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Posts Tagged ‘Rebecca Frecknall’

Given it’s iconic status in musical theatre, I’m surprised this is only the fourth major London revival since I moved here forty years ago. Sam Mendes also turned his theatre, the Donmar Warehouse, into the Kit Kat Club for his 1993 production, albeit less dramatically. This transferred to Broadway, where it ran for six or seven years, returning less that ten years later for another year. Rufus Norris’ 2006 revival was a radical production on a conventional stage. Now Rebecca Frecknall’s is a complete reinvention within an elaborate reconfiguration of the Playhouse Theatre. There was so much to take in, which might be why I’m still struggling to write about it four days later.

It must have felt extraordinarily ground-breaking when it was first staged on Broadway 55 years ago; it felt pretty much the same now – a musical set in 30’s Berlin during the rise of the Nazi Party featuring prostitution, drugs and homosexuality, the Kit Kat Club at the heart of all the decadence. It starts when you enter, walking through the bowels of the theatre to emerge in what used to be the foyer where the ‘prologue cast’ were performing. Then you enter the auditorium, where the club vibe continues, with the audience on two sides of a round playing area which revolves and rises, and the band above in the two boxes that once housed audience members. It’s actually a small playing area, though Frecknall and choreographer Julia Cheng use it brilliantly, switching from the club to all other locations with few props very speedily.

In addition to Tom Scutt’s physical design, his Kit Kat Club costumes have a distinct aesthetic too, a sort of surreal punk fantasy, never more so than with Eddie Redmayne’s Emcee, which he invests with an extraordinary physicality and a manic stare. One of the striking things about this production is how all of the roles come to the fore; it isn’t just Sally & the Emcee’s show, the audience waiting for their next entrance. This cast rise to that challenge superbly. Lisa Sadovy is terrific as landlady Fraulein Schneider, her relationship with Elliot Levey’s excellent Herr Schultz growing, exuding warmth, before it crashes so sadly. Omari Douglas continues to impress with a very subtle and sensitive Clifford, struggling with his sexuality. It’s great to see Anna-Jane Casey back where she belongs investing prostitute Fraulein Kost with such exuberance. Then there’s Jessie Buckley, conquering yet another peak in a short career that has demonstrated extraordinary range. Her Sally Bowles balances confidence and vulnerability perfectly.

It’s an unsettling, dark show and this production is often chilling. Perhaps because of the recent passing of Stephen Sondheim, the parallels between him and Kander & Ebb struck me. They both tackled subjects unusual to musical theatre before, and each show was completely different. Cabaret will go down in history as a show which made a great contribution to the evolution of the form in the last half of the 20th Century and this production will be remembered for proving the point that great shows evolve and change, reflecting the period they are performed in and the talent that creates and performs them. I’m so glad I was there to experience this one.

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I like going to the theatre on New Years Day, the evening is otherwise a bit flat, but maybe a bloody revenge tragedy wasn’t the best choice. It seemed like one minute you’re wishing people a Happy New Year, the next you’re counting the bodies!

The widowed Duchess decides to remarry, to steward Antonio who is below her station, so she tries to keep it secret. Her twin brother Ferdinand and other brother, The Cardinal, find out of course, courtesy of their ‘spy’ Bosolo, and set about having her, the children by her new husband and her companion Cariola murdered, with the help of Bosola and his henchmen. They are both pure evil, Ferdinand driven insane by the events he has instigated. Bosila’s guilt after the murders propels him to turn on the brothers.

John Webster’s 400-year-old play impressed me more in Rebecca Frecknall’s production than it has before. It serves the dialogue particularly well, and is very tense and atmospheric. It’s a very stylised staging, which seems to me to be inspired by Robert Icke’s work in the same theatre. Chloe Lamford’s design has a moving glass gallery centre stage which can be populated, and glass cabinets on either side that contain all of the props. I wasn’t sure about the purpose of the desks on the edges at both sides.

Lydia Wilson is excellent as the Duchess, determined, passionate, full of fight. Bosola is a difficult role, with its emotional twists and turns, but Leo Bill is outstanding. Ferdinand is a tough one too, which Jack Riddiford pulls off with great physicality and emotionality, as does Ieanna Kimbook as Cariola.

It’s very different from Frecknall’s big 2018 hit, Tennessee Williams’ Summer & Smoke, at the same theatre, then transferring, which was one of my favourite revivals that year, but it was a gripping ride and I found myself absorbing every word of Websters rich dialogue.

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This 1948 Tennessee Williams play immediately followed the much more successful A Streetcar Named Desire, but it took 58 years to get to London, a 2006 transfer from Nottingham to the West End which was pulled early. The director of this revival staged the only other London production, at Southwark Playhouse in 2012, but this is a new one. It’s typical TW fare, set in the deep south at the beginning of the 20th century, a minister’s daughter having a troubled relationship with the son of the doctor next door, who is about to follow in his dad’s footsteps.

The design appears to take its lead from Alma’s musicality, an arc of nine pianos each with a metronome on top. In front, a shallow pit strewn with earth two steps down. Impressionistic rather than realistic, and with music and a soundscape fully utilising the pianos, it’s highly atmospheric and sensuous, totally in keeping with the material.

Alma and John dance around each other, repressed emotions getting in the way of their real feelings. He starts a doomed relationship with a Mexican girl with a dubious but rich dad and much later with the much younger Nellie. Before Alma knows about the latter, she lets her guard down and reveals her true feelings, but its too late.

I was mesmerised by both Patsy Ferran as Alma and Matthew Needham as John, both performances emotionally raw. Ankana Vasan delivers beautifully stylised dance-influenced performances as Rosa and Nellie and Seb Carrington, in an auspicious professional debut, plays some mean piano as well as playing young travelling salesman Archie, who’s in the right place when Alma realises John will never be hers. The doubling-up of roles works OK, except for Forbes Masson as both dads, preacher and doctor, carrying a bible to signify which; I think it would have been better to have two actors here.

Rebecca Frecknall’s staging, Tom Scutt’s design, Lee Curran’s lighting and Angus MacRae’s compositions combine to create something very fresh from timeless material. A must-see.

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