Martin Shaw returns to the West End in US political thriller The Best Man, its relevance to today’s White House painfully clear
“The important thing for any government is educating the people about the issues, not following the ups and downs of popular opinion”
With American politics being the shitshow that it currently is, the temptation to lampoon Trump at every and any opportunity is one that many theatre directors have been unable to resist. A wilier creative mind might regard this as too on the nose (and already overdone) and find an alternative way to critique our transatlantic cousins, at least an avalanche of Brexit plays puts the boot on the other foot.
And that is what Simon Evans’ revival of Gore Vidal’s 1960 play The Best Man has done. After touring the UK last year, it arrives at the Playhouse Theatre with a slight sense of stateliness about it but also alive to how just how much of what was written nearly 60 years ago has to say about today’s political establishment. With a cast that includes Martin Sheen and Maureen Lipman, plus a cracking performance from Philip Cumbus, there’s something interesting here that rises above some slightly dated writing and aspects of a political system long left behind. Continue reading “Review: The Best Man, Playhouse”
“Everything seems to be
Some kind of wonderful”
Where Broadway leads, the West End will surely follow and so it is little surprise that Tony-winning Beautiful – The Carole King Musical found its way over here to the Aldwych Theatre. And I’m pleased to report that the transatlantic passage has gone most smoothly indeed to deliver an absolute treat of a show. When three of its four leading personnel are still very much alive and kicking, it is perhaps no surprise that Douglas McGrath’s book treads a rather respectable path through the first ten years of King’s career. But then she would be the first to say, with typical self-deprecating charm, that her life is hardly the most exciting, her dreams never the loftiest – it just so happens that beneath this veneer of ordinariness lay an absolute treasure trove of extraordinary music.
And as musical gem follows musical gem – both from the collaborations of King and sometime partner Gerry Goffin, and also from their friends and writing rivals Cynthia Weil and Barry Mann – this feels utterly the point. Life isn’t always chock-a-block with drama, motivations don’t always have to spring from some momentous event, the cult of the tortured artistic soul is far from the be all and end all (Billington seems to suggest being “a shy, well-adjusted woman struggling to reconcile a career with a failing marriage” is something of a crime!) and I’d say that Beautiful is no weaker a biopic for not having such narrative peaks and troughs, reinventing personal history in the name of drama. Continue reading “Review: Beautiful – The Carole King Musical, Aldwych Theatre”