Tag Archives: Tricycle Theatre

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“Handbagged” at the Vaudeville Theatre

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Moira Buffini’s Handbagged, which after a hit run at the Tricycle Theatre had its West End premiere last night, tells the story of Margaret Thatcher’s reign as Prime Minister by imagining her private audiences with the Queen. The characters Liz and Mags reenact their 1980s meetings and are watched over by Q and T – the same figures in later life, who are portrayed as staging the show and provide an acerbic additional commentary on the action. For every joke there’s an equally amusing interjection, so you get two laughs for the price of one – brilliant.

Now, playwrights are not generally Thatcher’s natural constituency, so it is no surprise that the highlights picked out by Buffini are predictably low points. The Miners’ strike, the Falklands, South Africa and the Poll Tax: there are plenty of targets for satire. But Handbagged isn’t just funny, it’s intelligent as well. The history lesson here is cleverly told and not as biased as you might fear. As well as the notion that the ultimate establishment figure is to the left of Mrs T, the Queen’s devotion to the Commonwealth is given its due. And Thatcher is allowed to answer back – well, it would beggar belief to think she would give a playwright an easy time.

Acknowledging the evening as a theatrical production full of “artifice and sham” adds an honesty to the piece. Those meetings were private after all, speculation about their relationship just that, and Buffini wisely never presents her work as the final word. It’s fun: not only do we get discussion about whether there should be an interval – carry on through or enjoy your ice cream? – but the real anger at some of Thatcher’s decisions is given a magically light touch.

In their capacity as the show’s ‘producers’, Q and T recruit two jobbing actors to play a huge variety of roles, and they end up trying to take over the show. Jeff Rawle’s repertoire of accents is astounding and Neet Mohan is superb as he endures the “stroke of casting genius” that sees him dragged up as Nancy Reagan.

Handbagged is superbly performed. Under Indhu Rubasingham’s skillful direction, all four leading ladies excel. These are reinventions rather than simple impersonations (although Marion Bailey’s top lip deserves an award of its own). More credit then to Bailey, Stella Gonet, Lucy Robinson and Fenella Woolgar for injecting real heart into the roles. There is gravitas, when it comes to key speeches the women gave, and emotion at traumatic events. Staying just the right side of parody, Woolgar in particular never takes her eye off this fine balance. Politics has seldom been presented so originally or with such great laughs.

Until 2 August 2014

Photo by Tristram Kenton

Written 11 April 2014 for The London Magazine

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“Once A Catholic” at the Tricycle Theatre

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A friend of mine used to describe himself as a ‘recovering’ Catholic. Indeed, the impact of the religion on those educated within the faith is well known. A revival of Mary J. O’Malley’s 1976 play, Once A Catholic, set in a convent school close to the Tricycle Theatre – where it opened last night – reminds us what fertile ground for comedy the subject is.

With director Kathy Burke in charge it’s no surprise that it’s all fantastic fun. The simple design has the feel of a sketch show, but Burke holds the drama together and gets the most out of her performers.

Three little maids are the focus. Amy Morgan and Katherine Rose Morley play two Marys, girls having a pretty good time. Their love interests, a Protestant teddy boy and a distinctly noncelibate upper-class toff who wants to be a priest, make great roles for Calum Callaghan and Oliver Coopersmith. Molly Logan playing, you guessed it, another Mary, heads the youngsters. Hopelessly naïve, her innocent questions, such as the nature of the sin of Sodom, disturb the teachers riotously.

The school staff are the best thing. There’s a dotty music teacher, played superbly by Richard Bremmer, and a thoroughly Irish priest, a role taken by Sean Campion. Both live up to every caricature and exploit them to the full. But really stealing the show are the nuns: another trio played by Clare Cathcart, Kate Lock and the scene-stealing Cecilia Noble.

Rich in nostalgia, Once A Catholic is set in 1957 and trades heavily on the innocence of the times to get laughs. The girls’ naivety makes it seem like ancient history and this distance also serves to lighten the casual racism and sexism of the times, sliding over some pretty seedy stuff. Humour is prioritised and Burke excels at this.

There’s little depth to the show, though it’s clear that ignorance is the thing to battle against. It’s a point the play makes well – with its educational setting and poor Mary’s dangerous unworldliness. But with all the fun, there’s little fight in the play; its sacrilegious lines don’t outrage and it lacks a good punch line. There are a lot of laughs to be had though. If it’s comedy you’re after, your prayers will be answered.

Until 18 January 2014

www.tricycle.co.uk

Written 28 November 2013 for The London Magazine

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“Red Velvet” at the Tricycle Theatre

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Lolita Chakrabarti’s new play at the Tricycle Theatre, Red Velvet, tells the story of the African American actor Ira Aldridge. You might not have heard of him, but his fame in the 19th century led to tours all over Europe, and his presence on the London stage was part of a watershed in theatre history. Aldridge’s career is a potent tale of racism and personal struggle, destined to make great drama: Chakrabarti’s play is fortunate to receive a fine production, superbly performed, which makes the most of it.

The play itself isn’t quite as challenging as might be hoped – at times, Chakrabarti seems intimidated by her subject – but it is well written and entertaining. The secondary characters (other actors and a young journalist hoping for a scoop) aren’t fleshed out enough, but the acting is superb. There are some gem-like performances, especially from Ryan Kiggell, who gets some big laughs, and the hard working Rachel Finnegan, who takes on the challenge of no fewer than three roles.

Just as Aldridge’s arrival on the London stage raises the game amongst the actors he works with, the cast seem inspired by the excellent Adrian Lester who takes on the lead role. Lester makes it easy to believe Aldridge was a sensation. His performance is commanding, his voice intoxicating and he is an actor of great intelligence who keeps you totally engaged. The transformations as he adopts a role, or changes age, are truly remarkable.

Red Velvet is the first play from the Tricycle’s new artistic director, Indhu Rubasingham – it’s a great start. Her direction is clear and particularly impressive when approaching scenes that feature a 19th century style of acting. It’s an appropriate touch to have the cast remain on stage throughout, drawn into the action just like the audience, and the play’s moving, shocking finale is handled with masterful subtlety.

Until 24 November 2012

www.tricycle.co.uk

Photo by Tristram Kenton

Written 19 October 2012 for The London Magazine