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Posts Tagged ‘The Ferryman’

It’s takes a brave theatre, a brave director and a brave leading actor to revive this 2009 Jez Butterworth play, which had two West End runs and one Broadway run in the two years following it’s Royal Court premiere. Less than two week’s ago, The Guardian’s Michael Billington listed the ’25 best plays since Jerusalem’, which he referred to as ‘the hit that transformed British theatre’. One of those was Butterworth’s The Ferryman which is Broadway-bound, having just completed almost a year in the West End following it’s Royal Court premiere in 2017. It’s a big show for the Watermill, but they pull it off with great aplomb.

I still stand by my earlier thoughts (https://garethjames.wordpress.com/2010/02/11/jerusalem) though my reaction has evolved through the passage of time and changes in the country, which seems to be clinging to a Jerusalem of its own. Rooster Byron is the ultimate rebel, the lovable rogue that some see as the personification of evil – contributing nothing to society, leading their children astray, polluting their backyard with noise and junk, but he’s also a defender of rural encroachment, gentrification, the rights of outsiders and independence.

I thought the other characters came to the fore this time – Ginger refusing to grow up, Davey not seeing the point of leaving Wiltshire, Lee naively thinking he can see the world with a one-way ticket to Australia and $200, but still reluctant to go, emasculated publican Wesley and The Professor, clearly unfulfilled with nowhere to go. Rooster’s past also seems more significant, with the arrival of his ex and son more poignant.

Designer Frankie Bradshaw has brilliantly created the same wild glade with caravan in the woods, much more intimate in the Watermill, and referenced the Flintock Fair in dressing the auditorium. Jasper Britton makes Rooster Byron his own, in a towering performance, with outstanding support from a cast who are so good they banish from the memory those that came before, particularly Peter Caulfield as Ginger, Santino Smith as Davey and Sam Swann as Lee.

This is a fine early revival, by Lisa Blair, of a ground-breaking state-of-the-nation play, perhaps even more timely today. Another great reason to head west to this lovely, ambitious theatre which consistently delivers.

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The Best Theatre of 2017

Time to reflect on, and celebrate, the shows I saw in 2017 – 200 of them, mostly in London, but also in Edinburgh, Leeds, Cardiff, Brighton, Chichester, Newbury and Reading.

BEST NEW PLAY – THE FERRYMAN

We appear to be in a golden age of new writing, with 21 of the 83 I saw contenders. Most of our finest living playwrights delivered outstanding work this year, topped by James Graham’s three treats – Ink, Labour of Love and Quiz. The Almeida, which gave us Ink, also gave us Mike Bartlett’s Albion. The National had its best year for some time, topped by David Eldridge’s West End bound Beginning, as well as Inua Ellams’ The Barbershop Chronicles, Lee Hall’s adaptation of Network, Nina Raine’s Consent, Lucy Kirkwood’s Mosquitos and J T Rogers’ Oslo, already in the West End. The Young Vic continued to challenge and impress with David Greig’s updating of 2500-year-old Greek play The Suppliant Womenand the immersive, urgent and important Jungle by Joe’s Murphy & Robertson. Richard Bean’s Young Marxopened the new Bridge Theatre with a funny take on 19th century history. On a smaller scale, I very much enjoyed Wish List at the Royal Court Upstairs, Chinglish at the Park Theatre, Late Companyat the Finborough, Nassim at the Bush and Jess & Joe at the Traverse during the Edinburgh fringe. Though they weren’t new this year, I finally got to see Harry Potter & the Cursed Child I & II and they more than lived up to the hype. At the Brighton Festival, Richard Nelson’s Gabriels trilogycaptivated and in Stratford Imperium thrilled, but it was impossible to topple Jez Butterworth’s THE FERRYMAN from it’s rightful place as BEST NEW PLAY.

BEST REVIVAL – ANGELS IN AMERICA / WHO’S AFRAID OF VIRGINIA WOOLF

Much fewer in this category, but then again I saw only 53 revivals. The National’s revival of Angels in America was everything I hoped it would be and shares BEST REVIVAL with Who’s Afraid of Virginia Woolf. The Almeida’s Hamlet was the best Shakespearean revival, with Macbeth in Welsh in Caerphilly Castle, my home town, runner up. Though it’s not my genre, the marriage of play and venue made Witness for the Prosecution a highlight, with Cat on a Hot Tin Roof and Apologia the only other West End contributions in this category. On the fringe, the Finborough discovered another gem, Just to Get Married, and put on a fine revival of Arthur Miller’s Incident at Vichy. In the end, though, the big hitters hit big and ANGELS IN AMERICA & WHO’S AFRAID OF VIRGINIA WOOLF shone brightest.

BEST NEW MUSICAL – ROMANTICS ANONYMOUS

Well, I’d better start by saying I’m not seeing Hamilton until the end of the month! I had thirty-two to choose from here. The West End had screen-to-stage shows Dreamgirlsand School of Rock, which I saw in 2017 even though they opened the year before, and both surprised me in how much I enjoyed them. Two more, Girls and Young Frankenstein, proved even more welcome, then at the end of the year Everybody’s Talking About Jamie joined them ‘up West’, then a superb late entry by The Grinning Man. The West End bound Strictly Ballroom wowed me in Leeds as it had in Melbourne in 2015 and Adrian Mole at the Menier improved on it’s Leicester outing, becoming a delightful treat. Tiger Bay took me to in Cardiff and, despite its flaws, thrilled me. The Royal Academy of Music produced an excellent musical adaptation of Loves Labours Lost at Hackney Empire, but it was the Walthamstow powerhouse Ye Olde Rose & Crown that blew me away with the Welsh Les Mis, My Lands Shore, until ROMANTICS ANONYMOUS at the Sam Wanamaker Playhouse at The Globe stole my heart and the BEST NEW MUSICAL category.

BEST MUSICAL REVIVAL – A LITTLE NIGHT MUSIC / FOLLIES

Thirty-two in this category too. The year started with a fine revival of Rent before Sharon D Clarke stole The Life at Southwark Playhouse and Caroline, or Change in Chichester (heading for Hampstead) in quick succession. Southwark shone again with Working, Walthamstow with Metropolis and the Union with Privates on Parade. At the Open Air, On the Town was a real treat, despite the cold and wet conditions, and Tommyat Stratford with a fully inclusive company was wonderful. NYMT’s Sunday in the Park With George and GSMD’s Crazy for You proved that the future is in safe hands. The year ended In style with a lovely My Fair Lady at the Mill in Sonning, but in the end it was two difficult Sondheim’s five days apart – A LITTLE NIGHT MUSIC at the Watermill in Newbury and FOLLIES at the National – that made me truly appreciate these shows by my musical theatre hero and share BEST MUSICAL REVIVAL

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Rupert Murdoch is my greatest bête noire. From interference in elections to invasions of privacy via oceans of tackiness & sexism and the creation of exploitive monopolies, he offends me at every turn. So I was expecting to have my prejudices pandered to in liberal Islington. They weren’t, though largely because this play about his early English adventures, in particular the rise of The Sun, takes place before he hired the evil unholy trinity of McKenzie, Morgan and Brooks, plunging his organs into even deeper moral depths. Covering little more than a year, but covering it in depth, Ink is as fascinating as it is enthralling and entertaining.

When the play starts he already owns The News of the World, but he wants a daily. He buys the ailing Sun from the Mirror Group, hires one of their own, Larry Lamb, as editor, and sets the seemingly impossible target of matching their circulation, the highest in the world at the time, within twelve months. I’d forgotten that it all started as irreverent, anti-establishment and, well, fun. Populism personified, until some tragic events close to home (which I’d forgotten) nearly killed it, only to be rescued by…..well, it’s the tits wot done it.

The relationship between Murdoch and Lamb is the beating heart of the play, and Bertie Carvel and Richard Coyle are simply terrific. I struggle to understand how playwright James Graham is so successful presenting people and events that happened before he was even born – perhaps its because he has the objectivity rather than the baggage that those of us who lived through them have. Like Our House, The Angry Brigade and the underrated Monster Raving Loony, he captures the sixties and seventies with pinpoint accuracy.

Rupert Goold’s staging owes something to his own Enron, including audacious use of music and movement to add life, and Bunny Christie’s superb set of ramshackle offices piled high, with projections behind, adds even more life. Amongst the superb supporting cast, Sophie Stanton gives another of her priceless turns as Geordie Women’s Editor Joyce, and Tim Steed is particularly good as a posh fish-out-of-water Deputy Editor.

Good to see something provide competition for The Ferryman as Best New Play! A real treat.

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