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Posts Tagged ‘Liza Sadovy’

Given it’s iconic status in musical theatre, I’m surprised this is only the fourth major London revival since I moved here forty years ago. Sam Mendes also turned his theatre, the Donmar Warehouse, into the Kit Kat Club for his 1993 production, albeit less dramatically. This transferred to Broadway, where it ran for six or seven years, returning less that ten years later for another year. Rufus Norris’ 2006 revival was a radical production on a conventional stage. Now Rebecca Frecknall’s is a complete reinvention within an elaborate reconfiguration of the Playhouse Theatre. There was so much to take in, which might be why I’m still struggling to write about it four days later.

It must have felt extraordinarily ground-breaking when it was first staged on Broadway 55 years ago; it felt pretty much the same now – a musical set in 30’s Berlin during the rise of the Nazi Party featuring prostitution, drugs and homosexuality, the Kit Kat Club at the heart of all the decadence. It starts when you enter, walking through the bowels of the theatre to emerge in what used to be the foyer where the ‘prologue cast’ were performing. Then you enter the auditorium, where the club vibe continues, with the audience on two sides of a round playing area which revolves and rises, and the band above in the two boxes that once housed audience members. It’s actually a small playing area, though Frecknall and choreographer Julia Cheng use it brilliantly, switching from the club to all other locations with few props very speedily.

In addition to Tom Scutt’s physical design, his Kit Kat Club costumes have a distinct aesthetic too, a sort of surreal punk fantasy, never more so than with Eddie Redmayne’s Emcee, which he invests with an extraordinary physicality and a manic stare. One of the striking things about this production is how all of the roles come to the fore; it isn’t just Sally & the Emcee’s show, the audience waiting for their next entrance. This cast rise to that challenge superbly. Lisa Sadovy is terrific as landlady Fraulein Schneider, her relationship with Elliot Levey’s excellent Herr Schultz growing, exuding warmth, before it crashes so sadly. Omari Douglas continues to impress with a very subtle and sensitive Clifford, struggling with his sexuality. It’s great to see Anna-Jane Casey back where she belongs investing prostitute Fraulein Kost with such exuberance. Then there’s Jessie Buckley, conquering yet another peak in a short career that has demonstrated extraordinary range. Her Sally Bowles balances confidence and vulnerability perfectly.

It’s an unsettling, dark show and this production is often chilling. Perhaps because of the recent passing of Stephen Sondheim, the parallels between him and Kander & Ebb struck me. They both tackled subjects unusual to musical theatre before, and each show was completely different. Cabaret will go down in history as a show which made a great contribution to the evolution of the form in the last half of the 20th Century and this production will be remembered for proving the point that great shows evolve and change, reflecting the period they are performed in and the talent that creates and performs them. I’m so glad I was there to experience this one.

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A lot of characters in plays have changed gender of late, in Emma Rice’s A Midsummer Night’s Dream at Shakespeare’s Globe, the RSC’s current Taming of the Shrew and Sondheim’s Company, where it breathed new life into the show. Now the gender of two of Noel Coward’s characters have been changed to produce something extraordinarily fresh, which would never have seen the light of day when it was first staged during the Second World War, but in my view is the play Coward may well have written today.

Actor Garry Essendine is surrounded by his staff – secretary Monica, valet Fred and Swedish housekeeper Miss Erikson – and a coterie of producers – Morris, estranged wife Liz, Helen and her husband Joe – and then two ‘super-fans’, Daphne and Roland, crash into his life. He both loves the attention and adulation and feels suffocated by it. As he prepares to tour six plays to Africa, Monica and Liz try to keep him in control whilst Helen and Morris go against his wishes for his next project, Daphne and Roland’s obsession gets out of control and his promiscuity runs rampant. Coward’s dialogue crackles and sparkles right up to a surprisingly poignant ending. The issues around fame seem bang up-to-date.

Matthew Warchus’ production makes it feels like a newly minted piece, set in Rob Howell’s brilliantly designed art deco apartment that is thrust forward to bring more intimacy in this big theatre, with as fine a set of performances as you could wish for. Essendine is a larger-than-life character who gets a stunning larger-than-life, finely detailed characterisation from Andrew Scott, with a hitherto unseen (by me) flair for comedy. The role of Monica suits Sophie Thompson’s style of acting and here she milks it for every ounce of comedy. Indira Varma’s Liz is the perfect foil to Scott’s Essendine, with their final moments together movingly underlining the play’s original title Sweet Sorrow. Liza Sadovy does some nifty doubling-up as Miss Erikson and Daphne’s Great Aunt Lady Saltburn and Joshua Hill as Fred delivers some great lines so well he makes them even greater.

Above all, it’s very funny and hugely entertaining and I wouldn’t have missed it for the world.

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Rodney Ackland is a bit of a lost playwright; I’ve only known three of his twelve original plays and nine adaptations, including this one, produced in more than thirty-five years of London theatre-going. It was first staged in 1952 as The Pink Room, but it must have been in a very sanitised form, given the existence of theatre censorship at the time. It was very badly received and Ackland became dejected and only wrote two more plays, yet he lived for another forty years. Post-war London just didn’t have the stomach for his slice of bohemian Soho life. He returned to it thirty-six years later when this new, racier version was produced at the Orange Tree, on BBC TV and here at the Lyttelton, the latter two with Judi Dench in the lead.

It’s set in members club La Vie en Rose over a month in the summer after the end of the war in Europe, during the general election campaign where Labour ousted Churchill. It revolves around club proprietor Christine Foskett and her best customer, writer Hugh, who’s relationship with his partner Nigel and his career are both rocky, oblivious to his mum and her friend who he bizarrely invites to the club. Other members include Austrian black marketeer Siegfried and his girlfriend Elizabeth, film producer Maurice and his secretary Cyril, batty Julia and even battier Madge, a soapbox crusader, posh Lettice ‘the treacle queen’ and wild-man artist Michael, not forgetting assistant Doris and the cook. Into this melange, American GI’s Butch and Sam arrive to satisfy Christine and steal Elizabeth.

It’s character-driven rather than story-driven; the Labour Party offices visible next door link it to what’s happening outside the club. It’s not everyone’s cup of tea, but it is mine. Designer Lizzie Clachan turns the Lyttelton into a vast space, with stairs down to the kitchen and two floors up to the restaurant and beyond. I wasn’t convinced by the idea of prostitute Fifi almost continually walking around the space, and sometimes there’s so much going on, and so much background talk and music, that you’re struggling to focus on the essence of a scene, but that still didn’t detract from what was for me an enthralling, immersive experience which has lost 40 minutes, including two-thirds of the second interval, since the first preview and I suspect is better for it.

You’d be hard pressed to find so many fine performances on one stage in one night. Kate Fleetwood is superb as gin-soaked vamp Christine, as is Charles Edwards as highly-strung homosexual Hugh. Surrounding them are terrific turns from Jonathan Slinger as manipulative Maurice (hot-footing it over from The Old Vic), Patricia England as delightfully batty Julia, Joanna David as Hugh’s loyal but naive mum, Lloyd Hutchinson as larger-than-life artist Michael, Liza Sadovy as aloof Lettice, Esh Alladi as camp Cyril, Eileen Walsh as mad Madge and Prasanna Puwanarajah as Hugh’s on-off partner Nigel. There are twenty-four named parts and twenty-eight actors! Joe Hill-Gibbins marshals them very well.

The comments on exit and the walkers at the intervals proved it’s a marmite show, but those still there at the end cheered. Great to see it again after 23 years. More Ackland please!

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