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Posts Tagged ‘Nathan Lane’

When I first saw these Tony Kushner plays 24-25 years ago, in the NT’s Cottesloe auditorium, there was a gap of more than a year between them; the second play, Perestroika, hadn’t been written when the first, Millennium Approaches, opened. I saw both parts of the only London revival, Headlong at the Lyric Hammersmith ten years ago, in one day, but then it seemed like recent history. I repeated that experience at the latest revival in the National’s Lyttelton theatre on Wednesday, but now ‘the AIDS plays’, as many called them, feel like much more than that, and in so many ways bang up-to-date.

Prior and Louis are a gay couple; the former hails from early English immigrants and the latter from more recent Jewish immigrants. Pryor has AIDS and his close gay African-American friend Belize is an AIDS nurse, who is reluctantly looking after a racist, homophobic, corrupt Jewish lawyer called Roy Cohn, who disguises his condition as liver cancer. Roy’s protege, object of his desires, and possible sexual partner, is a closeted Mormon called Joe, whose agoraphobic, depressive wife Harper and Mormon mom Hannah, who becomes Pryor’s unlikely friend, are also characters. Joe begins a relationship with Louis when the latter deserts his sick lover. Roy M Cohn was a real person, right-hand man to chief witch-hunter Senator Joe McCarthy, and sometime lawyer to Donald Trump, representing him in the now infamous racist rental case, who appears to have been a mentor, even role model, to the current president. Of course, it’s set in the reign of that other celebrity president Ronald Regan, but in lines written 26 years ago, we hear things we heard last year.

Marianne Elliott’s new staging starts intimately, with scenes stage front on small sets on three side-by-side revolves. This continues for two of the three parts of the first play and, though emotionally engaging, wasn’t as epic as I remembered, and for someone who needs visual as well as narrative stimulation, constituted a slowish start. From here, though, it opens out with small scenes in a giant space giving the epic feel I expected, with scenes in the second play changed by the Angel’s spider-like puppeteers crawling eerily. It fully sustained it’s 6.5 hour playing time, over a 10 hour period, to the point where the gaps felt like waiting time during which you became impatient to return. The inclusion of two intervals in each part was the right decision though.

It’s hard to imagine a better cast, packed full of favourite actors. I first saw a very promising Andrew Garfield eleven years ago in another theatre in the same building, but I had no idea he would grow into the extraordinary talent that plays Prior now. I’ve admired James McArdle’s stage work for years, most notably as King James, also next door, but his Louis is a new career high. Russell Tovey first wowed me at the opening night of The History Boys on the same stage and here he is owning it in a more difficult role as introspective Joe, whose eventual emotional explosions take your breath away. I’ve only seen (and loved) Nathan Lane in The Producers, so watching him create the monster that is Roy Cohn was a revelation. I’ve seen little of Nathan Stewart-Jarrett’s work, but now can’t wait to see more; he brings Belize alive by wordless facial expressions, then adds a delicious bite with his dialogue. Denise Gough continues to impress in another tough role in the shadow of so many larger-than-life characters, her restraint amplifying the emotional outbursts. In addition to Hannah, who Susan Brown navigates from conservative Mormon to loving friend, she plays three men – a Rabbi, a doctor, and an old Bolshevik – plus the ghost of Ethel Rosenberg, one of Roy Cohn’s victims, in a series of terrific performances. The ever wonderful Amanda Lawrence gives us our Angel, but also many others in another set of fine turns. What an ensemble.

When I look back at my lifetime of theatre-going, this will be another of those days that justify my obsession with the stage. No other art form could provide such a dramatic feast that leaves you exhausted and emotionally drained, but energised, thrilled and deeply satisfied at the same time. I woke up the following morning feeling completely blessed.

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A musical based on a 2500-year-old Greek play featuring Shakespeare and G B Shaw as characters to be staged in a swimming pool. Well, you have to admire the ambition of Bert Shevelove and Stephen Sondheim. This later version was meant for theatres and here we are getting the UK professional premiere at Jermyn Street Theatre more than twenty years after Broadway and more than forty years after the Yale original.

Sondheim appears to have only contributed choruses to the Yale show, perhaps as a favour for Shevelove as by now he’d had success with Company, Follies and A Little Night Music, but wrote extra songs for Nathan Lane’s revision. The Yale original is now probably just as famous for featuring actresses Meryl Streep & Sigourney Weaver and playwright Christopher Durang in the cast.

It’s faithful to Aristophanes in that Dionysos, the god of drama, decides that there’s a desperate need for good dramatists and heads off to Hades to bring back George Bernard Shaw. He meets Shakespeare there too and decides to stage a contest to choose between them (Euripides and Aeschylus in the original). Unsurprisingly, Shakespeare beats the old windbag (Aeschylus wins in the original) and returns with Dionysos. A simple story, but with a timeless theme of the importance of the arts.

Lane’s version is a bit of a romp and, though far from Sondheim’s best score, there are some nice tunes and witty lyrics to propel the story, with cheeky contemporary references which delight. It’s well staged by Grace Wessels, with great use of Jermyn Street’s tiny space and nifty movement from Tim McArthur. The fun that the cast of just nine, let by Michael Matus as Dionysos and George Rae as his sidekick Xanthias, are clearly having is infectious and the musical standards under MD Tim Sutton were particularly high.

An unmissable opportunity for Sondheim fans. 

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