“The stuff of seduction is also the stuff of politics: lies and promises”
Schiller’s Luise Miller is Michael Grandage’s penultimate outing as director at the Donmar Warehouse before Josie Rourke takes on the reins of Artistic Director. A bustling German 18th Century tale of romance, class struggles, tragedy and court politics, the play, Kabale und Liebe (previous translations have been called Intrigue and Love, and Love and Politics) has been given a new treatment here by Mike Poulton, who if Wikipedia is anything to go by (bearing in mind this is my first experience with the play), has reworked quite a bit of the latter part of the play, bringing to mind Dennis Kelly’s liberal approach to The Prince of Homburg at this same venue.
Noble-born Ferdinand, son of the one of the most powerful statesmen in the country, is in love with Luise Miller, the middle-class daughter of a middle-class musician and willing to sacrifice all for love. But the political scheming and power games that govern the world they live in means that their destiny is out of their hands, no matter how honourable their intentions, they are at the mercy of those more powerful who will stoop to nothing to ensure they survive. Continue reading “Review: Schiller’s Luise Miller, Donmar Warehouse”
“Your face isn’t the most cheerful today”
The Prince of Homburg by Heinrich von Kleist is this year’s summer play at the Donmar Warehouse marking the return of Ian McDiarmid after Be Near Me last year. Presented in a new version here by Dennis Kelly (who I still haven’t quite forgiven yet for The Gods Weep), it was written in 1811 just before the German Romantic playwright committed suicide, and apparently was one of Hitler’s favourite plays. In order to squeeze this in before my holiday, I ended up seeing the second preview which should be acknowledged when reading my comments.
The play follows the titular Prince of Homburg, a shining light in the Prussian Army but possessed of a dreamy waywardness which flies in the face of the strict obedience of the law that typifies Prussian military behaviour and when he defies an order from his father-figure the Elector, matters of courage and honour push them both to a horrifying point of no return. Continue reading “Review: The Prince of Homburg, Donmar Warehouse”
The third play in the Donmar’s residency at the Wyndham’s Theatre is Madame de Sade, a slightly obscure work by the Japanese playwright Yukio Mishima, which fulfils Michael Grandage’s promise to bring lesser-known works into the West End alongside the classics. Unfortunately, as many reviews have already said, this is not really a play that stands up to the exceptionally high standards already set by this season, despite the efforts of an excellent cast.
The play tells the story of the life of the Marquis de Sade just before the French Revolution in three short acts, moving a few years through time with each act, but tells it through the eyes of six different women who have varying relationships with him, and the Marquis himself does not actually make an appearance. The women are his wife, his mother-in-law, his sister-in-law, a servant in his house and two other ladies and they each represent a single viewpoint which rather limits the opportunities for the actresses to display their talents.
Continue reading “Review: Madame De Sade, Donmar at Wyndham’s”
The Chalk Garden is a 1955 play by Enid Bagnold, revived here by Michael Grandage at the Donmar Warehouse and featuring a top-notch cast, not least of two women who are surely dames-in-waiting.
The plot starts with Mrs St Maugham’s attempt to employ a governess for her unruly granddaughter Laurel. Miss Madrigal is the successful applicant and brings with her, into this quirky English household, not least a wealth of knowledge about how to make things grow in the chalky soil of the garden. As Laurel and Miss Madrigal come to know more about each other, secrets begin to unfold and realisations occur as to how what needs to change in order to make everything right.
It is sheer theatrical delight watching this cast, Tyzack and Wilton are just note-perfect throughout. Tyzack is witty, candid, uniquely eccentric and Wilton is mesmerising as a woman possessed of a serene calm and quiet steeliness which equips for most tasks in hand. With these two luminary talents onstage, one might have forgiven the rest of the ensemble for wilting a little but they really don’t, they flourish. Felicity Jones is just right as the psychologically disturbed Laurel, Jamie Glover’s manservant cannot hide his own psychological damage from years in jail as a conscientious objector and Clifford Rose’s judge is also nicely played.
To be sure, it does feel like an old-fashioned play and the ending reflects that completely, but there’s something strangely soothing about the message it conveys that fits this production perfectly. The detailing of the period set is brilliant, full of atmospheric detail and combined with the excellent acting, makes this a certain hit for the Donmar.