Feeds:
Posts
Comments

Posts Tagged ‘Tunji Kasim’

The Lyttelton has been turned into a TV News Studio, with a control room and make-up & meeting rooms. There’s also a fully functioning restaurant on stage, with kitchen behind, where audience members are served and eat a full meal during the play (the clatter of cutlery as they did was occasionally irritating!) and where several scenes take place. It’s one of the best uses of this vast space ever; a brilliant design by Jan Versweyveld.

It’s more than forty years since the film on which this is based was made, but you’d never know it, even though Lee Hall’s adaptation of Paddy Chayefsky’s screenplay remains in the 70’s. It may be timeless, well it’s certainly found its time now, in a world of fake news and wholesale disaffection, even though we’ve now also got news from the internet and social media. I thought it was thrilling and timely.

Howard Beale is a long standing news anchor who appears to have a meltdown on air. The fictional NBS network’s initial reaction is to dump him, until they realise there is mileage, and money, in having someone madly prophetic on TV. He continues to plough his own furrow, at all odds, whilst engaging with the world around him, even turning against his paymasters.

American actor Bryan Cranston is best known for his screen work, only making his Broadway debut a few years back. He has terrific presence and is as good as Howard Beale on stage as Peter Finch was on film. He’s surrounded by a high quality supporting cast, notably Douglas Henshall as his friend and protector Max, Michelle Dockery as bright young producer Diana and Tunji Kasim as the company CEO.

van Hove uses his trademark live video again, this time for scenes in partially obscured spaces, outside the building, and for close-ups in the studio and the restaurant. There’s a big screen centre stage and a strip screen high up, right along the three sides. The last two of his productions worried me, that he was becoming a master of reinvention, but with this he regains his place as the master of invention with a production that’s technically hugely accomplished but also serves the material well, making it resonate once more in a new age.

After the curtain calls there was historical video footage on the big screen which resulted in cheers and boos from the exiting audience and, in a life-imitates-art moment as it ended, there were loud cries of ‘I’m as mad as hell and I’m not going to take it anymore’! Unmissable.

Read Full Post »

I am astonished that this is the UK premiere of this third Lorraine Hansbury play, unfinished when she died prematurely of cancer at 34, completed by her ex-husband, Robert Nemiroff, soon afterwards. It seems to me a masterpiece of 20th century American drama, but somehow we’ve had to wait forty years to find out – though part of me is pleased it’s waited for Yael Farber to give it such an extraordinary production.

Set in an unnamed African country, it moves between the home and hospital set up by Scandinavian missionaries and the village of the Matoseh family. Tshwmbe Matoseh has been living in Europe and visiting the US, lobbying for his country’s independence. He’s married a European and had a child with her. He returns to visit his sick father but he’s too late, except for the funeral. His brother Abioseh has stayed at home and, influenced by the missionaries, is about to become a priest, ‘one of them’. Their mixed race half-brother Eric is badly damaged by the consequences of his parentage in this society.

The colonial power is represented by Major Rice, who is trying to deal with an uprising which is escalating daily. The missionary minister is away, but his blind aged wife is at home with doctors from the hospital and a visiting American journalist, who observes and comments on events. The whites call the freedom fighters terrorists and are shocked when they learn some are in their own adopted communities.

The play looks at the situation from all angles as well as drawing parallels with civil rights in the US at the same time, in electrifying scenes between Danny Sapani as Tshembe Matoshe and Elliott Cowan as journalist Charlie Morris, two wonderfully passionate performances. In addition to commenting on colonialism, it looks at the differing attitudes of the indigenous people and the motivation of settlers, missionaries and medical staff – they appear well-meaning but they are not universally welcome, and being in the front line bear the brunt of the revolutionary anger, however benevolent and defenceless.

Yael Farber’s epic staging makes great use of the Olivier stage, often bathed in the beautiful bright light of Africa by Tim Lutkin. Soutra Gilmour’s simple impressionistic mission hospital building revolves on a sand covered stage, moving us to different parts, with the unadorned tribal home laid out stage front. A gentle soundscape by Adam Cork, wonderful music from a quartet of African Matriarchs and a silent semi-naked woman who seems omnipresent, moving slowly across the stage, all combine to create an evocative African atmosphere.

In addition to Sapani and Cowan, there is a superb, dignified performance from Sian Phillips – wonderful to see her continue to do such great work at this stage of her career. Clive Francis’ sends a shiver up your spine with a brilliant characterisation of The Major. I’ve seen Gary Beadle before, but here he’s a revelation, and unrecognisable, as Abioseh. Tunji Kasim beautifully captures the complexity of Eric, whose dead mother was very close to Madame Neilsen and whose father is shockingly revealed to us towards the end. It’s a terrific ensemble.

Like Mies Julie and The Crucible before, Yael Farber has again produced an enthralling, captivating and deeply moving production which burns an impression on you which I suspect will last a long long time. It must be seen!

Read Full Post »