“There’s no more to be said
For when we are dead
We may understand it all”
Commemorating the start of the First World War has turned into something of a full-time business for the nation’s theatres but in reviving the rarely-seen 1927 Sean O’Casey anti-war piece The Silver Tassie, the National Theatre has hit on something special. The play is structurally extraordinary in the difference of its four acts – a vaudevillian take on an Irish household transforms memorably into the visceral horror of a battlefield haunted by music hall songs, after the interval a hospital-set comedy eventually turns into stark realism, as the shattering effects of war on society are laid bare. Howard Davies’ epic production forges through blood and noise to find a most painful truth.
The cumulative effect may challenge some and is certainly disorientating at times but it also has a form of progression that feels natural, like feeling a way through what we now call post-traumatic stress disorder. Opening in the Dublin tenement home of the Heegans, the play riffs on Irish stereotypes through the clownish figures of Sylvester and Simon and the neighbourhood archetypes they teasingly mock but soon allows young gun Harry Heegan to take centre stage, boasting the trophy – the Silver Tassie – he and his teammates have won playing soccer, just before they head off to join the British war effort. Continue reading “Review: The Silver Tassie, National Theatre”
“How am I going to get back to Kansas?”
Following on from the less than sucessful adaptation of Goldfinger that left me cold, I was a little trepidatious about listening to this production of The Wonderful Wizard of Oz, especially as it soon came to light that it also featured narration – one of the things I disliked most about the Bond play – but it actually proved to be much more engaging and thoughtful, and ultimately considerably more entertaining. Linda Marshall Griffiths’ dramatisation has taken a fresh new look at the story, returning to L Frank Baum’s source novel and thereby casting off much of the baggage that might have come otherwise from just being a straight run of the film.
What we get then, is a highly atmospheric story, partly told by Amelia Clarkson’s excellent Dorothy as part of an inner monologue, which feels darker and more compelling that one might have expected. It is all largely recognisable, but it felt so much fresher here and interesting too. Emma Fielding was great value for money as all of the female characters, and Kevin Eldon, Burn Gorman and Zubin Varla all did well as the Scarecrow, Tin Woodsman and Lion respectively. And Clarkson captured the right note of youthful gumption to make Dorothy a thoroughly likeable heroine. Continue reading “Review: The Wonderful Wizard of Oz, Radio 4”
Continuing from Part I, Henry IV Part II lends itself to a lighter interpretation due to the even higher comic content in its examination of the quirks of the human being, in particular of the Englishman. With one insurrection quashed by Hal’s victory over Hotspur, another mounts up to threaten England and in quashing it, Henry IV hastens his own death. The young Prince Hal now has to step up even further to the mark as his heir, all the while resisting the ever-present grasping hands of Falstaff who wants to milk his relationship to the future King for all it is worth.
I’m not sure what it was about this show that made me like it so much more than Part I, but I felt that the whole ensemble was pulling together much stronger: Susan Brown as Mistress Quickly and Eve Myles as Doll Tearsheet,the two women hankering after Falstaff were both good, Jeffery Kisoon as a fading Lord Percy roused great emotion for his fallen son and Gambon continues his excellent comic work. Continue reading “Review: Henry IV Part II, National Theatre”
Forming a six hour epic, Nicholas Hytner’s productions of Henry IV Part I and Part II take up residence in the Olivier auditorium at the National Theatre. You can see them on the same day if you so desire (and your bum can take it) but we went on different days as a small thing called work got in the way!
The plays deal with the troubled reign of King Henry IV as he deals with rebellion and civil war, while his son and heir, Prince Hal, prefers to hang around East London with small-time criminals led by the aged, corpulent alcoholic Falstaff. They cover the whole breadth of English society at the time they were written, from aristocratic infighting right the way down to sleazy prostitution. Continue reading “Review: Henry IV Part I, National Theatre”
Marking my first visit to the National Theatre since moving to London, His Girl Friday is a play which has been adapted by John Guare from 2 sources: the 1928 play The Front Page by Ben Hecht and Charles MacArthur and the 1940 film adaptation His Girl Friday by Howard Hawks which inverted the gender of the lead protagonist. Thus a madcap romantic element to this story of energetic newshound Hildy Johnson and her editor (and ex-husband) Walter Burns who will stop at nothing to stop her impending wedding to another man. In the midst of all of this is the scoop of the century which Hildy cannot resist as she revels in the world of cutthroat journalism.
As the central couple, Zoë Wanamaker and Alex Jennings were simply fabulous, the electricity between them just crackles with suppressed sexual energy as it is clear that this couple really does belong together and their fights full of whip-sharp wisecracks and putdowns are a joy to watch as the intersection of their professional and personal relationships makes for a whole lotta farcical fun and they are both excellent at showing how dog-eat-dog their world is. Continue reading “Review: His Girl Friday, National Theatre”