Feeds:
Posts
Comments

Posts Tagged ‘national theatre’

Best New Play – The Lehman Trilogy*, The Inheritance* & Sweat*

I find it impossible to choose between these three extraordinary evenings (well, afternoon and evening in the case of the The Inheritance) but they were in very good company with a dozen other new plays in contention. Also at the NT, Home, I’m Darling* and Nine Night* were great, and also at the Young Vic The Convert* became a late addition in December. At the Bush, both Misty and An Adventure impressed (though I saw the former when it transferred to Trafalgar Studios).The remaining London contenders were The Humans at Hampstead Theatre, Pressure at the Park Theatre, Things I Know To Be True at the Lyric Hammersmith and The Wipers Times at the Arts, though these last two weren’t new to London, just me. The Edinburgh Fringe added two, Class* and Ulster American*, both Irish, both at the Traverse and both heading to London, so look out for them. The eight starred are either still running or coming back in 2019, so be sure to catch them if you haven’t seen them already.

Best New Musical – Hamilton*

It opened right at the end of 2017, but I didn’t see it until January 2018 (and again in December 2018). It certainly lives up to the hype and is unquestionably ground-breaking in the same way West Side Story was sixty years before. It was a good year for new musicals, though 40% of my shortlist were out-of-town, headed by Flowers For Mrs Harris at Chichester, with Pieces of String in Colchester, Miss Littlewood in Stratford and Sting’s The Last Ship mooring briefly in Northampton. Back in London, the Young Vic continued to shine with Fun Home and Twelfth Night and the NT imported Hadestown*. Tina* proved to be in the premiere league of juke-box musicals and SIX* was a breath of fresh air at the Arts. Only four are still running, or coming back.

Best Play Revival – The York Realist and Summer and Smoke*

Another category where I can’t split the top two. The former a gem at the Donmar and the latter shining just as brightly at the Almeida. I didn’t see the Old Vic’s glorious A Christmas Carol* until January, so that was a contender too, along with The Daughter-in-Law* at the Arcola and The Lieutenant of Inishmore in the West End. Then there were four cracking Shakespeare’s – The Bridge Theatre’s promenade Julius Caesar, the RSC’s Hamlet with Paapa Essiedu visiting Hackney Empire, Ian McKellen’s King Lear transfer from Chichester, and the NT’s Anthony & Cleopatra* with Ralph Fiennes and Sophie Okenedo. Another four still running / coming back.

Best Musical Revival – Company*

The leanest category this year, with Marianne Elliott’s revival of Sondheim’s Company exceeding expectations; I shall be back at the last night. Chichester brought yet more joy with Me & My Girl and right at the end of the year, the Mill at Sonning came up trumps for the third year running with a great favourite of mine, Guys & Dolls* Finally, The Rink at Southwark Playhouse, the only contender this year from the usually more prolific fringe. Two to catch if you haven’t already.

Theatre of the Year – The Young Vic

Though five of my thirty-seven contenders were at the NT, The Young Vic shone even more brightly with four, all new works. Only four originated in the West End, which further emphasises how crucial the subsidised sector and the regions are. You can still see half of them, but some close soon, so get booking!

Advertisements

Read Full Post »

This is the third year The Mill at Sonning have put a big musical on their small stage, striking gold yet again. It’s amazing how quickly traditions can be established and these shows are already firm seasonal favourites; I now can’t imagine a Christmas without them.

I’ve got a very soft spot for this tale of gamblers, showgirls and the Salvation Army on the streets of 50’s New York City, with a brief visit to the playground that was pre-Castro Cuba. My love of it started at Bristol Old Vic in the 70’s, confirmed by three visits to the iconic NT production in 1982, 1990 & 1996, two to the 2005 Donmar West End revival, the 2015 Chichester production both there and in London, a fine production on the fringe Upstairs at the Gatehouse, in GSMD & LAMDA drama schools and at Wandsworth Prison! It always brings me joy.

The strengths of Joseph Pitcher’s production are the outstanding cast, exceptional musical standards and thrillingly staged scenes in Havana and the sewers of New York. In the opening scene it struggles to conjure the street-life of New York City, but it quickly grows and draws you in to the world of lovable rogues, earnest missionaries and seemingly hopeless relationships. Showstoppers like Luck Be a Lady and Sit Down, You’re Rockin’ the Boat sit alongside comic gems A Bushel and a Peck and Take Back Your Mink and romantic ballads I’ll Know and I’ve Never Been in Love Before. I loved the curtain call with the entire cast dressed in Salvation Army uniform with tambourines.

Stephane Anelli makes a great commitment-phobic Nathan, desperate for a venue for his game, bullied by Big Jule from Chicago when he gets one. Natalie Hope is outstanding as Adelaide, capturing her indefatigable devotion to Nathan, great at both the comedy and the naivety, with a spot-on accent. Victoria Serra excels at the earnestness, drunken dancing and helpless infatuation of Sarah, singing beautifully. Richard Carson has a commanding presence as expert gambler Sky and genuine passion in his pursuit of Sarah. Four fine leads and an excellent supporting cast.

I’m now looking forward to what they dish up in Sonning next year, and to my next Guys & Dolls, wherever that might be.

Read Full Post »

We seem to be going through a phase of filleting and re-ordering Shakespeare’s plays. The Donmar gave us a shortened Measure for Measure, twice in one evening, with gender swops between them. The National’s Anthony & Cleopatra started as it ended. Now the Almeida’s Richard II has lost an hour and nine characters and also brings forward a later scene. Somewhat ironically, this hyper-radical interpretation returns to Shakespeare’s original title. What comes out the other end is a frantic portrait of a country falling apart; not too difficult to identify with that at the moment. Shakespeare purists probably won’t like it; I found it bold, but not without its faults.

Eight actors play the thirteen characters remaining, in a large metal box, designed by ULTZ with excellent lighting by James Farncombe. in contemporary casual clothes. It’s somewhat manic in style, with fast speech and rapid movement and exaggerated gestures. Buckets of water, blood and soil (amusingly, labelled) get poured over characters and more gauntlets get thrown down in anger and challenge than you’re likely to have seen in your entire Shakespeare playgoing experience. There’s not a lot of subtlety, characterisations are weakened, verse loses beauty and the narrative of the play suffers……but it is a gripping 100 unbroken minutes and you can’t take your eyes off the stage.

The cast, led superbly by Simon Russell Beale as Richard, are uniformly excellent, but I didn’t feel Joe Hill-Gibbins production allowed them to get under the skin of their characters and reveal their psychological depth and motivation. I see Richard II as an introverted, introspective king who didn’t want to be king, uncomfortable with power, as most productions convey, and this didn’t come over here. Though I respect and admire the audacity and creativity, I didn’t find it entirely satisfying. It was a bit like watching the Tory party tearing itself and the country apart, and I’d done that before I got to the theatre that day, and indeed every other day at the moment.

Read Full Post »

Anais Mitchell’s take on the Orpheus & Eurydice myth is more gig theatre than musical, a brilliantly realised song cycle that fills the Olivier Theatre, maybe the first pinnacle of this new genre.

Rachel Hauck’s brilliant set is part jazz club, part factory, with the band on three tall sections which come apart, and the necessary deep pit for Hades, all superbly lit by Bradley King. Hermes is our MC / narrator, both playful and sinister. The Fates are like a 60’s girl group, slithering sexily around the space. The ‘workers’ are a chorus in both senses of the word, musical and Greek. The seven-piece band plays the jazz influenced score superbly.

Within all of this, the story seems incidental, and I found myself admiring the exceptional score and imaginative stagecraft of Rachel Chavkin’s production more than I did engage with it; I felt no emotional involvement with the doomed couple, perhaps in part because the performances, though musically accomplished, lacked passion. Hades had a compelling malevolence though, and Persephone a cheeky decadence, but Hermes was the one who drew you in.

Eva Noblezada sings beautifully, but she lacked credibility as a modern day Eurydice and Reeve Carney was more pop singer than contemporary Orpheus. Patrick Page’s deeper than deep bass alone was enough to characterise Hades and Amber Gray felt truly captured as Persephone. Andre De Shields as Hermes our narrator though was the star of the show for me. Above all, it’s the music that shines, a fantastic score which leaves you wanting more.

With the leads and creative team all imported, I do worry about our subsidised stages being used as Broadway try-outs, but perhaps I should just be glad we get to see it first, and cheaper!

Read Full Post »

Nina Raine’s new play concerns a woman’s attempts to have a child before its too late. Her younger husband Tom leaves her in her late thirties, not wanting the child she does, and she begins to navigate the world of sperm donation. Though it covers a lot of serious issues, it’s an entertaining ride.

Anna approaches many of the men she knows and some she doesn’t, straight and gay, old and young, mostly single, but to no avail. They either decline or agree then subsequently change their minds. She even looks at buying sperm from an online catalogue featuring donor photos and key information like intelligence scores. She discusses options with her family and friends. As time goes on, desperation sets in. We learn a lot about the different options, and issues like ongoing involvement of the donors and the child’s rights.

At first I thought she might be taking the subject lightly, but serious issues are covered well, most notably in a very moving scene where she visits an adult with an anonymous donor father to see things from the child’s perspective. The psychological and emotional strain on women of late child-bearing age wanting children has bern covered before, most recently in the Young Vic’s harrowing contemporary take on Yerma, but this is more specifically about sperm donation, and much lighter in tone, yet just as serious in its own way.

Claudie Blakley is excellent as Anna, on stage virtually the whole time. The rest of the adult cast play two or three roles, with Sam Troughton giving a virtuoso performance as husband Tom and no less than five potential donors, changing character with the turn of the head or a hand brushed through the hair. It’s a simple traverse staging, with characters and props coming from the other two sides and it’s very well paced, the playwright directing.

This is the fourth Raine play tackling important contemporary issues very effectively whilst at the same time providing entertaining, satisfying drama. Well worth a visit.

Read Full Post »

David Hare can’t complain about his share of the National’s stages; this is his 17th play to premiere there. Over more than thirty years, he’s put up a mirror to Britain, from foreign press barons in Pravda (co-written with Howard Brenton), through institutions like the church and judiciary, politics, finance, war, rail privatisation and the Labour Party. Now he combines Labour and the NHS for his latest.

We follow Pauline Gibson from just before she goes to University through her work as a hospital doctor to standing and being elected as a single issue MP and the possibility of her bid to lead the Labour Party. Her university friend and sometime lover Jack takes a different path, following in his fathers footsteps as a career politician; he also has his eyes on the party leadership. Along the way a lot of other issues, both health service and party related, are brought in, most notably Pauline’s childhood, where her father’s abuse of her mother and her mother’s health loom large.

I felt that Hare lost focus by trying to cover too much (this may be a late career phenomenon, as Alan Bennett has done the same of late) and I feel that the premise that the Labour Party would elect someone who had only just joined and is still an independent MP is implausible. That said, it emphasises the political importance of the NHS, the Labour Party’s apparent aversion to female leadership and how it puts inward-looking concerns above the pursuit of power very well.

The three central roles are exceptionally well acted by Sian Brooke, Alex Hassell and Joshua McGuire as Pauline’s representative Sandy. I loved the humour of the press conferences and the projection of close-ups of the faces of those interviewed onto the walls of the revolving room which represents every location. Hare’s dialogue sparkles and there’s much humour. I wondered whether an Australian director like Neil Armfield brought more objectivity to it, but did not reach a conclusion.

Flawed perhaps, but well worth a visit nonetheless.

Read Full Post »

This play was made for a stage like the Olivier and Simon Godwin’s excellent production, superbly designed by Hildegard Bechtler, makes great use of the space. Add in a set of great performances and you have a fine A&C.

It’s modern dress but feels timeless. They make great use of the revolve and drum to create some strikingly different settings from Rome to Alexandria and at sea. It starts tentatively, but when it gets into its stride it’s captivating, with the political & military and the relationships given equal attention and sitting comfortable together. Intimate scenes between Anthony and Cleopatra and battle scenes at sea and on land both work superbly, and Michael Bruce’s music adds much to the atmosphere.

Sophie Okonedo’s Cleopatra is very much in control, feisty and determined, but palpably in love with her man. She shows us many facets of Cleopatra in a passionate performance which swept me away. Ralph Fiennes has great presence as Anthony and also shows us a multi-faceted character who’s clearly torn between his loyalty to Rome and his love of Cleopatra, and when he’s with her he behaves like he’s the luckiest man in the world. There are so many fine performances around them that it’s impossible to mention them all; an excellent ensemble indeed.

When you have a bit of a Shakespeare habit, as I do, it’s rare to see something as fresh as this. Terrific.

Read Full Post »

Older Posts »