Posts Tagged ‘Michael Malarky’

I’m strangely ambivalent about this show. Despite the fact rock & roll pre-dates even me, I remember the shivers of excitement when I visited Sun Studios in Memphis in 2004, thinking of the iconic recordings made in that studio. Nothing like that excitement was evident at this show, though I like the idea of it and admire the execution of it.

The show represents a moment in time when Elvis Presley, Johnny Cash, Carl Perkins and Jerry lee Lewis were together in the studio at a turning point. Presley had already gone to RCA, Cash and Perkins were about to defect to Columbia and Jerry Lee Lewis was newly signed by Sam Phillips, who had discovered the others who were now deserting him. They’re joined by Presley’s then girlfriend and the house band drummer and bassist. I’m not clear how much is true, but reading the programme notes and looking at the song dates, it can’t be entirely true – but what the hell, it’s an excuse to link together 22 rock & roll, country and rockabilly songs.

The performers – Robert Britton Lyons as Perkins, Derek Hagen as Cash, Ben Goddard as Lewis and Michael Malarky as Presley – are exceptional and bassist Gez Gerrard and drummer Adam Riley are a great rhythm section. Fransesca Jackson provides some of the best musical moments (Fever and I Hear You Knocking) as Dyanne. I felt sorry for Bill Ward (Corrie’s dead Charlie) as Sam Phillips, like the perennial bridesmaid lumbered with the only non musical part, but he did well in the circumstances.

When the cast freeze as a photo of the alleged event is projected, there were gasps in the audience and the final mini-concert in be-jewelled jackets with back lighting is great. On the whole though, it didn’t deliver on the excitement front, though it’s fair to say those in the audience for whom it was probably part of the soundtrack of their lives seemed to be having more fun than me – though they couldn’t be enticed to dance, despite much encouragement from the stage.

In the final analysis, its high quality tribute acts framed within the recollection of a moment in time. Not really enough to persuade you to part with £60 (I didn’t, I hasten to add) for a night in the West End.

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What a great pairing this early Eugene O’Neill play is with Tennessee Williams’ Spring Storm, also transferred from Northampton to the National.

The three great playwrights of the 20th century were all American and seeing these two plays reveals the direct line from O’Neill to Williams to Arthur Miller like never before. This was O’Neill’s first full length play, a very assured work that I’m astonished has not been seen here before as in so many ways it betters later work.

The story revolves around two brothers love for the same woman and her unexpected choice, which leads to a tragic turn of events. The one she chooses proves incapable of providing for his family and the one she doesn’t goes to sea so that he doesn’t have to live with the consequences of her choice.

Again, Liz Smith and Michael’s Thomson and Malarkey give absolutely committed and passionate performances and the remainder of the small cast give fine support – particularly Joanna Bacon as a crabby mother / mother-in-law. The staging is impeccable and the design this time is spot on. The final death scene, with the characters not part of the scene observing in silence, was masterly. 

Another deeply satisfying theatrical experience. I think we’ll have to detain Northampton’s director Laurie Sansom here in London – he’s clearly far too good to let go!

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Tennessee Williams wrote this play at University and it lay untouched for the next 60 years until it was first staged in the US in 1996; this is the European premiere. It opened here to rave reviews and for the first 30 mins or so I was wondering what all the fuss was about, but then it began to captivate me.

It covers the usual TW ground – Southern sensibilities, social-climbing, mental illness, alcoholism…. The central character flits between poor macho man – who she loves and who her heart says is Mr Right – and rich wimp – who the family are promoting and who her brain says she should marry. What’s so fascinating is how, from a flawed early work like this, you can see the seeds of genius so clearly. It takes your breath away in the same way as it does when you hear a piece by a very young Mozart – you just can’t believe someone so young can produce something so mature. Of course, what followed were much better plays, but I suspect many playwrights would die happy if this was the pinnacle of their work.

There are some very good performances. I really liked Liz Smith’s energy as heavenly (what a terrific name!) and thought both the male leads – Michael’s Thomson and Malarky-  excelled; this was a very impressive stage debut for Malarky (what must it feel like to have your debut performance go straight to the National!).

I thought it was a huge mistake to have a back curtain on three sides as this required you to suspend disbelief a little more than necessary; in fact, though I appreciate the difficulty of moving from high bluff to home to garden to library,  the design overall was the weak link here. I thought the voice-over stage directions rather quirky – it made it seem like a film – but I can’t say it bothered me.

It’s great to see regional work of this quality being brought to the National. Congratulations to Laurie Sansom for discovering and bringing this play to the UK and thanks to Nicholas Hytner for recognising both the significance and the quality and transferring it to London.

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