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Posts Tagged ‘59 Productions’

I’ve been listening to Sting’s CD of music from this show for five years, waiting for a UK production. Mystifyingly, it premiered in the US in 2014, trying out in Chicago before opening on Broadway. It’s so quintessentially British, I just can’t imagine it on Broadway. This new production, with a new book, opened where it belongs in Newcastle and is now touring the UK. I caught it in Northampton and for me it’s up there with other great British musicals like The Hired Man and Billy Elliott, with a score that’s as good as the former and better than the latter.

Like Billy, it places a personal story alongside recent social history. Teenage Gideon goes off to sea, seeking a better life than the shipyards of Wallsend can provide, leaving more than his girlfriend Meg behind. He returns seventeen years later to sort out his late dad’s house and tries to reconnect with Meg, now a thirty-something business-woman and single mother. In the shipyard, the ship they’re about to finish hasn’t been sold and is instead to be dismantled, and the shipyard closed. This is Thatcher’s Britain. The workers are having none of it and led by foreman Jackie and Shop Steward Billy, with support from the townswomen, led by Jackie’s wife Peggy, they take risky and defiant action.

Sting’s score and lyrics are terrific, and the new book by director Lorne Campbell is excellent, not afraid to wear it’s heart on its sleeve and concluding with a rousing political rallying call. I loved Rob Mathes folky orchestrations which Richard John’s band played beautifully. The design by 59 Productions is stunning, with projections creating the ship and shipyard, terraced rows, street scenes and interiors of houses and the pub. The final scene takes your breathe away. Even the choreography of Lucy Hind has a foot-stomping folk aesthetic and an edginess about it. Campbell’s superb production has Geordie blood running all the way through it.

Richard Fleeshman is excellent as the returning older Gideon and Frances McNamee sensational as feisty older Meg. Joe McGann and Charlie Hardwick make a lovely loving couple as Jackie and Peggy. Katie Moore is great too as Meg’s equally feisty teenage daughter Ellie and Joe Caffrey, not the only cast member to have done a turn in Billy Elliott, is a very passionate Billy. It’s clearly a very committed ensemble and I loved their banter with the audience before each act.

A great British musical which I hope I will see again in London, a transfer it so richly deserves, but you’d be wise to see it on tour, just in case!

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I’ve never read any Paul Auster books, so I came to this stage adaptation by Duncan Macmillan cold, though it’s the third time in six days I’ve seen the work of projection masters 59 Productions, this time expanded to almost all creative inputs. As much as I admired the extraordinary stagecraft, I’m afraid I didn’t engage with the story, perhaps because I was spellbound by the staging and thereby distracted from the story. I found myself admiring the artistry without any involvement in the tale.

It’s a Chandleresque film noir tale, somewhat convoluted, involving a manic chase across New York City by reclusive novelist Daniel Quinn provoked by a call to the wrong number. He takes on the persona of Auster as private detective, but we seem to enter all sorts of alternative realities. To be honest, I got a bit lost. I was however gawping in wonder as the stage turned from one home to another to street to station and so on, through some of the slickest projections I’ve ever seen.

The main problem is that the staging swamps the story, and there’s no emotional engagement at all. You find yourself staring in wonder at the spectacle, but uninvolved in the events that unfold. I admired the performances, Leo Warner’s direction, Jenny Melville design and Lysander Ashton’s projections, but I didn’t engage with it.

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There was a time when I thought Brecht was rather earnest and somewhat dated, but Arturo Ui scrubbed up well at the Donmar Warehouse last month and now Life of Galileo comes out even fresher at the Young Vic. I’ve been critical of some theatre’s exaggerated claims of resonance with contemporary issues like Brexit and Trump of late, but at times I felt this could have been a current debate between evolutionists and Darwin denying creationists or climate change scientists and that other religion, big businesses, and their puppet president.

It follows Galileo’s story reasonably faithfully, from his application of the Dutch telescope invention to validate Copernicus’ theory of the solar system to his own original theories and inventions. Along the way, he has to pussyfoot around the control freakery of the catholic church and even the inquisition. He appears to recant, much to the disappointment of his followers, but in reality he’s buying time and continuing his work clandestinely. His promotion of truth through science even impacts his family, scuppering his daughter’s marriage to a nobleman.

Designer Lizzie Clachan has configured the theatre in-the-round, with audience members in a central pit, surrounded by a circular walkway with four bigger playing areas around it. There’s a giant dome overhead, upon which there are stunning projections by 59 Productions, from the planets to the ceilings of buildings and the sky, and excellent lighting by Jon Clark. Tom Rowlands soundtrack adds much. Joe Wright’s production is hugely inventive, but it’s not at all gimmicky. Everything seemed to be in keeping with the material and the satirical, even anarchic spirit of Brecht.

Brendan Cowell, who we last saw here in Yerma, is terrific as Galileo, a very physical and very emotional performance; his engagement with the audience is such that at times you feel you’re at his lecture, or in a personal conversation with him. He has an excellent supporting cast, from which I would single out Billy Howle, who plays five roles, most notably Galileo’s pupil Andrea from aged 10 to his adulthood journey to more science-friendly The Netherlands.

Another captivating evening at the Young Vic.

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