continues the themes of memory and old age the tone is very different. Buggy makes another appearance, joined by David Threlfall, as two old acquaintances reminisce. Or at least try to… Beckett mixes up stories and dates as the two become confused to surprisingly gentle comic effect. A melancholy is still prevalent, and both performers effectively maintain this.

It’s not in curating the selection that makes this a great offering from Nunn; there’s no overstating connections between the plays and the direction shows a discipline and precision that makes the most of the brevity of each. Working with some long-standing contributors and clearly revelling in the intimacy of the venue, the approach to all three matches Beckett’s own confidence and vision for them.

Until 8 February 2020

www.jermynstreetheatre.co.uk

Photos by Robert Workman

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“The Bridges of Madison County” at the Menier Chocolate Factory

It’s easy to see why talented composer and lyricist Jason Robert Brown would be the go-to man for this project. His masterful The Last Five Years was a similarly simple love story that he managed to make interesting. But here the source material is Robert James Waller’s surprise best-selling book – a soppy affair of little promise. So, while the musical is wonderful and the production, from director Trevor Nunn, consistent with this venue’s high standards, the story is too thin and the show just a little dull.

In Iowa, which we’re too frequently reminded is a boring location, while housewife Francesca’s family is at the state fair, she has an affair with Rick, a photographer on assignment from National Geographic. Francesca’s dedication to her family means the romance is doomed. And that’s it – although on stage this brief encounter doesn’t exactly speed along.

A good deal of the problem comes from the men in Francesca’s life. Her husband, despite Dale Rapley’s efforts in the role, really is boring. And her lover, while initially charismatic, ends up pretentious and annoying. Edward Baker-Duly sounds good as Rick but the character is flat and the performance suffers as a result. Talk of his art, let alone his back story, grates. By the time he starts using his hands to frame a picture (which I’ve never seen a real photographer do), you wonder why Francesca isn’t planning to run away from both of them.

Mercifully, Marsha Norman’s book focuses on Francesca and the piece becomes her story. Since Jenna Russell takes the role – and is, thankfully, barely off stage – the show is pretty much saved. Russell sings every song to perfection and many of her numbers are superb. While Francesca is written as a touch too much the martyr, Russell has the presence to make her seem courageous. And she also injects some humour into the role, allowing us to warm to the character. Unfortunately, Russell is the only cast member that gets even a smile (sorry, the nosey neighbours and squabbling teenage kids don’t cut it).

With a score this intelligent, much can be forgiven: it’s a smart mix of Americana, with a controlled period feel, and delicate Italian touches indicating Francesca’s heritage. But not even Robert Brown’s brains can escape from the clichés in the story and his lyrics are, unusually, pedestrian at times. The whole piece is deliberately underplayed, which Nunn appreciates, and as a strategy that is understandable. This is supposed to be a story of everyday lives. When romance arrives, the score is lush but any heady moments are the only speedy thing here; the result is humdrum and humourless and the show ends up a frigid affair.

Until 14 September 2019

www.menierchocolatefactory.com

Photo by Alastair Muir

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“Fiddler on the Roof” at the Playhouse Theatre

It’s great to see the Menier Chocolate Factory back in the West End. Tickets for this revival of Jerry Bock and Sheldon Harnick’s musical sold out quicker than a Brick Lane beigel for its home run near London Bridge, so a bigger venue means a welcome chance to see this excellent show. One word of warning, though – behave as if you were a rich man and treat yourself to a good seat.

Under Paul Bogaev’s musical direction Bock’s music sounds great, Sheldon’s lyrics are always a treat and director Trevor Nunn has a careful appreciation of Joseph Stein’s book: the structure is kept tight, the characters vivid and the jokes are great. Famously recounting the story of Jewish life in a Russian village just before the revolution, the lead role of Tevye has been career defining before and, taking the part here, Andy Nyman does not disappoint. The poverty-stricken patriarch struggles with his wife (a strong performance from Judy Kuhn) and the marriages of his three eldest daughters. Taking these roles Molly Osborne, Nicola Brown and Harriet Bunton do a fabulous job of injecting youth and energy into the show, and their opening number is a real delight. Each of the troubled romances convinces, mixing sweetness and poignancy with strong songs.

It really is worth splashing out on a posh seat, though. While Robert Jones’s set design – evoking Chagall but with a restrained colour palette appropriate to the piece’s surprisingly somber tone – deserves praise, projecting the stage into stalls causes problems. A lot of seats have been sacrificed (hence the ticket price?) but little account taken of the view from the balcony. Nunn should know better than this. Thankfully Matt Cole’s choreography, based on Jerome Robbins’ original work, is still strong enough to thrill; not just the acrobatics but the way dance is used to illustrate the close community and the struggles with modernity that it faces.

Fiddler on the Roof really fascinates. It’s funny, a simple story, well told, that feels solidly old fashioned. But, while focused on tradition, the theme of the show is actually change. New and old are both present in the 1964 piece itself. Much of the first half seems very Broadway – the format is conservative and almost predictable. But, as a concern for history takes over, the show become bravely dark. As the approaching Cossacks move from a threat to a reality, Tevye shows the limits of his own tolerance (Nyman is an excellent here). There’s a combination of pain, incomprehension and dignity in the characters and the story that the production embraces, moving us from high-class entertainment to a questioning and emotionally turbulent finale.

Until 2 November 2019

www.fiddlerwestend.com

Photo by Johan Persson

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“Cats” at the London Palladium

As if its original run of 21 years weren’t enough, Andrew Lloyd Webber’s musical has added on a few extra lives this year at the Palladium. For the newest instalment of the revival, Beverley Knight follows Nicole Scherzinger and Kerry Ellis as Grizabella, providing some star appeal. Knight is a superb performer and feels a little wasted in the role, but she gives a strong interpretation of perennial favourite ‘Memory’ and provides as good a reason as any for checking out the show.

Beverley Knight as Grizabella
Beverley Knight as Grizabella

A lot of people dislike Cats because it doesn’t have a story. Combating this prejudice is futile. T S Eliot’s poems merely provide Lloyd Webber and choreographer Gillian Lynne with a platform for song and dance numbers. Directed by Trevor Nunn, the whole show runs like clockwork and is an entertaining spectacle. The dancing is top notch – it’s hard to believe these guys are the same species as the rest of us (especially Mark John Richardson’s Mr. Mistoffelees). And it’s nice to see care taken to include the audience in the stalls, as the cats prowl amongst the crowd, delighting any kids you take along.

And yet the piece has aged badly. These days we’re used to musicals with a knowing edge and Cats comes close to taking itself seriously, it’s so doggedly humourless. These crazy cats have some hippy ideas about their Jellicle tribe meeting for a moonlight reincarnation ritual, led by the god-like Old Deuteronomy, and it all comes across as just spaced out. The music feels lost in the late 1970s with tinny electronica and rock guitars (as for the updated rap version of Rum Tum Tugger, it seems only polite to gloss over it). While admittedly catchy, the songs are reprised too frequently and the show feels desperate for praise. This is a score that should be rescued and put in front of the fire with a nice saucer of milk.

Until 2 January 2016

www.catsthemusical.com

Photos by Alessandro Pinna and Matt Crockett

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“Les Misérables” at the Queen’s Theatre

For a lot of Londoners, Les Mis is as much a landmark as a musical. Something that’s just there: a show seen long ago and now for tourists. The statistics about its success are on the dot matrix outside the Queen’s Theatre – and they are impressive. But the real phenomenon is how, despite knowing the story and songs, having seen the film and bought the t-shirt, Les Mis moves as much as ever.

Speculation about the show’s success has existed since it surprised critics and started selling tickets. Never forget how crazy adapting Victor Hugo’s epic of post-revolutionary French history must have seemed. First up, the tale itself: a good old-fashioned yarn that’s sentimental and exciting. As for the telling – by Alain Boublil and Jean-Marc Natel – it doesn’t stop, with an impressive pace that belies the show’s three-hour duration.

Claude-Michel Schönberg’s music is big and best described as filmic. Though the many hits are worth waiting for, the score has a satisfying coherence. With leitmotifs that emphasise themes as well as characters, it builds emotion so effectively it borders on exploitative; pretty much the whole of the second act guarantees goose bumps. OK, I confess, I was teary before the interval.

Carrie Hope Fletcher as Eponine and Rob Houchen as Marius. Photo by Michael Le Poer Trench

The music demands massive voices and the current cast are superb. From the start the strength of the male chorus is hugely impressive. Both leads, Valjean and Javert, with their personal stories embodying a divide between law and justice, are given powerhouse performances from Peter Lockyer and David Thaxton. Looking to the younger characters, whose story culminates on the barricades of the June Rebellion in Paris, both Rob Houchen and Carrie Hope Fletcher are tremendous as Marius and Eponine. More tears I am afraid.

John Napier’s design is surprisingly simple; mostly a matter of smoke with David Hersey’s excellent lighting (and the revolving stage so brilliantly parodied in Forbidden Broadway). Directors Trevor Nunn and John Caird handle the crowd of a cast with exemplary skill, directing audience emotions as much as anything; the best example being ‘Empty Chairs At Empty Tables’ – Marius’ lament – which sees his martyred friends breathtakingly emerging into view.

Like any work of theatre, Les Mis can’t be frozen – a live crew makes it work. The cynical might see its success down to reputation – it’s a safe bet and visitors tick the ‘done that’ box. But believe me, nobody working the performance I saw was resting on any laurels. But the real key to the success is both simpler and more profound: Les Misérables moves you. It’s still one of the best theatre experiences around.

www.lesmis.com/uk

Main photos by Johan Persson

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“Relative Values” at the Harold Pinter Theatre

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A new production of Noël Coward’s Relative Values has arrived in London from the Theatre Royal Bath. It’s another sparkling comedy for the West End, boasting star performances from Patricia Hodge and Caroline Quentin, and with respectful direction from Trevor Nunn that is sure to please aficionados of the author.

This is the one where Lady Marshwood (Hodge) finds her son has gone and got himself engaged to a film star (the perfectly cast Leigh Zimmerman), who happens to be the estranged sister of her maid Moxie (Quentin). It’s simply not on. Hodge and Quentin are spot on, making the most of each acerbic line and convincing as two women who have grown close despite the class divide.

As one line in the play points out, this is a comedy idea not to be sniffed at – especially when Moxie, to avoid awkwardness, receives a promotion from maid to companion/secretary. Cue excruciating after dinner drinks and an explosive confrontation between Moxie and her sister that will have you in stitches. All this is aided by the butler, naturally a clever chap with a philosophical bent, performed by none other than Rory Bremner, who makes a great West End debut.

You certainly get your money’s worth. Relative Values is long and Nunn does little to speed it up. It’s a valid decision but I am not sure films introducing each act, providing historical background, are really needed. Some minor roles could be pepped up. But the whole thing, Stephen Brimson Lewis’ set included, drips quality.

Never underestimate Coward. Producers don’t – look at Blythe Spirit  packing them in at the Gielgud. It now seems barely believable that he was once regarded as an unfashionable writer. His observations about class and the changing times of the early 50s, that Nunn takes Coward’s lead in emphasising, leave me cold but then I sometimes feel pretty lonely in these Downton Abbey obsessed times. Coward’s insights into human nature are still pointed and serve his comedy marvelously well. And at the heart of this play Quentin and Hodge make a great team: queens of comedy reigning gloriously.

Until 21 June 2014

www.atgtickets.com

Photo by Catherine Ashmore

Written 15 April 2014 for The London Magazine

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“Stephen Ward” at the Aldwych Theatre

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Let’s face it, Stephen Ward is a terrible name for a show and, given that its eponymous subject ends shamed and committing suicide, it’s also an unlikely topic for a West End musical. But Andrew Lloyd Webber’s new work deserves the kind words received from critics. An adult affair, looking at the 60s Profumo scandal, the focus is on hypocrisy and injustice – on how revenge was meted out to Ward by the upper classes he once counted as friends.

The show’s credentials are impeccable. Lloyd Webber’s score lives up to his reputation and the book and lyrics are provided by Don Black and Christopher Hampton. This is a complicated story presented in exemplary fashion, with startlingly confident lyrics and efficient directing by Trevor Nunn.

The show rests on the lead and Alexander Hanson is terrific at conveying the complexity of this “man of many parts”. And Charlotte Spencer and Charlotte Blackledge (above with Hanson) depict the more famous stars of the real-life drama, Christine Keeler and Mandy Rice Davies, with depth. Secondary characters also satisfy: Anthony Calf is perfect as Ward’s fair-weather friend Lord Astor and there’s a tremendous turn from Joanna Riding as Profumo’s wife. It’s a lovely twist to see the betrayed minister’s spouse get to have her say.

The show isn’t perfect – rousing emotion has to wait until the end (Hanson again delivers) and this seems too late. Attempts at humour when it comes to both Keeler’s Russian lover and the police who frame Ward on a trumped-up charge are frankly embarrassing.

Stephen Ward has a quiet ambition. A concise, penetrating view of British culture, it scores many a hit. The scene of an upper-class orgy may raise eyebrows amongst Lloyd Webber fans but, sensibly, it doesn’t try to shock. There may be some Coco de Mer style accessories on sale in the foyer (a riding crop and silk blindfold) but humour is used well here. Another highlight is a song for The News of the World journalists, set to twist Keeler’s kiss and tell story, demanding she “give us something juicy”. Keller’s lyrics go further than the hacks are willing to print, but Lloyd Webber and his team don’t shy away from the explicit – even crudity is used intelligently in this smart work.

Until 1 March 2014

Photo by Nobby Clark

Written 23 December 2013 for The London Magazine

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“Rosencrantz And Guildenstern Are Dead” at the Theatre Royal Haymarket

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Having to write about a play can spoil watching it. Many a schoolchild has been put off Hamlet, trying to fathom out what happens, conscious they will be examined on it. It’s a relief to find that in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead, the characters are in the same situation; baffled by the unfolding plot and their role in it, their predicament creates a special affinity with the audience.

Tom Stoppard, of course, knows exactly what is going on, in his hands we never feel too scared – just highly entertained. Stoppard’s first masterpiece, from 1965, Rosencrantz And Guildenstern Are Dead, doesn’t feel dated in the slightest – its intelligent humour shines forth. Seeing the events in Hamlet unfold via once minor, now major characters, we are introduced to the theme of free will, with speculation on aesthetics, and dazzling verbal badinage.

Stoppard’s dexterous writing is well served in director Trevor Nunn’s superb production. Having missed out on the chance to direct the plays premiere, Nunn relishes the opportunity now. There is an appropriate exuberance in his direction that does him credit.

Arriving from the Chichester Festival the production is already polished. The Players that Rosencrantz and Guildenstern encounter make a convincing ensemble of tatterdemalions. Times are tough for performers, they will “stoop to anything” to entertain, and as their leader Chris Andrew Mellon conquers, hilariously guiding our heroes around the artifice of the world they are trapped in.

In the lead roles, Samuel Barnett and Jamie Parker, the one-time History Boys, are reunited, and this duo needs no lessons in comedy. Parker explains their predicament marvellously: seeking logic and justice in the theatre, fate means they are condemned to “death followed by eternity”, with their roles puzzled over forever more. But Barnett literally runs rings around his colleague, getting every laugh going and showing that Rosencrantz And Guildenstern Are Dead is a very lively affair indeed.

Until 20 August 2011

www.trh.co.uk

Photo by Catherine Ashmore

Written 22 June 2011 for The London Magazine