Feeds:
Posts
Comments

Posts Tagged ‘Jonathan Hyde’

American playwright Martin Sherman rose to fame with the play Bent, about the treatment of homosexuals in the holocaust, which starred Ian McKellen in London and Richard Gere on Broadway, then became a major film. He settled in London, where he had five high profile premieres over fifteen years in the 80’s and 90’s, attracting actors like Vanessa Redgrave and Olympia Dukakis to star in them, but he hasn’t been particularly prolific. It’s taken ten years since Onassis to get this new play, though in all fairness he is now 80!

It’s a reflection on the changes that have impacted the gay community over the years, told through the life of Beau, an American cocktail pianist who’s moved from New Orleans to San Fransisco and Paris, settling in London. In a series of monologues, we learn about the changes in gay life through his life, over forty or fifty years. These are interspersed with contemporary scenes, over another twelve years, from when he meets his much younger partner Rufus to when Rufus has left for a new life with his new younger partner Harry and Beau becomes a father, and grandfather, figure.

It’s a warm, gentle, understated piece, even when its reflecting on tough, challenging times. Rufus is somewhat conservative and loves all things retro, including his lovers it seems, so we get references to films and music from the middle of the 20th century when Beau’s career was in full swing but Rufus wasn’t even born. In particular, we hear about a British singer called Mabel Mercer, apparently a real life character, who’s career took her in the opposite direction to Beau, to cocktail bars in NYC, where Beau played for her.

Jonathan Hyde is excellent as Beau, with fine support from Ben Allen and Harry Lawtey. Sean Mathias’ sympathetic staging brings you slowly into these lives. It perhaps lacks some bite, but it tells its story well and really does make you realise how much things have changed in a relatively short time.

Read Full Post »

Chichester Festival Theatre will certainly get first prize when it comes to celebrating this Rattigan centenary. There are two revivals, a new play written as a ‘response’ to one of them, a play created from an unproduced screenplay and six rehearsed readings. Well, that puts our national companies to shame!

The Deep Blue Sea

Many consider this his finest play, though after recent revivals of After the Dance and Flare Path, I would question that. The first production I saw at the Almeida with Penelope Wilton was wonderful, but the second, by Edward Hall with Greta Scacchi, was a fusty mannered museum piece.

Unfortunately, I was in the Donmar the night before this, so seeing an intimate play in the vast Chichester main house space it was very hard to get involved, even from the ninth row. I really missed the proximity which the Minerva would have given it; I wasn’t moved.

Hester has left her knighted husband to live with the laddish Freddie. The play starts when she is discovered in front of the gas fire with the evidence of too much asprin at her side. Not knowing the whereabouts of Freddie, a neighbour contacts her ex. who rushes to her aid. Freddie returns and discovers her suicide note and thus begins the breakdown of their relationship. The ex. makes a bid for reunion, but this fails, so Hester is left alone.

It’s well designed and staged and the acting is uniformly good; Amanda Root is a fine Hester, Anthony Calf is very good as the ex. I particularly liked John Hopkin’s passionate Freddie and there is a lovely cameo from Susan Tracy as the landlady. In this space, though, I just couldn’t get involved as much as you need to be moved by this fine play that was way ahead of its time and, somewhat ironically, as radical in its way as the ‘angry young men’ that took Rattigan’s place at the heart of post-war British drama.

Rattigan’s Nijinsky

This late career screenplay about the life of dancer Nijinsky was never produced by the BBC, apparently because of objections from his wife. Unstageable in its written form, Nicholas Wright has created a play both about it and from it.

We’re in Rattigan’s Claridges suite shortly after his arrival from his Bermuda home, here to finalise the production of his screenplay. He gets visits from the man at the BBC and Nijinsky’s wife Romola, but the play is mostly imagined scenes from the screenplay / life of Nijinsky played out in front of us. It was a fascinating life, so it’s a fascinating story. The idea of the structure is better than the result, though, and it felt a bit clumsy – ‘now lets show the audition of Nijinsky as child’, ‘lets move to where he begins hid relationship with Diaghilev’, ‘OK, time for the journey to Buenos Aires’. Interesting story, but a play that ultimately doesn’t work.

Again, the design by Mike Britton and Philip Franks’ staging are fine and it suits the big space better than The Deep Blue Sea. Malcolm Sinclair as Rattigan and Jonathan Hyde as Diaghilev are very good and there’s good support from a large cast, most playing two or three roles. Again, Susan Tracy gives fine cameos as Romola Nijinsky and Rattigan’s mother.

Overall, this pair didn’t live up to expectations, but that doesn’t take away Chichester’s crown as Rattigan’s champion in this centenary year.

Read Full Post »