Of course a British director doing Tsjechov in the Netherlands makes The Cherry Orchard as watchable as it has ever been – Internationaal Theater Amsterdam’s De Kersentuin proves a real success
“Als ie echt verkocht moet worden verkoop mij er dan bij”
It’s not often that Jimi Hendrix and Creedence Clearwater Revival make their way into Chekhov but it is precisely this kind of refreshing approach that makes this production feel so alive in a way that is rarely achieved (in the UK at least). So it is somewhat perverse that it is a British director responsible, as Simon McBurney directs Internationaal Theater Amsterdam in De Kersentuin, in an adaptation by Robert Icke.
Shifted to the Netherlands in the 1970s, a real sense of liberation permeates the production, and crucial details shine anew to substantively alter the emotional palette. I’ve never felt the presence of Amanda’s drowned son so strongly, which really makes you consider her feelings towards her former home. And as Miriam Buether’s design discards conventional representation, the focus falls as much on the relations of people as it does on property. Continue reading “Review: De Kersentuin, Stadschouwberg Amsterdam”
I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw in July.
On Your Feet, aka the rhythm will get you, sometimes
the end of history…, aka how can you get cheese on toast so wrong
Equus, aka hell yes for Jessica Hung Han Yun’s lighting design
Games for Lovers, aka straight people be crazy
Captain Corelli’s Mandolin, aka the one that got my goat
The Girl on the Train, aka Philip McGinley in shorts
A Midsummer Night’s Dream, aka Another Dream? dream on
Uncle Vanya, aka I really need to stop booking for plays like this with casts like that
Jellyfish, aka justice for the second best play of last year
Sweat, aka Clare Perkins should always be on in the West End
Sue Townsend’s The Secret Diary of Adrian Mole Aged 13 3/4 The Musical, aka yay for lovely new musicals in the West End
The Light in the Piazza, aka Molly Lynch fricking nails it
Jesus Christ Superstar, aka was third time the charm?
Continue reading “July theatre round-up”
So much goodness! The National Theatre have just announced details of productions stretching deep into 2020, and with writers like Lucy Kirkwood, Kate Tempest, Roy Williams and Tony Kushner, and actors like Lesley Manville, Maxine Peake, Conleth Hill, Cecilia Noble and Lesley Sharp, it is hard not to feel excited about what’s ahead.
Following a sell-out run at Rose Theatre Kingston, the acclaimed two-part adaptation of Elena Ferrante’s MY BRILLIANT FRIEND by April De Angelis is reworked for the Olivier stage by Melly Still (Coram Boy). When the most important person in her life goes missing without a trace, Lenu Greco, now a celebrated author, begins to recall a relationship of more than 60 years. Continue reading “News: the National Theatre announces 15 new productions for 2019 and 2020”
The ever-inventive Arrows and Traps company return to the Brockley Jack Theatre with a beautifully acted interpretation of Chekhov’s Three Sisters
“We know too much”
Now in their fifth year, Arrows and Traps have been building quite the reputation as a shining example of how to do fringe theatre. Cultivating relationships with theatres (they’re once more at the Brockley Jack) and creatives (beyond notions of repertory, it is pleasing to see familiar names pop up in production after production and not just as actors) and above all, producing theatre that people want to see.
And Chekhov’s Three Sisters, presented here in a new version by Ross McGregor, continues that strong tradition, paring back the starch to locate a real emotional directness to the trials of the Prozorov sisters. Trapped in the cultural desert of the provinces, far from the beloved Moscow of their childhood, the rise and fall of their hopes and dreams are traced over four crucial years. Continue reading “Review: Three Sisters, Brockley Jack”
Full casting for Michael Boyd’s much anticipated production of The Cherry Orchard is announced today as rehearsals begin for the Bristol Old Vic and Royal Exchange Theatre co-production. Rory Mullarkey’s brand-new translation will be directed by Boyd, celebrated former Artistic Director of the Royal Shakespeare Company (RSC). Having studied Russian and trained as a director in Moscow, extraordinarily, he will be directing Chekhov – the literary love of his life – for the first time. Continue reading “Full cast announced for Michael Boyd’s The Cherry Orchard”
There’s all sorts of big productions arriving in the months to come (Long Day’s Journey Into Night, the return of Amadeus, PATTI LUPONE!) but I’m using this spot to highlight some of the shows on the London fringe and around the UK (and Amsterdam…) that have piqued my interest and which I hope to get to review.
So in no particular order… Continue reading “20 shows to look forward to in 2018”
“We should show life…as we see it in our dreams.”
The Seagull may be the most ensemble-focused of the three plays that make up Young Chekhov but with the glorious Anna Chancellor appearing as the mercurial Arkadina – her star cachet getting her out of having to do either of the other two – the attention can’t help but be drawn to her and her extraordinary stage presence.
This may be the most well-known of the Chekhov plays being presented here, it certainly deservedly emerges as the strongest, and so David Hare’s freshened-up version has little of the heavy work it had to do with the others. Jonathan Kent’s production places it at the end of the three-show day deliberately, it’s where it sits chronologically and you really do get to see the maturation of the writer, his ability to develop his characters and themes more dramatically effectively. Continue reading “Review: Young Chekhov – The Seagull, National”
“People think there’s something deep about despair. But there isn’t”
With Platonov failing to even make it onto the stage in his lifetime, Ivanov came to be Chekhov’s professional debut as a playwright. As such, it bears many of the hallmarks of a writer still coming into his strengths – having identified what he wants to say to the world, he’s still working out the most devastatingly effective way of doing it. The first time I saw Ivanov has the distinction of being one of the first times I ever really enjoyed a Chekhov play, seduced as I was by Kenneth Branagh’s portrayal for the Donmar in the West End (which also had a little known actor called Tom Hiddleston in it…),
I’d be lying if I said I could remember enough about Tom Stoppard’s version to compare and contrast with David Hare’s new adaptation here, but Geoffrey Streatfeild’s interpretation of the title character does feel a little less of an outright cock. Don’t get me wrong he’s still a Grade-A tool (misogynist, anti-Semitic, serial cheat) and ‘mid-life crisis’ remains the pathetic catch-all excuse it ever has done, but there’s a real sense of the depths of the black clouds of depression that lie over this Ivanov and the social pressures that has put him under that offer at least a little insight, if not outright sympathy, for his situation. Continue reading “Review: Young Chekhov – Ivanov, National”
“Whatever you do, don’t rely on your own judgement. That’s the worst mistake you could make
Platonov wasn’t performed in Chekhov’s lifetime and even in this radically adapted version by David Hare, I’m not 100% sure that it works. You can see the attraction in terms of the Young Chekhov context – a trilogy of the Russian’s early work – but for me, the main pleasure comes in seeing the benchmark from which his later genius advanced.
It’s not for lack of trying from Jonathan Kent’s production, lead by a sparkling performance of disreputable charisma from James McArdle as an unhappily married teacher intent on spreading his vodka-fuelled discontent through the bedsheets of most of the local community, not least Nina Sosanya’s Anna and Olivia Vinall’s Sofya, with little care for the impact of his actions. Continue reading “Review: Young Chekhov – Platonov, National”
How do you follow the earth-shattering success of a show like Oresteia? With difficulty it seems. Having deconstructed and reconstructed the Greeks, Robert Icke turns his hand to Chekhov with Uncle Vanya. But the world is hardly suffering from a lack of Vanyas and it’s hard to escape the feeling that Icke is treading a relatively similar creative path in the way that it treats the classic text. Yes, I’m essentially complaining about too much of a good thing, as it is still a very strong production but Oresteia was so extraordinary, that this inevitably pales by comparison
As is his wont, Icke’s Uncle Vanya is presented in a new version by Icke, a new translation aimed at replicating the disrupted rhythms of Chekhov’s Russian speech patterns, a largely successful enterprise. As are the soliloquies that each of the leading players are granted, casting new and interesting light on characters that are familiar (especially Sonya’s Act 4 speech). Jessica Brown Findlay scorches as the unfulfilled Sonya, Vanessa Kirby is exceptional as a passionate Elena, Tobias Menzies’ Michael (Astrov) achingly appealing as the idealist losing the courage of his convictions. Continue reading “Review: Uncle Vanya, Almeida”