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Posts Tagged ‘Lizzie Clachan’

Just five weeks after seeing his UK debut Octoroon at the Orange Tree Theatre, there I was at Hampstead Theatre seeing the entirely different but just as impressive Gloria, which does prove Branden Jacobs-Jenkins is a major new playwriting talent, though how I’m going to write about this one without spoiling it I don’t know………

We’re with the ‘assistants’ in the outer office of a magazine publisher where everyone seems to be playing politics to further their careers, except long-serving Lorin in the next office and Gloria, who everyone seems to see as a bit weird. Dean is the only one who went to Gloria’s party the night before, and he only went because he thought the others were going. We’re lulled into a false sense of security until there’s a major incident in the office as Act I closes. When we return we meet two of the characters from Act One, and another we hadn’t seen, to see how they are responding to earlier events and how they, and the world, reacts to and processes such things in this day and age. It ends very suddenly, perhaps too suddenly.

The change of tone is indeed dramatic, from everyday life in a modern office to cynical, tasteless exploitation of events. Like Octoroon, its structurally clever and very unpredictable. They make a big thing of avoiding spoilers, to the point of sealing four pages of the programme which you can have broken by the ushers at the interval; a theatrical first, I think. Michael Longhurst’s staging and Lizzie Clachan’s design serve the play well and there are six fine actors, three of which play two roles and two play three. I first saw Kae Alexander in Kiss Me Kate in her final year at GSMD, then she impressed me in the Open Air Theatre’s Peter Pan, now she’s hugely impressive as both Kendra and Jenna. Bayo Gbadamosi impresses too in three very different roles as intern, barista and media darling.

I’m now waiting for his next play with more than a touch of anticipation.

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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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Simon Stone’s play is billed as ‘after Lorca’. Though it’s still a play about a woman’s tortuous journey to bear a child, it’s a very contemporary journey featuring ovulation calculations, fertility testing and IVF. Lorca’s 1934 original was more about external, social pressure; Stone’s is more about internal, personal pressure, which she talks about openly and controversially in her blog. It is an extraordinary piece of theatre, even when measured against the Young Vic’s own extraordinary achievements in recent years. Something so dramatic, raw and visceral is very rare indeed. This is the sort of theatrical experience you’ll be talking about for years and years.

Yerma means barren, and the play revolves around Her (everywoman?) who decides in her mid-thirties, on the day her and her partner John buy a house, to start a family. They both have successful careers, Her in publishing and John in finance. Her mother Helen, a lecturer, doesn’t seem to have been a natural mother and still struggles to engage emotionally with her daughters. Her’s sister Mary announces an unexpected pregnancy soon after she has started trying to conceive, but her’s journey is much longer. Her sister appears to have inherited their mother’s lack of motherly instincts, but her’s seem completely natural when she’s with her new nephew.

At the start it’s relatively light and indeed funny, but as her difficulty conceiving continues, so her mental health declines, ultimately destroying relationships and careers. Her ex Victor, now a father himself, starts work for the same company and she ends up as his boss, but he’s more than her employee. Her much younger female assistant Des encourages her openness and edginess in publishing, perhaps an unwittingly negative contribution. In many short scenes, with music maintaining the tension in-between, her life is laid bare over a number of years. In Lizzie Clachan’s extraordinary design, it’s a very voyeuristic experience. It takes out Lorca’s cast of rural folk commenting on failure to procreate and strips it back to six main characters. It departs from Lorca with a different but equally tragic conclusion, but it is in essence the same story for a contemporary audience.

I’ve seen and admired all of Billie Piper’s recent stage performances, but this is on another level altogether, completely natural and simply stunning. She has terrific chemistry with Brendan Cowell’s excellent John, a totally believable couple. Maureen Beattie conveys the coldness of mother Helen. Charlotte Randle plays a more complex Mary beautifully. John MacMillan and Thalissa Teixeira complete the cast with terrific contributions. It was only the fourth performance, but I thought Stone’s production of his own play was faultless. We left the theatre drained.

You will know by now that you have to go!

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This is the third play by French playwright Florian Zeller that we’ve had in London in less than twelve months, all translated by Christopher Hampton. I worried when the second, The Mother, was stylistically similar to the first, The Father, that he might be a one-trick pony, even though I admired both. Fear not, the third is very different and quite possibly the best.

The first scene introduces us to Michel and his best friend’s wife Alice in a hotel room. They are having an affair. What unfolds over 90 minutes in seven scenes in six locations, each involving just two of the characters, is the unravelling of their infidelity, taking many twists and turns, keeping you guessing until the final moments. It’s a masterly piece of writing and it’s very funny. To say any more would spoil it. 

Lindsay Posner’s staging is as masterly as the writing and Lizzie Clachan’s design is as clever as the play’s structure, changing location with the slide of a screen. Alexander Hanson as Michel is onstage throughout, carrying the play, and he does so brilliantly, but the other three – Frances O’Connor, Tanya Franks and Robert Portal – are terrific too.

Apparently there are six more plays we haven’t seen, including a companion piece to this, unsurprisingly called The Lie. I can’t wait. Three plays in and I’m convinced he’s a find.

This is why I go to the theatre. I’ll be very surprised if this doesn’t follow The Father into the West End. Unmissable.

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I was a bit shocked when I walked into the Olivier to find the stage laid out as a cramped modern office. As You Like It?! I still wasn’t convinced during the first few scenes, but from the moment Lizzie Clachan’s extraordinary design transformed the stage to an impressionistic Forest of Arden, I was captivated. I’m still not sure why we start in the offices of the de Bois family business (some sort of trading floor with staff in different uniforms suggesting different roles) but the rest of the play made perfect sense.

The key to the success of the production is the combination the Clachan’s design, Orlando Gough’s music & Carolyn Downing’s sound effects, the human sheep in Arran jumpers and superb casting and staging by Polly Findlay. It might not look like any forest you’ve ever walked through, but it feels like a magical one. People (and sheep!) weave in and out to play out scenes, seeming to appear from nowhere. The music is gorgeous, particularly the songs sung beautifully by Fra Fee and the atmospheric, wordless choruses. The sound of animals, birds and weather conditions are all-pervading. The verse speaking is outstanding and the gentle amplification (necessary given the soundscape) means you hear every word. The play has never felt more other-worldly or magical.

Ellie Kirk, covering Celia for Patsy Ferran, was terrific; word perfect and confident in such a big role. Rosalie Craig is a brilliantly boyish Rosalind / Ganymede and has great chemistry with Joe Bannister’s excellent Orlando. There’s luxury casting in the smaller roles, from Patrick Godfrey’s loyal Adam through Mark Benton’s particularly funny Touchstone, Alan Williams wise old shepherd Corin and Ken Nwosu’s charming young shepherd Silvius, to Paul Chahidi’s introspective Jaques.

This production appears to have divided people, but I thought it was one of the best I’ve seen.

 

 

 

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This is one of the best Macbeth’s I’ve ever seen. It comes in at less than two hours, it integrates dance like I’ve never seen before and the fusion of stage design, costume, lighting and music / sound is seamless. The Young Vic follows it’s radically brilliant Measure for Measure with a radically brilliant Macbeth.

Lizzie Clachan has created an infinity effect tunnel which reduces in size as it recedes. There are multiple entrances at the side and a slice that moves horizontally to brilliant effect. Neil Austin’s lighting creates atmospheric shadows all over the place and there’s all-pervading sinister music and a soundscape by Clark & David McSeveney. Merle Hensel’s costumes continue the black theme with a timeless military feel. The visual imagery is stunning.

There are obviously cuts, but it hasn’t damaged the narrative and it has given it great pace and energy. It’s very film noir, tense and exciting. The witches are an almost continual presence, moving to Lucy Guerin’s edgy choreography. The battle scenes have never been better. There’s something very organic about Carrie Cracknell’s inventive and rather original staging. 

John Heffernan has become a firm favourite of mine and he doesn’t disappoint; I thought it was a fascinating, introspective interpretation with a lot of psychological depth. There are only eleven others in this cast, a lot of whom are first and foremost dancers, and its a great ensemble.

The Young Vic does it again.

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Restoration comedy can be a fusty and dull affair for a modern audience, but there’s so much flair and so many fine performances in Simon Godwin’s production that it scrubs up fresh, cheeky and joyous. When you hear Mrs Sullen’s feminist speech at the opening of the second half, its hard to believe it’s over 300 years old.

Two groups are on the make – Aimwell & Archer, gentlemen down on their luck, and highwayman Gibbet and his companions, in cahoots with the landlord of the inn – and the target of both is the riches of Lady Bountiful and her family. Lady Bountiful’s daughter Dorinda is in the market for a man to marry and her daughter-in-law wants rid of her drunken husband. No-one gets what they expected, but Aimwell and Archer do both get a wife. The presence of French soldiers provides another opportunity for humour, not all at their expense.

Lizzie Clachan’s three-story building transforms from inn to house and back again slickly and elegantly. The costumes are gorgeous and there’s a tea set to die for! Michael Bruce’s brilliant live music, superbly integrated within the play, contributes much to its success, and the song cues themselves make for a very funny running joke. Samuel Barnett and Geoffrey Streatfieild are a fantastic comedy double-act as Aimwell & Archer, very sprightly with great chemistry between them, as are Suzannah Fielding and Pippa Bennett-Warner as the sister and sister-in-law who are the closet of friends. There are so many other lovely performances, including Pearce Quigley as ever so droll servant Scrub and Jaimie Beamish as Folgard, a French priest who’s really Irish – his hybrid accent is a hoot.

This is the sort of thing the National do so well and it really compliments the rest if the current repertoire. Thoroughly recommended.

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