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Posts Tagged ‘A View From A Bridge’

Best New Play(s) – The James Plays

First up its plays, new ones, and when I counted I was surprised to find I’d seen 75 of them, including a pleasing half-dozen at the NT. My long list only brought that down to 31 so I had to be real hard to get to the Top Ten short-list of Versailles at the Donmar, Good People & Wonderland at Hampstead, Wet House at Soho, The Visitors at the Arcola (now at the Bush), 1927’s Golem at the Young Vic and 3 Winters & The James Plays from the National Theatre of Scotland at the NT – a three-play feast which pipped the others at the post.

Best Revival (Play) – shared by Accolade and My Night With Reg

I saw fewer revivals – a mere 44! – but 18 were there at the final cut. The Young Vic had a stonking year with Happy Days, A Streetcar Named Desire & A View From a Bridge, the latter two getting into my top ten with the Old Vic’s The Crucible, the Open Air’s All My Sons (that’s no less than 3 Millers) the NT’s Medea, Fathers & Sons at the Donmar, True West at the Tricycle and the Trafalgar Transformed Richard III. In the end I copped out, unable to choose between My Night with Reg at the Donmar and Accolade at the St James.

Best New Musical – Made in Dagenham

I was a bit taken aback at the total of 25 new musicals, 10 of which got through the first round, including the ill-fated I Can’t Sing, Superman in Walthamstow (coming soon to Leicester Square Theatre) , In the Heights at Southwark and London Theatre Workshop’s Apartment 40C. I struggled to get to one from the six remaining, which included the NT’s Here Lies Love and five I saw twice – Dirty Rotten Scoundrels, Dogfight at Southwark, Hampstead’s Kinkfest Sunny Afternoon and Dessa Rose at Trafalgar Studio Two – but eventually I settled on a great new British musical Made in Dagenham.

Best Revival (Musical) – Sweeney Todd in Harrington’s Pie Shop, Tooting

An extraordinary year for musical revivals with 38 to choose from and 22 serious contenders including 7 outside London (two of which I short-listed – Hairspray in Leicester and Gypsy in Chichester) and not one but two Sweeney Tood’s! Difficult not to choose Damn Yankees at the Landor, a lovely Love Story at the Union, more Goodall with the NYMT’s The Hired Man at St James Theatre, Blues in the Night at Hackney, Sweeney Todd at the ill-fated Twickenham Theatre and Assassins at the Menier, plus the Arcola’s Carousel which was so good I went twice in its short run. In the end though, expecting and accepting accusations of bias, I have to go for the other Sweeney Todd in Harrington”s Pie Shop here in Tooting – funnier & scarier, beautifully sung & played and in the perfect location, bringing Sondheim to Tooting – in person too!

Best Out of Town – National Theatre Wales’ Mametz

I have to recognise my out-of-town theatregoing, where great theatre happens too, and some things start out (or end up!). The best this year included a superb revival of a recent Broadway / West End show, Hairspray at Leicester Curve, and one on the way in from Chichester, Gypsy, which I will have to see again when it arrives……. but my winner was National Theatre of Wales’ extraordinary Mametz, taking us back to a World War I battle, in the woods near Usk, in this centenary year.

Best Site Specific Theatre – Symphony of a Missing Room (LIFT 2014)

Finally, a site specific theatre award – just because I love them and because it’s my list, so I can invent any categories I like! Two of the foregoing winners – Sweeney Todd and Mametz – fall into this category but are  now ineligible. The two other finalists were I Do, a wedding in the Hilton Docklands, and Symphony of a Missing Room, a blindfolded walk through the Royal Academy buildings as part of LIFT, which piped the other at the post.

With some multiple visits, 2014 saw around 200 visits to the theatre, which no other city in the world could offer. As my theatrical man of the year Stephen Sondheim put it in the musical revival of the year – There’s No Place Like London.

 

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I vividly remember being at the UK premiere of this play 16 years ago. At the end, lead actor Henry Goodman pointed to a man a few rows behind me and the audience rose to its feet to give Arthur Miller a standing ovation.

Not everyone agreed (nothing new there, then) but I thought it was his best play in the 40 years since a row of four classics – All My Sons, Death of a Salesman, The Crucible & A View From A Bridge – between 1947 and 1955. We’ve seen a lot of these four since, but not Broken Glass. The National hosted the UK premiere, but again it’s a fringe venue – the Tricycle – that gives us a second look.

Set in 1938 in New York, Sylvia Gellburg is mysteriously paralysed. The initial diagnosis is hysterical paralysis, a reaction to events in Nazi Germany, but as the play unfolds the relationship with, and behaviour of, her husband comes into the frame. She abandoned her business career, her sex life is unfulfilled, her husband possesses her.

Phillip Gellburg is one of the most complex characters Miller wrote – proud to be ‘the only Jew’ in his company with his son heading to be ‘the only Jew’ army General in a way that is distancing himself, even denying, his heritage. At the same time, he sees anti-Semitism when it might not even be there and is racked with feelings of inadequacy, persecution and inferiority complexes and paranoia.

Anthony Sher is mesmerizing, he IS Phillip Gellburg, and as the play unfolds his character becomes more exposed and develops emotional depth. Sylvia Gellberg is a tough role, changing significantly between the first and second acts. Playing a little older than her age, Lucy Cohu really pulls it off. The third key character, Dr Harry Hyman, who is fascinated by the case and attracted to his patient, sees Nigel Lindsay cast against type and more than a match for Sher and Cohu. These are fine performances indeed.

I’m not very familiar with director Iqbal Khan’s work, but I’ll make sure I am in the future, for this is a very intelligent production, deeply moving but without descending into sentimentality. Mike Britton has designed an impressionistic space which allows the drama to breath and the onstage cello playing of Laura Moody maintains the tension between scenes.

This play was followed by two disappointing late works – Mr Peter’s Connections and Resurrection Blues – and a third play, Finishing the Picture, which we haven’t seen here. Looking back now, it is clear that it was the last great work of a giant of theatre and seeing it again was as thrilling as seeing it for the first time.

Yet another triumph for the regularly triumphant and completely indispensable Tricycle!

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