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Posts Tagged ‘Miranda Cromwell’

I love plays which make connections between people, periods, places and events to present a bigger picture. Winsome Pinnock’s new play places Turner’s painting ‘Slaver’s Throwing Overboard the Dead & Dying – Typhoon Coming On’, more commonly known as ‘The Slave Ship’, at the centre, from which we move back and forth unravelling the connections.

We see black school-kids and their teacher studying the painting in a gallery and an actress researching and filming something inspired by the painting, to the period and events it depicts. Characters like a schoolboy and the actress are deeply affected by what they have viewed. The play’s key point, the impact of these historical events on descendants living today, is made explicitly clear at the end.

Pulling off such an audacious piece of theatre requires clarity in the staging, but I didn’t feel that was the case here. I’m afraid I thought Miranda Cromwell’s production was more confusing than clear, and difficult scenes like a historical ballroom dance and dancing at a contemporary party happening simultaneously don’t get the deft staging they need to work.

Most of the talented cast play two or more roles, which works perfectly well. On the night I went, Paul Bradley was indisposed and Lloyd Hutchinson (not an understudy) played the roles of Turner / Roy, script in hand, remarkably well. The staging in-the-round facilitated speedy changes of scene, with some remarkably speedy changes in costume!

I thought it was well written, making an interesting point that people like me may not have hitherto understood and may need to hear, but its impact was marred by the production, which may have benefitted from a more experienced director.

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It’s seventy years since this iconic American play first appeared on Broadway, the second of Arthur Miller’s four big hits between 1947 and 1955, and it’s forty years since I first saw it in Michael Rudman’s production for the NT, with Warren Mitchel’s revelatory award-winning performance as Willy Loman. For some reason, I’ve only seen it a few times since, less than the other tree. It’s a timeless piece, and now Marianne Elliott & Miranda Cromwell have breathed new life into it, in an extraordinary revival at the Young Vic.

Most productions focus so much on Willy Loman and his late career meltdown that they ignore the greater sweep of family tragedy and its many layers. Willy is indeed burnt out by a relentless life on the road. When he tries to get his employer to let him return to base, he gets fired. His loyalty and service mean nothing to the son of the man who hired him, and his mental health declines, but added to his woes are the fact that his sons have been disappointments, Biff a failed sportsman who ended up as a farm labourer, Happy a womaniser with a low level job. His wife Linda struggles to manage the tensions and keep the peace. Their neighbour Charley, whose son, a contemporary of Biff, is a successful lawyer, loans them money to keep them afloat. Flashbacks to times past include Willy’s visits to his mistress, once witnessed by Biff, and there are imaginary conversations with his dead Uncle Ben, both interspersed with the family saga’s inevitable progress to its tragic conclusion.

In this production, the Loman’s are a black Brooklyn family and this adds another layer but changes nothing. Wendell Pierce is outstanding as Willy, navigating this emotional roller-coaster of a role with great skill. Sharon D Clarke’s Linda loves her man and her boys but shares his disappointments and frustrations; as stunning a performance as we’ve become used to from this fine actress. Arinze Kene and Martins Imhangbe are simply terrific as Biff and Happy, trying but failing to please, carrying their own disappointments on their shoulders. They are supported by another eight performances in a fine ensemble, including superb cameos from Joseph Mydell as Uncle Ben and Matthew Seadon-Young as Willy’s young employer Howard. Femi Temowo’s music adds much, particularly with fine singers like Sharon D Clarke and Arinze Kene in the company. Anna Fleischle’s design serves the play well.

The unofficial Miller mini-fest reaches it’s pinnacle here with a revival that’s too good to see only once. I’ll be back!

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