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 August.
Queen of the Mist, aka the surprisingly affecting one
Appropriate, aka all hail Monica Dolan
Waitress, aka ZZZZZZZOMGGGGG STUNT CASTING oh wait, Joe Suggs hasn’t started yet
The Doctor, aka all hail Juliet Stevenson
A Very Expensive Poison, aka it was a preview so I shouldn’t say anything
Blues in the Night, aka all hail Broadway-bound Sharon D Clarke (and Debbie Kurup, and Clive Rowe too)
The Night of the Iguana, aka justice for Skyler Continue reading “August theatre round-up”
Round and round and round we go. La Ronde surfaces again as Michael John LaChiusa’s Hello Again at the Union Theatre
“I’ve been searching high and low
For you but then
What does it matter?
It is a universal truth that you’re never too far away from some adaptation or another of Arthur Schnitzler’s La Ronde. It’s been gay, it’s been musical, it’s been gender-neutral, it’s been Hollywood, and now it is back to being musical again, with the Union Theatre’s revival of Michal John LaChiusa’s Hello Again.
LaChiusa’s adaptation sets each of its ten scenes in a different decade of the twentieth century, aiming for a broad investigation of how, if at all, love and sex have changed over the years. This also allows him to cherrypick from a much wider range of musical styles than if he’d stuck with the original’s 1890 Vienna. Continue reading “Review: Hello Again, Union Theatre”
Caught in a bad romance, a gayed-up take on Romance Romance does nothing for me at the Above the Stag theatre
“There are days he blows his fuse now
And there are nights he’s just not there”
Romance Romance was nominated for 5 Tonys in 1988 and performance nods aside, you have to wonder what the standard of the other nominees was (actually, they included The Phantom of the Opera and Into the Woods…!) as its charms really rather eluded me.
Steven Dexter’s production reframes Barry Harman’s book and lyrics into a gay context which certainly has interest. But the disparity of the two acts, based respectively on Arthur Schnitzler’s The Little Comedy and Jules Renard’s Le Pain de Ménage, means it is a curiously disengaging watch. Continue reading “Review: Romance Romance, Above the Stag”
“If we’re going to do it, let’s fucking do it”
Sex sells. And so Arthur Schnitzler’s 1897 play of 10 interlinked intimate encounters has proven enduringly popular over the years – adapted for the gays, for fans of musicals, for Charlie Spencer’s libido… – and now Max Gill has taken a decidedly 21st century gender-neutral approach to La Ronde for the opening salvo in the Bunker’s second season. A giant roulette wheel dominates Frankie Bradshaw’s set and as it spins, it is thus left to chance to dictate who of the company – 2 women, 2 men – will tag in to play the next two-hander (or not as the case may be, the wheel refusing to land on one of the actors on press night).
So from Premier Inns in Hillingdon to doctors’ surgeries, bland apartments to hot and sweaty lifts, all sorts of shenanigans play out. Tinder dates gone awry, ex-lovers unable to resist each other, sex workers going about their business, marriages gone stale, the unpredictable nature of the casting means that everything is up for grabs here and between them, Alexander Vlahos, Amanda Wilkin, Lauren Samuels and Leemore Marrett Jr do a fine job, whether it is Vlahos slipping into black PVC hotpants or Wilkins nailing each and every one of her vivid characterisations. Continue reading “Review: La Ronde, Bunker Theatre”
“The bed was not my own”
Round and round and round we go, Arthur Schnitzler’s La Ronde has inspired many an adaptation, so much so that the Hope Theatre’s Hello Again can’t even boast of being the only one on Upper Street (F**king Men at the King’s Head newly extending into December). But it is the only musical version there, Michael John LaChiusa crafting the daisy chain of sexual encounters into a song cycle that moves from decade to decade just as much as it does from bed to bed.
The show is made up of 10 two-handers, connected by one character remaining in the next scene, so first we have The Whore and The Soldier, then The Soldier and The Nurse, The Nurse and The College Boy and so on until The Senator and The Whore completes the cycle. But the timeline is played non-chronologically, the characters aren’t necessarily the same person from scene to scene, the only real connection is the multitude of ways in which sex is used and abused in our daily lives, no matter how sexuality is perceived in that particular age. Continue reading “Review: Hello Again, Hope”
“No dream is just a dream”
Arthur Schnitzler’s Dream Story is perhaps best known as the novella that was filmed by Stanley Kubrick as Eyes Wide Shut and allegedly sounded the death knell for the marriage of Tom Cruise and Nicole Kidman. Anna Ledwich has adapted it for the Gate Theatre, also serving as director, turning the story into a “part odyssey, part freak out, part nightmare, part psychological thriller” as we delve deep into the sexual imagination of early 20th century Vienna.
Well-to-do doctor Fridolin and his wife Albertine return from a party in high spirits and start to confess fantasies to one another, of imagined affairs with other people. But something is awry, he rejects her sexual advances and as he is summoned to a house call, he enters into a long dark night following his impulses as he is propositioned by patients’ daughters, visits a prostitute, attends a masked orgy, all populated by a set of characters whose faces seem to recur again and again, suggesting that the dividing line between real life and imagination has been significantly blurred. Continue reading “Review: Dream Story, Gate Theatre”
“Stop moping, stop brooding…”
Sweet Nothings is David Harrower’s take on Arthur Schnitzler’s Liebelei (Tom Stoppard previously created a version called Dalliance in 1986) and is described as a sex tragedy on the Young Vic’s website. Well, there’s no sex but plenty of tragedy, though perhaps not in the way they intended.
Rather predictably, there’s pandemonium with the seating arrangements. They’re still unreserved as usual with the Young Vic, but it is set up in a horseshoe with benches that are reminiscent of a lecture theatre, but they’re extremely narrow so it is hard to pass people once they’ve sat down. And human nature being what it is, means people always fill these rows from the aisle inwards, meaning that it is a very arduous task to get everyone seated and there’s much huffing and puffing as people are asked to move along to allow everyone in the theatre. I know it is a thankless job, but the ushers need to much firmer with people from the outset, otherwise every evening will suffer a delayed start and much grumpiness. Continue reading “Review: Sweet Nothings, Young Vic”