Follies 2019 remains the show that I need right now
“I’m so glad I came”
Just a quickie for this revisit to Follies, which remains as perfect a piece of musical theatre as I could hope for. I loved it then but I really love it now, Joanna Riding is just heartbreakingly perfect as Sally, she really brings something to the role that somehow eluded Imelda Staunton (for me at least), Alexander Hanson is superb in tracing Ben’s tragic fall, and Janie Dee and Peter Forbes maintain their stellar work as Phyllis and Buddy (seriously, Dee is a proper showstopper).
And as is surely appropriate in Dominic Cooke’s production, ghosts of the past interplay with what we’re seeing from top to bottom. It was great to see Dame Felicity Lott as Heidi, a different but no less affecting proposition than Dame Josephine Barstow (there truly ain’t nothing like a…). And the young talents of Gemma Sutton, Ian McIntosh, Harry Hepple and Christine Tucker are eloquently elegant as the younger incarnations of the central quartet. Continue reading “Re-review: Follies 2019, National Theatre”
The Olivier Award-winning Follies returns to the National Theatre in richer, deeper, more resonant form and just blows me away
“It’s the cat’s pyjamas”
Like the ghosts of their younger selves that haunt the characters in Follies so beautifully in this production, for those who were lucky enough to catch its superlative Olivier Award-winning 2017 run, so too do our memories interplay with what we’re seeing, inducing some soul-shiveringly exceptional moments that are almost metatheatrical in the feelings they provoke.
The tingle of anticipation is never far away but the show somehow feels richer, deeper, more resonant in the note of melancholy it strikes as it exposes nostalgia for the rose-tinted self-delusion it so often becomes. Janie Dee’s Phyllis somehow feels more desolate, especially in her bitterly brilliant ‘Could I Leave You’; Tracie Bennett scorches the roof once more in ‘I’m Still Here’ in what feels like a more internal performance now; we’re all at least a year older… Continue reading “Review: Follies 2019, National Theatre”
“I’m not nice, I’m just right”
Fiasco Theater’s production of Stephen Sondheim’s evergreen Into the Woods was a big success over in the US and its actor-muso ethos seems ideally suited for this transfer to the Menier Chocolate Factory. It’s also an approach that pays dividends with the material, Sondheim and James Lapine’s interrogation of the world of fairy tales and what happy ever after really means.
Stripped back and doubled up, Noah Brody and Ben Steinfeld’s fully actor-musician production makes a virtue of the communal spirit and really makes you notice how much of an ensemble show it really is. Not just in how each of the storybook characters get their chance to shine (or not, as the case may be) but in the relationships, of both family and friends, with which we surround ourselves, just to save us from those moments in the woods. Continue reading “Review: Into the Woods, Menier Chocolate Factory”
This Way Up from Shoot Productions on Vimeo.
All you really need to know about this is that it has Lucy Ellinson in it. And a cute little tyke. Aw.
Continue reading “Short film Review #49”
“It’s quite clearly not just a game or we wouldn’t be this upset about it would we”
In lieu of anyone having written a play about Wigan Athletic (although maybe there is one to come from somewhere…), I had to make do with Luke Barnes’ The Saints
for my theatrical footie fix, journeying down to Southampton on a beautiful summer’s day. The weather was key as the Nuffield have created a pop-up theatre in Guildhall Square for the Art at the Heart Festival and as you can see from the pics below, it takes the form of a mini football stadium, leaving the audience exposed to the elements on its terraces but fortunately a morning rain shower soon changed to blazing sun in time for the starting whistle and a really rather enjoyable piece of theatre.
Kenny Glynn is a lifelong Southampton FC supporter and that life has been one full of hardship and challenges, not least in supporting the Saints through thick and thin, and in a brilliantly conceived first half, we see exactly how that life has played out. We witness the early death of his father at Kenny’s first trip to the Dell, the development of his mother’s chronic illness which made him her live-in carer, the trials being a Sunday League footballer and not a very good one at that, and the woes of being a teenager in love with a girl who barely knows he exists. Alongside this runs a potted history of the club, Kenny unable to dissociate the key events of his life from what was happening on and off the field.
Matthew Dunster’s production is brilliantly energetic – a keen young company of eight multi-role effortlessly, stripping in and out of tracksuits and other costumes at the drop of a hat, and wheeling around the components of Anna Fleischle’s inventive design to keep the pace constantly high. And in Cary Crankson’s wonderful central performance as Kenny, there’s such an appealing likeability that it is impossible not to get swept up in the dramas of his life as he slowly learns that you need to play the cards life has dealt (guided in this respect by a canny guardian angel by the name of Matt Le Tissier, well, it’s God dressed up as him…) and making the FA Cup final isn’t always what it is cracked up to be.
Continue reading “Review: The Saints, Nuffield Playing Field”
“My usual self is a very unusual self”
The sight of Bijan Sheibani’s name on the creatives’ list of a show is now a terrifying one – swinging arbitrarily from the sublime to the ridiculous, it is impossible to tell what he is going to pull from his crazy-ass hat and so going to see one of his production automatically has a certain frisson about it before the curtain even rises. But even with this risk, getting to see Shelagh Delaney’s 1950s classic A Taste of Honey for the first time was something I was not willing to pass up, especially with Lesley Sharp and Kate O’Flynn in the cast.
And pretty damn fantastic it was too. An initial shadow of doubt as Hildegard Bechtler’s expansive set was revealed in its revolving glory was soon dispelled as it became apparent we had #goodSheibani, utilising a pared-back approach free from distractions and cultivating some high-intensity performances from his two leads. It definitely helps though when they are Dame-in-the-making Lesley Sharp and rising star Kate O’Flynn, my actress of the year in 2012 and surely destined to become one of our most interesting young performers. Continue reading “Review: A Taste of Honey, National Theatre”
“Laugh to scorn the power of men”
Who’d’ve thought 2013 would turn out to be the year of the impressive Malcolm? After Alexander Vlahos’ strongly defined interpretation of a fast-maturing young man for the MIF’s Macbeth in the summer, so now Philip Cumbus makes his own successful stab at the character for the Globe’s take on the Scottish Play, making him an unmistakeable stateman from the off even if he hides it well. The production is most notable for marking the directorial debut of that product-of-a-star-dancing Eve Best and a striking one it is too – whereas Lucy Bailey went all-out Dante back in 2010, Best treats it with a much lighter, even comedic, touch.
It’s a bold choice and one that is just so different that in the trickier moments, it was hard to tell whether I felt it was genuinely unsuccessful or rather that it was just so unexpected. Generally speaking, the vein of black comedy that was teased out was stronger than the broader strokes that often appear in Globe comedies, but the sound of so much laughter in the play did feel at odds with its increasingly darkening horizons, the creeping sense of horror never really materialises as the tonal balance of the production makes it hard for the actors to shift modes and carry the audience with them. Continue reading “Review: Macbeth, Shakespeare’s Globe”
“We’ll press upon the enemy until he’s in a funk,
And show him its no easy thing resisting British spunk”
Just a quickie to cover this return trip to Privates on Parade, the opening show of Michael Grandage’s 5 show takeover of the Noël Coward Theatre, as I was able to attend the final performance of the run thanks to the day-seating efforts of a friend. I liked the show immensely when I saw it at the end of last year and whilst I could see that it might not be to everyone’s tastes, I was somewhat surprised at the charge of ‘dated’ that some people levelled at the play. Perhaps it’s a conversation that needs to be had with someone who actually felt that way but it feels erroneous to me, not least because it’s not even set (late 1940s) when it was written (1977).
The biggest change of course was due to the untimely and sudden death of Sophiya Haque who played the role of Sylvia. I can’t imagine how difficult it must have been for the company to continue after such a tragedy and all credit to understudy Davina Perera who rose to the challenge of taking on the role full time mid-run and achieving a seamless transition. Otherwise, I enjoyed the show just as much as I did first time round and having a better sense of the play as a whole, I appreciated the emotional depths of the writing that much more, the comedy has a more astringent edge in the knowledge of what is to come. Continue reading “Re-review: Privates on Parade, Noël Coward”
“How many sorts of people there are”
Well what an unexpected thing Privates on Parade turned out to be. Not knowing anything about it in advance meant it was full of surprises: the ‘play with songs’ moniker shouldn’t disguise the fact that it is closer to a musical than a play, and it very much needs to be treated as the period piece that it is. On the face of it, its ribald campery and racial stereotyping could be something of an affront, a relic of an old-fashioned past with old-fashioned attitudes, but to merely dismiss it as dated and offensive is to miss the wider points of Peter Nichols’ 1977 play and the nuances of Michael Grandage’s production, first seen at the Donmar in 2001.(FYI: this was a preview performance.)
The play opens the Michael Grandage residency at the Noël Coward theatre, a season of five star-studded plays – Simon Russell Beale is the marquee name here – with a new pricing model aiming for greater affordability for drama in the West End. It’s set in the fictional Song and Dance Unit South East Asia (SADUESA), a British army entertainment corps stationed there at the time of the Malayan Emergency in the aftermath of the Second World War, and follows this troupe of military entertainers as they tour their act through the hostile jungle of the Malayan peninsula. So against the near-oblivious flamboyance of the Marlene Dietrich covers, cabaret turns and jaunty full ensemble numbers, is a backdrop of long-simmering native discontent and explosive violence for which they are ill-prepared. Continue reading “Review: Privates on Parade, Noël Coward Theatre”
“Out of this wood do not desire to go”
As the first of Shakespeare’s works that I ever read and studied, I will always have a great affection for A Midsummer Night’s Dream and to this day, it has endured as probably my favourite of his plays. Something about its otherworldly (dream-like…) free-spiritedness really appeals to me, meaning there’s little of the suspension of disbelief often necessary to make the contrivances of his other comedies work, and it is a play robust enough to take many an interpretation, whether raucuous reinventions by Filter or Propeller, last year’s clever open air take by Iris Theatre or more classically inspired ones like the Rose Kingston’s Judi Dench-starring version from 2010. It is now the turn of Regent’s Park Open Air Theatre to revisit the show (though this was my first experience of it here) with a startlingly modern interpretation as it plays in rep with Ragtime, with which it shares much of its cast, over the summer.
First things first, this was a preview, the second I believe and due to the rain on Saturday, actually the first full run-through. Things begin with some pre-show business bustling about the trailer park set, reminiscent of the Dale Farm site with travellers squaring up to each other and to the encroaching building contractors, it sets the scene well but goes on a wee bit too long for too little effect in all honesty. But once the play proper starts with its arresting, punchy modernity, Matthew Dunster’s exceptionally well-balanced production clicks smoothly into gear, folding in classical references to this fresh new take and delving into some extremely dark places alongside the oft-times hilarious humour. Continue reading “Review: A Midsummer Night’s Dream, Open Air Theatre”