Feeds:
Posts
Comments

Posts Tagged ‘Anthony Page’

This is the second show I’ve caught up with late in its run and what a pleasure it is to see serious work of this quality in the commercial sector. This autobiographical play is probably Eugene O’Neill’s most depressing, featuring the dysfunctional Tyrone family, drugs and an awful lot of alcohol; not the most obvious way to spend a hot and sunny July evening!

James Tyrone is a Shakespearian actor who’s got caught up in more populist but profitable work. His wife is a drug addict and his youngest son is seriously ill. His eldest son has followed him into the profession but spends more time in bars and brothels. It’s extraordinary that this could be staged in the mid-1050’s! O’Neill wrote it 15 years earlier and died leaving instructions that it shouldn’t be published for 25 years after his death and was never to be staged. Neither wish were respected. The play has been cut for this production, though you can’t really see the joins and it doesn’t feel as if it has lost anything as a result. It’s as powerful a family drama and you’ll ever see.

The action takes place in one location, a summer home beautifully designed by Lez Brotherston, on the same August day in 1912 – after breakfast, before & after lunch and late at night. It becomes more tragic and intense as the day progresses. The strength of Anthony Page’s impeccable production lies in four well matched and stunning performances. David Suchet switches between benevolent autocrat and bully with total believability. Laurie Metcalf breaks your heart as the mother lost to addiction. Kyle Soller adds to his recent outstanding performances in The Faith Machine, The Government Inspector and The Glass Menagerie to make it a quartet of beautifully realised characterisations. Trevor White’s sparring with his dad was as real as his protection of his little brother was moving.

This is classy but risky stuff for the West End, so nine gold stars to the nine producers it took to bring it to us!

Read Full Post »

If I could time-travel, one of the things I might choose would be to attend the first night of this play in 1933 to hear the tut’s and watch the open mouths. It feels completely modern today, so it must have been positively ground-breaking then, even though I’m sure some of it went right over their heads!

It’s a menage a trois between a female interior designer, a male artist and a male playwright that starts in an artist’s attic garret in Paris, moves to the elegant London flat of the playwright and ends up on the 30th floor of an art deco apartment in a New York skyscraper where the designer is living with her unloved husband.  It has a beautifully crafted rounded structure and the dialogue absolutely sparkles. It puts sex and sexuality centre-stage and is so much more than Coward’s trademark social comedies.

The three central performances – Lisa Dillon, Tom Burke and Andrew Scott – are wonderful and the sexual chemistry between them is electric. There is a superb supporting performance from Angus Wright (who has wasted so much time in Katie Mitchell deconstructions of late) as the used man who in the final act explodes a la Basil Fawlty. Amongst the rest of the cast, Maggie McCarthy makes an exquisite contribution as the second act housekeeper. I’ve only seen the play once before, but director Anthony Page makes so much more of it here. It looks gorgeous too, with three brilliant designs from Lez Brotherston, culminating in the NYC apartment that I actually wanted to move into after the show! 

Another wonderful night at the Old Vic.

Read Full Post »