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Posts Tagged ‘Open Air Theatre Regents Park’

Best New Play – Violence & Son / Iphigenia in Splott

What a bumper year for new plays. I saw more than 80 and almost half of these made it onto the long list. The final cut saw a very diverse bunch competing. At the NT, a brilliant adaptation of Jane Eyre and a stunning ‘mash-up’ of three D H Lawrence plays as Husbands and Sons, a very radical adaptation of Everyman, the somewhat harrowing People Place & Things, the highly original Rules for Living and the expletive-loaded Mother*****r With the Hat. Two ‘minimalist’ Mike Bartlett contributions – Bull at the Young Vic and Game at the Almeida, both original and hugely impressive. The Young Vic also staged Ivo van Hove’s stunning Songs From Far Away. The Royal Court gave us Martin McDonough’s black comedy Hangman, Debbie Tucker Green’s distressing hang and a play about the NHS, Who Cares?, which took place all over the theatre. At The Donmar, Temple was a more conservative but beautifully written piece about the impact of Occupy outside St. Pauls on those inside. The Bush surprised with The Royale, a play about boxing, my least favourite sport, and The Arcola hosted one about rugby, the deeply moving NTW / Out of Joint verbatim collaboration, Crouch Touch Pause Engage as well as the lovely Eventide and Clarion. Jessica Swale graced the Globe with another superb historical play, Nell Gwynn, with the lovely Farinelli & the King next door in the Sam Wanamaker Playhouse. I was much more positive than most about Future Conditional, a topical analysis of our broken education system, which kicked off the new regime at the Old Vic. Elsewhere in the West End only Photograph 51, Taken at Midnight (from Chichester), Oppenheimer (from Stratford) and Bad Jews made the cut. The Park continued to make itself indispensable with The Gathered Leaves and Theatre 503 punched above its weight with Rotterdam, a sensitive and very funny exploration of transgender issues. Southwark Playhouse found one of the best Tennessee Williams’s rarities, One Arm. Earlier in the year, Hampstead gave us the very underrated Luna Gale and topped this with Ian Kelly’s Mr Foote’s Other Leg, and even the late Arthur Miller was a candidate with the belated world premiere of his first play No Villain, but it was Gary Owen’s contributions that pipped everyone else at the post – Violence & Son, a striking modern family drama at the Royal Court Upstairs, and Iphigene in Splott, a Greek adaptation (but radical enough to be considered a new play) which packed more punch than most in a year abundant with Greek adaptations, which started in Cardiff and toured via the Edinburgh fringe ending up at the NT’s temporary space.

Best Revival – Les Liasons Dangereuses

I saw half as many revivals as new plays, and only a quarter of them made the long list. The best Shakespeare’s were both at the Young Vic – a shockingly modern Measure for Measure and a dance-drama Macbeth. The best of the Greeks were the Almeida’s Orestia and Stratford East’s Antigone, which out-shone the high profile Barbican-Van Hove-Binoche one. The Donmar pitched in with Patrick Marber’s Closer, embarrassingly better than his NT contributions this year, though the NT did shine with both Our Country’s Good The Beaux Stratagem, with particularly good use of music. The Globe gave us a very quick revival of Heresy of Love and the Open Air Theatre’s adaptation of Peter Pan was a triumph, but it was the long-overdue revival of Christopher Hampton’s masterpiece that ended the year with a theatrical feast.

Best New Musical – Bend It Like Beckham

Of the 50 musicals I saw in London, only 40% qualify as New Musicals and only seven made the final cut. I very much enjoyed wallowing in the nostalgia of both Carole King’s biographical Beautiful and the brilliantly staged Bert Bacharach compilation What’s It All About? (renamed Close to You for the West End). Xanadu was a hoot at Southwark Playhouse, which also hosted the very original Teddy, and the ever reliable Union pitched in with Spitfire Grill and The White Feather, a winner in any other year I suspect. Kinky Boots was great fun, but it was Howard Goodall’s brilliant Bend It Like Beckham, the a feel-good triumph which I’m about to see for the third time, that brought a breath of fresh air and a new audience to the West End.

Best Musical Revival – Grand Hotel

A better hit rate for musical revivals, with half of the 30 I saw in contention. The year started with a stunning revival of City of Angels which benefitted from the intimacy of the Donmar and ended with a very rare revival of Funny Girl which didn’t benefit from the intimacy of the Menier (but was still a highlight, and which I expect to be better at the Savoy, which hosted Gypsy which is also on on the list). It took two attempts to see the Open Air’s thrilling Seven Brides for Seven Brothers, but well worth the return on a dry evening. Ye Olde Rose & Crowne in Walthamstow gave us notable revivals of both Face the Music and Bye Bye Birdie and the Landor chipped in with Thoroughly Modern Millie. A rare treat at the Royal Academy was Michel Legrand’s Amour and a unique experience at Belmarsh Young Offenders Institute where Pimlico Opera staged Our House with the residents and Suggs himself. I missed the same show at the Union, but did make three other revivals there – Whistle Down the Wind, Loserville and most especially Spend Spend Spend, my runner up. However, Thom Sutherland’s production of Grand Hotel at Southwark Playhouse was as close to perfection as you can get and made me look again at a show I had hitherto been underwhelmed by, and that’s what makes it the winner.

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It took me two visits to get to see this right through; on Wednesday, we hadn’t even Gone Courtin’ before rain stopped play. Boy am I glad I went back, on what turned out to be a glorious Friday evening. This is such fun.

They probably didn’t blink an eye at the dubious sexual politics when the film came out in 1954. Some might have been a touch offended by the sexism and misogyny when it hit the stage in 1982. Today it just seems nostalgic for less politically correct times and all in fun!

Adam’s courtship of Milly lasts an implausible five minutes. He’s come to town to do some trade and bags himself a wife while he’s at it. He doesn’t tell her about his six brothers though, so when she finds out their marriage gets off to a rocky start, but Milly soon sets about civilising the uncouth mob, coaching them in courtship and taking them to the town dance where each is fancied by a girl, much to the consternation of the local lads. Girls is sparse in these lands.

Back home’ pining for their new loved ones, Adam suggests that the boys kidnap them. When they return with their hostages, Milly kicks off, resulting in Adam heading off to spend the winter in the hills. By spring, the girls are intent on staying, but the townsfolk turn up with other ideas. A clever ruse ensures the girls get their guys and Adam and Mlliy are reconciled, with an addition to the family, in time for the customary happy ending.

The stage is surrounded by trees (extra ones supplementing the real ones), on which designer Peter Mackintosh has placed two large buildings which transform from town square shops to home & barn brilliantly. Director Rachel Kavanagh uses the auditorium to great effect, with a coup d’theatre in the second half. Gareth Valentine’s new orchestrations are terrific and the band sounds great. It’s lovely to see two favourites like Alex Gaumond and Laura Pitt-Pulford in the lead roles and they both deliver with bells on. The large ensemble is uniformly excellent.

The Open Air Theatre again proves its versatility, turning itself into Oregon for a right old hoedown. Last week. Don’t miss!

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Nothing beats the Open Air Theatre in Regents Park on a lovely summer evening and when the show benefits from the combined imaginations of directors Timothy Sheader & Liam Steel and designer Jon Bausor magic can actually happen. This captivating re-imagining of Peter Pan fits perfectly in the OAT and magic it certainly is.

The story starts in a First World War army hospital. The Llewelyn boys, who inspired J M Barrie, may have been in one. A nurse finds a copy of the book under the pillow of a patient and begins to read it. She becomes Wendy and two of the patients John & Michael Darling and so the adventure begins, as Peter Pan whisks them away to Neverland.

The staging is extraordinary and the characterisations wonderful. Things like beds, bedding and floorboards transform into locations, props and creatures, characters emerge from nowhere and everywhere, Tinkerbell is a fabulous puppet creation and the flying is thrilling. A singer comes and goes with lovely renditions of WWI songs. Before you know it, we’re back in the hospital, packing up at the end if the war, but in between you are captivated by Peter’s adventures with the lost boys amongst the pirates, in a timeless lo-tech marvel.

Hiran Abeysekera is a charming and athletic Peter and Kae Alexander a loving nurse and a delightful Wendy. Beverly Rudd is a great old school hospital matron before she transforms into a hysterically funny Smee. All of the adult actors playing boys are terrific but I had a soft spot for Thomas Pickles’ Slightly. As an ensemble they are much more than the individual performances; a real team of boys and a group of hapless pirates.

I loved every moment of this show, which ended poignantly with much of the audience (well, me, anyway) in tears as the great war ends. It was greeted by a fully justified spontaneous standing ovation. I’ve had countless great evenings at the OAT but none have bettered this. Ends this week, but must surely return next year.

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Best New Play(s) – The James Plays

First up its plays, new ones, and when I counted I was surprised to find I’d seen 75 of them, including a pleasing half-dozen at the NT. My long list only brought that down to 31 so I had to be real hard to get to the Top Ten short-list of Versailles at the Donmar, Good People & Wonderland at Hampstead, Wet House at Soho, The Visitors at the Arcola (now at the Bush), 1927’s Golem at the Young Vic and 3 Winters & The James Plays from the National Theatre of Scotland at the NT – a three-play feast which pipped the others at the post.

Best Revival (Play) – shared by Accolade and My Night With Reg

I saw fewer revivals – a mere 44! – but 18 were there at the final cut. The Young Vic had a stonking year with Happy Days, A Streetcar Named Desire & A View From a Bridge, the latter two getting into my top ten with the Old Vic’s The Crucible, the Open Air’s All My Sons (that’s no less than 3 Millers) the NT’s Medea, Fathers & Sons at the Donmar, True West at the Tricycle and the Trafalgar Transformed Richard III. In the end I copped out, unable to choose between My Night with Reg at the Donmar and Accolade at the St James.

Best New Musical – Made in Dagenham

I was a bit taken aback at the total of 25 new musicals, 10 of which got through the first round, including the ill-fated I Can’t Sing, Superman in Walthamstow (coming soon to Leicester Square Theatre) , In the Heights at Southwark and London Theatre Workshop’s Apartment 40C. I struggled to get to one from the six remaining, which included the NT’s Here Lies Love and five I saw twice – Dirty Rotten Scoundrels, Dogfight at Southwark, Hampstead’s Kinkfest Sunny Afternoon and Dessa Rose at Trafalgar Studio Two – but eventually I settled on a great new British musical Made in Dagenham.

Best Revival (Musical) – Sweeney Todd in Harrington’s Pie Shop, Tooting

An extraordinary year for musical revivals with 38 to choose from and 22 serious contenders including 7 outside London (two of which I short-listed – Hairspray in Leicester and Gypsy in Chichester) and not one but two Sweeney Tood’s! Difficult not to choose Damn Yankees at the Landor, a lovely Love Story at the Union, more Goodall with the NYMT’s The Hired Man at St James Theatre, Blues in the Night at Hackney, Sweeney Todd at the ill-fated Twickenham Theatre and Assassins at the Menier, plus the Arcola’s Carousel which was so good I went twice in its short run. In the end though, expecting and accepting accusations of bias, I have to go for the other Sweeney Todd in Harrington”s Pie Shop here in Tooting – funnier & scarier, beautifully sung & played and in the perfect location, bringing Sondheim to Tooting – in person too!

Best Out of Town – National Theatre Wales’ Mametz

I have to recognise my out-of-town theatregoing, where great theatre happens too, and some things start out (or end up!). The best this year included a superb revival of a recent Broadway / West End show, Hairspray at Leicester Curve, and one on the way in from Chichester, Gypsy, which I will have to see again when it arrives……. but my winner was National Theatre of Wales’ extraordinary Mametz, taking us back to a World War I battle, in the woods near Usk, in this centenary year.

Best Site Specific Theatre – Symphony of a Missing Room (LIFT 2014)

Finally, a site specific theatre award – just because I love them and because it’s my list, so I can invent any categories I like! Two of the foregoing winners – Sweeney Todd and Mametz – fall into this category but are  now ineligible. The two other finalists were I Do, a wedding in the Hilton Docklands, and Symphony of a Missing Room, a blindfolded walk through the Royal Academy buildings as part of LIFT, which piped the other at the post.

With some multiple visits, 2014 saw around 200 visits to the theatre, which no other city in the world could offer. As my theatrical man of the year Stephen Sondheim put it in the musical revival of the year – There’s No Place Like London.

 

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Whenever I see this Gershwin ‘show’ I’m always amazed that it made it to Broadway in the 30’s – an all-black cast, sex, drugs, murder and racism on stage 80 years ago! Every time it’s produced, we get the same debate about whether it’s an opera or a musical – it was probably the first ever ‘crossover’ piece – classical, jazz, blues, spiritual….In both ways, such a ground-breaking show. This is my fourth P&G, after Trevor Nunn’s ‘opera’ at Covent Garden in 1992, his ‘musical’ at the Savoy in 2006, Cape Town Opera’s ‘opera’ here in London in 2012 and now a ‘musical’ again, this time adapted by Suzan-Lori Parks & Diedre L. Murray, at the Open Air Theatre on a gorgeous warm evening that could have been in the American south where its set.

The fishing community of Catfish Row are unsettled by the arrival of Bess, a woman of dubious morals with a drug habit fueled by city boy Sporting Life and her bullying boyfriend Crown, who kills Robbins over the result of a crap game. Disabled Porgy falls for Bess who responds to his overtures, naively thinking Crown is going to let her go. When Jake doesn’t return from fishing in a storm, his wife Clara recklessly goes to find him only to be lost too, leaving their new child an orphan. Bess agrees to turn over a new leaf and bring up their baby, but Crown and Sporting Life have other plans. Porgy deals with Crown, but Sporting Life is still around to scupper Bess’ plans.

The first half is a touch slow and ponderous, despite the presence of gorgeous songs like Summertime and I Got Plenty Of Nothing, but it really takes off in the second half, with more great songs like It Ain’t Necessarily So and much more drama. In this production, the staging of the storm scene is outstanding and Bess’ struggle with drink and drugs realistically played with great sensitivity by Nicola Hughes. It also creates a real sense of a community struggling but surviving by sticking together and supporting one another. The staging of Porgy’s final exit is masterly. Timothy Sheader’s very physical production, with Liam Steel’s stylised movement, are highly effective.

I don’t know why they have imported all three male leads from the US (a co-production?) but they are all good – a positively scary Crown from Phillip Boykin, a slick and slimy Sporting Life from Cedric Neal, and a deeply empathetic Porgy from Rufus Bonds Jr. Sharon D Clark gives us another acting masterclass as Mariah and there are excellent performances from Leon Lopez and Jade Ewen as Jake and Clara and Golda Rosheuvel as Serena. I’m still not sure what to make of designer Katrina Lindsay’s giant metallic cliff backdrop, but as it got dark and Rick Fisher’s lighting made it change colour, which changed the mood, it did look pretty. There’s a decent size 14-piece orchestra, though the sound was sometimes a touch harsh, particularly the first half voocals.

Great to see this landmark show again, feeling very a home in the Open Air Theatre. Not to be missed, I’d say.

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Timothy Sheader made a brave decision when he introduced 20th century classics to the Open Air Theatre, but boy has it paid off. The Crucible led the way, Lord of the Flies & To Kill a Mockingbird confirmed his wisdom and now All My Sons proves conclusively that this space can be great for modern drama as well as Shakespeare and musicals. Set over one day, the onset of natural darkness co-incides with the heightening of the drama – and for once planes flying overhead have some connection with what’s happening onstage!

Arthur Miller’s play is based on a true story and is influenced by both Greek tragedy and Ibsen’s The Wild Duck. It centres on the post-war all-American suburbia of the Keller family. Son Larry went missing in action towards the end of the war and son Chris now works with his dad Joe in the family engineering firm. Joe’s former business partner Steve is in prison for allowing faulty aircraft parts to be supplied to the US Air Force, resulting in more than twenty deaths. Some, including neighbour Sue, believe he’s the fall guy for Joe who is really to blame. Mom Kate is convinced Larry is still alive 3.5 years on, egged on my neighbour Frank’s horoscopes. Chris wants to marry Larry’s sweetheart Ann, Steve’s daughter. Then Anne’s brother George arrives and the truth is revealed, propelling the drama to its tragic conclusion.

This was only Miller’s second (produced) play and the first of four classics over a ten year period from 1946 to 1955.There isn’t a wasted moment or unnecessary line and every character has a purpose. In Sheader’s fine production, the first act lulls you into a false sense of security which heightens the tension of the second act before bringing a passionate emotionality to the third. I wasn’t sure about Lizzie Clachan’s billboard house at first, but it grew on me. Brid Brennan is magnificent as Kate and Tom Mannion plays Joe ‘s transition from denial to confession brilliantly. Charles Aitkin is excellent as Chris, as is Amy Nuttall as Ann and there ‘s a fine supporting cast.

Because of the weather, it took two attempts before I saw this, but I’m glad I persisted. It’s a lot better than the (paid) critics would have you believe; a fine revival indeed.

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NEW PLAYS

Chimerica – Lucy Kirkwood’s play takes an historical starting point for a very contemporary debate on an epic scale at the Almeida

Jumpers for Goalposts – Tom Wells’ warm-hearted play had me laughing and crying simultaneously for the first time ever – Paines Plough at Watford Palace and the Bush Theatre

Handbagged – with HMQ and just one PM, Moira Buffini’s 2010 playlet expanded to bring more depth and more laughs than The Audience (Tricycle Theatre)

Gutted – Rikki Beale-Blair’s ambitious, brave, sprawling, epic, passionate family saga at the people’s theatre, Stratford East

Di & Viv & Rose – Amelia Bullimore’s delightful exploration of human friendship at Hampstead Theatre

Honourable mentions to the Young Vic’s Season in the Congo and NTS’ Let the Right One In at the Royal Court

SHAKESPEARE

2013 will go down as the year when some of our finest young actors took to the boards and made Shakespeare exciting, seriously cool and the hottest ticket in town. Tom Hiddleston’s Coriolanus at the Donmar and James McAvoy’s Macbeth for Jamie Lloyd Productions were both raw, visceral, physical & thrilling interpretations. The dream team of Adrian Lester and Rory Kinnear provided psychological depth in a very contemporary Othello at the NT. Jude Law and David Tennant as King’s Henry V for Michael Grandage Company and the RSC’s Richard II led more elegant, traditional but lucid interpretations. They all enhanced the theatrical year and I feel privileged to have seen them.

OTHER REVIVALS

Mies Julie – Strindberg in South Africa, tense and riveting, brilliantly acted (Riverside)

Edward II – a superb contemporary staging which illuminated this 400-year-old Marlowe play at the NT

Rutherford & Son – Northern Broadsides in an underated 100-year-old northern play visiting Kingston

Amen Corner – The NT director designate’s very musical staging of this 1950’s Black American play

The Pride – speedy revival but justified and timely, and one of many highlights of the Jamie Lloyd season

London Wall & Laburnam Grove – not one, but two early 20th century plays that came alive at the tiny Finborough Theatre

Honorable mentions for To Kill A Mockingbird at the Open Air, Beautiful Thing at the Arts, Fences in the West End, Purple Heart – early Bruce (Clybourne Park) Norris – at the Gate and The EL Train at Hoxton Hall, where the Eugene O’Neill experience included the venue.

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