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Posts Tagged ‘Monster Raving Loony’

This is the third new play by the prolific James Graham in four months, the other two (Ink & Labour of Love) still running in the West End, perhaps soon to become a trio with this. He’s cornered the market with recent history plays and what I love most about his work is that he recalls history you’ve lived through, illuminates and educates, but never forgets to entertain.

This has stylistic similarities with his underrated Monster Raving Loony, where he used British comedy shows to tell the story of that indispensable political party led by Screaming Lord Sutch. Here, the focus is on the Who Wants To Be A Millionaire cheating scandal through the history of quiz shows, with examinations of the psychology of, and motivation for, participation and that very British obsession with fairness and equality along the way. It’s got the same playfulness (an audience quiz, with prizes, voting and even participation) and sense of fun, enhancing the storytelling and guaranteeing the entertainment.

We move from the creation of ITV, it’s earlier game shows and the pitch for this one to the entry and preparation by a network of very determined and thorough individuals to the show itself and the court case which followed, which itself became a bit of an entertainment in a life-imitates-art sort of way. It was fascinating on so many levels and always entertaining. Robert Jones’ terrific set takes you right into the TV studio, but also becomes the court and other locations. Lights, music, live projection and recorded video all add to the authenticity.

Gavin Spokes and Stephanie Street are excellent as the Ingram’s, the couple at the centre of the storm that became an (untelevised) courtroom drama and international media circus. Nine other actors play over forty roles between them, from three to seven each. Keir Charles gets to be Chris Tarrant, Des O’Connor, Jim Bowen, Leslie Crowther and Bruce Forsyth in quick succession; five terrific turns! We even get a Corrie cameo to illustrate a question, with Sarah Woodward and Nadia Albina bringing the house down as Hilda Ogden & Elsie Tanner respectively. The audience voted on their guilt twice and the verdict changed from one to the other, as it had in the vast majority of previous shows (but not me!)

Daniel Evans’ production zips along, captivates and entertains, but you also get an intriguing story within a frame of recent social history, this time popular culture. The return trip to Chichester was twice as long as the play, but it was well worth it.

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Over 150 shows were candidates for my four award-less awards, with Best New Play the difficult category this year, so lets start with that.

BEST NEW PLAY – LOVE – National Theatre

Over a third of the sixty-five candidates were worthy of consideration, which makes 2016 both prolific and high quality in terms of new plays. Hampstead had a particularly good year with Rabbit Hole, Lawrence After Arabia, Labyrinth and the epic iHo all in contention. The Almeida gave us three, with Boy leading the trio that included They Drink It In The Congo and Oil because of its importance and impact. The Globe’s two Kneehigh shows – 946: The Amazing Story of Adolphus Tips on the main stage & The Flying Lovers of Vitebsk in the Sam Wanamaker Playhouse – both delighted. Two more Florian Zeller plays, The Mother and The Truth, followed The Father and proved he’s a real talent to watch. The visit of Isango again, this time with play with songs A Man of Good Hope was a treat.

The Arcola gave us Kenny Morgan, which showed us the inspiration for Terence Rattigan’s The Deep Blue Sea, the Donmar a fascinating One Night in Miami, the Orange Tree hosted the superbly written The Rolling Stone and Dante or Die’s site-specific Handle With Care had an epic sweep in its self storage unit setting. Two comedies shone above all others – James Graham’s Monster Raving Loony and Mischief Theatre’s The Comedy About A Bank Robbery, the only West End non-subsidised contender! The Royal Court provided the visceral Yen and The Children, my runner-up, another fine play by Lucy Kirkwood whose Chimerica was my 2013 winner. Of the National’s three, The Flick and Sunset at the Villa Thalia came earlier in the year, but it was LOVE at the end which made me sad and angry but blew me away with more emotional power than any other. Important theatre which I desperately hope many more people will see.

BEST REVIVAL / ADAPTATION of a play – The Young Vic’s YERMA & the National’s LES BLANCS

I’ve added ‘adaptation’ as a few steered a long way from their source, and Les Blancs could be considered a new play, but it’s just new to us.

Though I saw forty-four in this category, less than a quarter made the short-list. The best Shakespeare revival was undoubtedly A Winter’s Tale at the Sam Wanamaker Playhouse. As well as Les Blancs, the National staged excellent revivals of The Deep Blue Sea and Amadeus, the Donmar chipped in with the thoroughly entertaining comedy Welcome Home, Captain Fox and in Kingston The Rose revived Arthur Miller’s All My Sons, probably the best use ever of this difficult space. Beyond that I was struggling, except to choose between the two winners, which I found I couldn’t and shouldn’t do.

BEST NEW MUSICAL – GROUNDHOG DAY – Old Vic Theatre

Has a shortlist ever been so short? Only twenty contenders but only three in contention. The Toxic Avenger at Southwark Playhouse was great fun and the NYMT’s Brass visiting Hackney Empire hugely impressive, but it was achieving the seemingly impossible by turning Groundhog Day into a hugely successful musical than won the day, though it was sad to see it head stateside, presumably in pursuit of greater commercial gain, after such a short run. I know it will be back, but that doesn’t make me feel any better about a British theatrical institution and a whole load of British talent being used as a Broadway try-out. 

BEST MUSICAL REVIVAL – HALF A SIXPENCE – Chichester Festival Theatre / Novello Theatre

Fifty percent more revivals (twenty-nine) than new musicals is a lower proportion than usual, but a winner has never been clearer. 

The Menier gave us a transatlantic transfer of a great Into the Woods and what may prove to be the definitive She Loves Me, but both the Union and Walthamstow’s Rose & Crown provided twice as many quality revivals, with the latter successfully climbing higher peaks with more challenging shows for a small space – Bernstein’s Wonderful Town, Out of This World, Babes in Arms and Howard Goodall’s The Kissing Dance. The Union’s contributions included The Fix and Children of Eden and a trio of cheeky, fun nights with Bad Girls, Moby Dick and Soho Cinders. The Southerland-Tarento partnership provided a brilliant revival of Ragtime and the welcome European premiere, and superb production of, Rogers & Hammerstein’s Allegro (which was also too old for me to categorise as ‘New’). A little gem came and went ever so quickly when the Finborough revived Alan Price’s lovely Andy Capp in it’s Sun-Tue slot on the set of another play. BRING IT BACK! Despite all this fringe and off west end quality, it was the Chichester transfer of an old warhorse with a new book, new songs, thrilling staging, stunning choreography, gorgeous design and terrific ensemble which propelled itself to the top of this category.

That’s it for another year, then. Homelessness, childlessness, timelessness, colonialism and love amongst the working class. There’s a theme there somewhere…..

 

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