Feeds:
Posts
Comments

Posts Tagged ‘Menier Chocolate Factory’

This is the fourth Caryl Churchill play I’ve seen in the last twelve months – three revivals (two of which I’d seen before) and one new play(s). I first saw this seventeen years ago at the Royal Court with Michael Gambon and Daniel Craig. Cloning was a hot topic at the time. Eight years later there was a certain frisson seeing a real father and son – Timothy & Sam West – playing it at the Menier, something that was tried again at the Young Vic in 2015 with John & Rex Shrapnel. So this is my third exposure and I’m still confused. That’s Caryl Churchill for you.

It’s set in the home of Salter, where he is visited by someone who turns out to be a clone of his son, who was sent to some sort of home by his father when he was struggling after the suicide of his wife. Salter realises the doctors have created more than one clone and is preoccupied with suing them. His actual son then visits, furious with his father about the cloning. Salter now says he was just trying to have a second chance to bring up a son properly. The first clone returns, knowing the truth, now hating Salter. After another visit from his real son, now very troubled, Salter invites another of the clones, Michael, who proves to be very normal and unfazed by it all.

Polly Findlay’s excellent staging plays out in five scenes over sixty minutes, superbly performed by Colin Morgan as all of the boys and Roger Allam as Salter. In Lizzie Clachan’s clever set we’re in the same room, but from a different perspective in each scene, miraculously transforming in the darkness between them. It’s a much more realistic setting than previous productions, and Morgan is much better at creating different personalities than his predecessors. The nature versus nurture debate is interesting, but I was left wanting to understand more about Salter and the doctor’s motivations, and the extent of and reasons for the cloning.

Read Full Post »

One of the most positive things about 2019 was that more new plays and new musicals made my shortlist than revivals of either; new work appears to be thriving, theatre is alive.

BEST NEW PLAY

I struggled to chose one, so I’ve chosen four!

Laura Wade’s pirandellian The Watsons* at the Menier, clever and hilarious, The Doctor* at the Almeida, a tense and thrilling debate about medical ethics, How Not to Drown at the Traverse in Edinburgh, the deeply moving personal experience of one refugee and Jellyfish at the NT Dorfman, a funny and heart-warming love story, against all odds

There were another fifteen I could have chosen, including Downstate, Faith Hope & Charity and Secret River at the NT, The End of History and A Kind of People* at the Royal Court, The Son and Snowflake* at the Kiln, The Hunt at the Almeida, A German Life at the Bridge, After Edward at the Sam Wanamaker Playhouse, Appropriate at the Donmar, A Very Peculiar Poison at the Old Vic and Shook at Southwark Playhouse. Our Lady of Kibeho at Stratford East was a candidate, though I saw it in Northampton. My other out of town contender was The Patient Gloria at the Traverse in Edinburgh. I started the year seeing Sweat at the Donmar, but I sneaked that into the 2018 list!

BEST REVIVAL

Death of a Salesman* at the Young Vic.

This was a decisive win, though my shortlist also included All My Sons and Present Laughter at the Old Vic, Master Harold & the Boys and Rutherford & Son at the NT Lyttleton, the promenade A Midsummer Night’s Dream at the Bridge, Noises Off* at the Lyric Hammersmith and Little Baby Jesus at the Orange Tree.

BEST NEW MUSICAL

Shared between Come From Away* in the West End and Amelie* at the Watermill in Newbury, now at The Other Palace, with Dear Evan Hansen*, This Is My Family at the Minerva in Chichester and one-woman show Honest Amy* at the Pleasance in Edinburgh very close indeed.

Honourable mentions to & Juliet* in the West End, Ghost Quartet* at the new Boulevard, The Bridges of Madison County at the Menier, The Curious Case of Benjamin Button and Fiver at Southwark Playhouse, Operation Mincemeat* at The New Diorama and The Season in Northampton.

BEST MUSICAL REVIVAL

Another that has to be shared, between the Menier’s The Boy Friend* and The Mill at Sonning’s Singin’ in the Rain*

I also enjoyed Sweet Charity* at the Donmar, Blues in the Night at the Kiln, Falsettos at the Other Palace and The Hired Man at the Queens Hornchurch, and out-of-town visits to Assassins and Kiss Me Kate at the Watermill Newbury and Oklahoma in Chichester.

A vintage year, I’d say. It’s worth recording that 60% of my shortlist originated in subsidised theatres, underlining the importance of public funding of quality theatre. 20% took me out of London to places like Chichester, Newbury and Northampton, a vital part of the UK’s theatrical scene. Only two of these 48 shows originated in the West End, and they both came from Broadway. The regions, the fringe and arts funding are all crucial to making and maintaining the UK as the global leader it is.

The starred shows are either still running or transferring, so they can still be seen, though some close this week.

Read Full Post »

Oh, what a tonic. Sandy Wilson’s pastiche of the 1920’s, written in the 1950’s, sparkles in the 21st Century.

Set in a finishing school in Nice run by Madame Dubonnet, its the tale of Polly and her chums as they prepare for a ball, choosing their costumes, all looking for love. Polly falls for delivery boy Tony when he brings her costume to the school. It seems like a hopeless match, rich girl and poor boy, but they meet on the corniche and agree to go to the ball together as Pierette and Pierrot. Polly’s dad arrives to find that Madame Dubonnet is an old flame. Tony’s parents arrive and we find out he isn’t who he seems. At the ball no less than six couples become engaged.

It’s pure escapist fun with its tongue firmly in its cheek. Bill Deamer’s period choreography is simply fabulous, as light as air, totally uplifting. Paul Farnsworth’s design is gorgeous, particularly his costumes, which are beyond sumptuous in the Act Three ball – from where we were sitting in the front row, you could clearly see the astonishing craftsmanship. MD Simon Beck’s band sound fantastic. Director Matthew White has squeezed every ounce of humour out of this 66-year-old show and made it as fresh and funny as you could wish for. The smile never left my face for the duration.

It’s brilliantly cast, with Amara Okereke & Dylan Mason making a delightful young couple and Janine Dee & Robert Portal a charming older one. Tiffany Graves wows again as Hortense and both Adrian Edmondson & Issy Van Randwyck give great comic cameos, the former not exactly known for musicals. The casting is in fact faultless, and their joy becomes your joy.

An antidote for election blues, but it’s not the sort of production you can only see once, so I’ve already booked to go again as a tonic for my post-election blues.

Read Full Post »

This is based on one of two unfinished works by Jane Austen. Coincidentally, the TV adaptation of the other, Sanditon, is currently on our screens. There have been other attempts to complete The Watsons, though not as a play it seems. Laura Wade takes this as her starting point, but it goes way beyond that in a brilliant Pirandellian concoction.

As soon as you walk into the Menier the stage and the two actors on it scream Austen. Dad is in his sick bed, with his daughter Elizabeth looking on. We soon meet her sister, eighteen-year-old Emma, who has been living with her aunt since she was five, other sister Margaret and brother Robert and his wife. They are all rather preoccupied with getting the sisters married.

We move to a society ball where Lord Osborne takes a fancy to Emma, she takes a fancy to Mr Howard the clergyman and local gentleman Tom Musgrave takes a fancy to any woman in sight. Despite hardly engaging with her at the ball, Osborne visits Emma at home and surprises everyone by proposing. When he leaves, she discusses her intentions, at which point she is interrupted by a maid questioning her choice.

We soon realise this is Laura the writer who has had to intervene as her character appears to have taken over her story. From here, it’s meta theatre all the way as the characters mutiny and we discuss Austen’s intentions, enact the characters wishes and explore the process of writing in an anarchic, hilarious romp. Laura even takes a call from her producer David, who asks how the writing is going! It’s hugely entertaining, but you do delve into the mind of Austen, her period and the reasons why she may have abandoned the piece.

Sam West has staged it expertly and Ben Stones has created an authentic period design. It’s a big cast for a play and they seem to be having a ball. Grace Molony is lovely as Emma and Louise Ford delightful as Laura the writer. In a uniformly excellent supporting ensemble, Joe Bannister is superb as the timid Osborne, Jane Booker superb as his officious mother, Sophie Duval a treat as bossy Mrs Robert and there’s a very assured performance from Isaac Forward as the ten-year-old Charles.

A real fun evening. Don’t miss.

Read Full Post »

This musical is based on the 1992 debut novel of American writer Robert James Waller. It sold 60 million copies and became one of bestselling books of the 20th Century. He probably couldn’t believe his luck. Clint Eastwood made it into a film three years later, starring himself and Meryl Streep. Jason Robert Brown’s musical adaptation got to Broadway nine years later, and now has its UK premiere at the Menier Chocolate Factory, for which it has received the whole gamut of stars, from five to one; marmite indeed.

The story revolves around Francesca, who left Naples at the end of the Second World War, following American GI Bud Johnson to the US. In the brilliant opening number she tells us her story from wartime loss of boyfriend Paolo, the sea journey to New York and train across the US to her new life in Winterset, Iowa where she becomes a farmer’s wife, bringing up two children. When we join her there, the family head off to the State Fair in Springfield Illinois, where daughter Carolyn is showing her prize steer. While they’re away she meets and falls for National Geographic photographer Robert Kincaid, who’s in town to take pictures of those bridges of the title. It’s a sort of mid-west Brief Encounter!

Jon Bausor’s brilliant design seems to enlarge the Menier space, with three huge barn like doors, onto which images are projected, and two revolves moving us from the main location of the family kitchen to the State Fair, a neighbouring home, the fields outside, one of those covered bridges and a truck on the road, though it’s sometimes a bit noisy, during as well as between scenes, with involuntary movements of furniture occasionally comic (oh, and they need to repair the fridge door!). That aside, it’s a truly evocative design matched by Trevor Nunn’s staging, which flows beautifully.

It seems to me that the different views on the show are probably driven by the score and your attitude to love stories. Well, I’m a sucker for the latter (yes, there were tears again) and I think the lush eclectic Americana score is gorgeous, an antidote to the bland formulaic pop of most contemporary musicals. The songs, and there are a lot of them, maybe a few too many, really do propel the story and develop the characters, keeping just the right side of sentimentality, well, until the very end. I liked the way many of the cast get a number that brings their character briefly to the fore, enabling them to showcase their talents, notably Shanay Holmes and Georgia Brown.

Francesca provides yet another career high for Jenna Russell, as a very different character which she inhabits with conviction and authenticity. She’s well matched by Edward Baker-Duly as Robert, the finest performance I’ve seen by this actor, with a Glenn Campbell like velvet voice which so suited the songs. Dale Rapley provides fine support as Bud and there’s a lovely cameo from Gillian Kirkpatrick as neighbour Marge and an auspicious professional stage debut by the appropriately named Maddison Bulleyment as Carolyn.

Well, I’m with the four star gang. A lovely show staged and performed to perfection. Go and make your own mind up

Read Full Post »

Even though this isn’t a classic Tennessee Williams work, it’s the third major London revival in thirty years – Peter Hall’s with Vanessa Redgrave in 1988, Nicholas Hytner’s with Helen Mirren nineteen years ago, and now Tamara Harvey directing Hattie Morahan and Seth Numrich in a co-production by the Menier Chocolate Factory and Theatre Clwyd. It’s inspired by the Orpheus myth, but it’s an uneven play, with a dull first half and an action-packed second. It’s also not easy for modern audiences to swallow the racism, however authentic it is of the period. The production, though, is first class.

Lady is a southern belle of Sicilian descent. Her father, a street performer back home, came to the US and became a bootlegger in prohibition times. He was murdered when he crossed a line that was unacceptable to the white locals. After a relationship with David Cutere, who left her, Lady ends up marrying store owner Jabe Torrence. As the play begins, he returns from major surgery at the hospital in Memphis, but the prognosis isn’t good.

In comes drifter Valentine Xavier looking for work, and Lady employs him, the sexual chemistry obvious from the outset. The relationship develops whilst Jabe stays upstairs with his nurse and sisters, the locals gossip and David’s sister Carol, a persona non grata in this community, seeks to lure Val for herself. Other characters, including Jabe’s friends Pee Wee and Dog, Sheriff Talbott and his wife Vee and local gossips Beulah and Dolly, come and go and another, Uncle Pleasant, becomes a sort of narrator, who occasionally gives us TW’s stage directions.

The problem with the play is that the 75 minute first half is virtually all scene-setting, and plays out so slowly that it risks losing the audience. The second half is a complete contrast as Lady discovers more about her father’s murder, makes a confession of her own and Val, who just about every woman in the neighbourhood is now smitten by, is driven out of town by their men, as the play is propelled to its tragic conclusion.

With the audience on three sides and just the back of the shopfront as a backdrop and a few tables and chairs for props, the Menier space seems vast, and is used very well in this staging. The ensemble is uniformly outstanding, led by terrific performances from Hattie Morahan as Lady and Seth Numrich as Val, with great chemistry between them. Jemima Rooper is superb as Carol and Carol Royle makes much of the strange character of god-fearing Vee. The supporting roles are all well cast; I was particularly impressed by Catrin Aaron and Laura Jane Matthewson as gossips Beulah & Dolly.

Despite the play’s problems, the fine production and exceptional performances make it worth seeing again.

Read Full Post »

This early David Hare play was first staged at the NT’s Cottesloe Theatre 33 years ago, paired with another called Wrecked Eggs. It’s now flying solo at the Menier in an impeccable production by Richard Eyre with a stunning design by Fotini Dimou, but I’m not sure its substantial enough to hold an evening on its own.

It’s 1955 and Valentina Nrovka has been invited to the Hermitage in St Petersburg to contribute to the debate about the provenance of a painting believed to be by Matisse, who was her friend. Valentina’s daughter Sophia comes too, and much of the play is in fact about their relationship and Sophia’s intention to leave her husband for a much older man, Peter, who also turns up. The personal story, the art and the Soviet state are interwoven to form the narrative.

Valentina is acid tongued and Hare has written some brilliant lines for her, delivered to perfection by Penelope Wilton, so much so that she dominates the piece, a bit like Lady Bracknell does in The Importance of Being Earnest. Ophelia Lovibond provides fine support as Sophia, and David Rintoul as Peter and Martin Hutson as the Assistant Curator give fine cameos, but it’s Wilton’s evening, worth the visit for her masterclass in acting, plus a truly evocative design of a seemingly vast room in the Winter Palace.

Read Full Post »

Older Posts »