Has Lesley Manville ever been better? She scorches through a beautiful production of Long Day’s Journey Into Night
“Who wants to see life as it is, if they can help it?”
Between scoring an Oscar nomination for Phantom Thread, returning to TV screens in superlative sitcom Mum and conquering one of the almighty stage roles written for a woman in Long Day’s Journey Into Night, it is safe to say that Lesley Manville is having a ‘moment’ as a potential queen of all media, and a well-deserved one at that – she is the kind of rare talent that is genuinely due this kind of adulation.
Richard Eyre’s production of Eugene O’Neill’s classic play was first seen at the Bristol Old Vic in 2016 (have a gander at m’review here) and it transfers to the Wyndham’s pretty much intact – Manville and Jeremy Irons leading the cast once again as the troubled Mary and Joseph Tyrone, with Rory Keenan and Matthew Beard stepping in as their sons. The returning Jessica Regan rounds out the cast as housemaid Kathleen. Continue reading “Review: Long Day’s Journey Into Night, Wyndham’s”
“This revolt of thine is like another fall of man”
It would be great to live in a world where gender-blind casting isn’t newsworthy in and of itself but we don’t and so it should be shouted out and celebrated wherever it happens, until the day that it just feels rightly commonplace. What should always be celebrated though is the opportunities being given to some our greatest actors to take on powerful leading roles – the intrigue of Glenda Jackson’s return to the stage, the trifecta of Harriet Walter’s Donmar leads soon to be capped off with Prospero and here at the Open Air Theatre, the glorious Michelle Terry rising to the challenge of Henry V.
Insofar as Robert Hastie’s modern-dress production has a conceit, it’s of a group of actors coming together to put on a play, waiting for Charlotte Cornwell’s Chorus to anoint one of them with the leading role – and it’s hard not to feel a frisson of delight as she bypasses the cocky guy pushing to the front to place the crown on Terry’s head. And from then, it’s a relatively straight-forward production, playing out on the wide expanse of Anna Fleischle’s square of riveted iron, props kept to a minimum, John Ross’ movement coming to the fore in impressionistic battle scenes lit beautifully by Joshua Carr. Continue reading “Review: Henry V, Open Air Theatre”
“One day I found I could no longer call my soul my own”
There’s a lot of activity planned around the celebration of Bristol Old Vic’s 250th Anniversary but it is hard to imagine it being bettered than this stunning production of Long Day’s Journey Into Night. Eugene O’Neill’s emotionally gruelling autobiographical masterpiece of a play sees director Richard Eyre reunited with Lesley Manville whose last collaboration was the superlative Ghosts which was reason enough to visit Bristol, even before the small matter of Jeremy Irons being cast against her.
And so it turned out that, along with Rob Howell’s exceptional set design, is was Manville with the magic here. She plays Mary Tyrone, the matriarch of a family blighted both by the curse of addiction and an inability to talk about anything important. Her demon is morphine, her older son’s is alcohol and her younger son is seriously ill with tuberculosis but such is the rod of iron with which father James rules the roost, that these uncomfortable truths are rarely, if at all, confronted. Continue reading “Review: Long Day’s Journey Into Night, Bristol Old Vic”
“This is a potato party”
Expectations are a funny thing. Luigi Pirandello’s reputation as one of our foremost dramatists comes from his metaphysical musings on identity and self but his 1916 play Liolà comes from a very different place and so may leave you nonplussed if expecting something akin to Six Characters in Search of an Author. Instead, Tanya Ronder’s new version directed by Richard Eyre is a rollicking tale full of song and dance, set in a Sicilian village from which most of the men have migrated. The two that remain, Liolà and Simone, are surrounded by a veritable multitude of women with whom a number of complicated relationships are in place.
Ageing landowner Simone married the much younger Mita in order to provide him with the heir he desperately craves but five years of marriage have produced no children. By contrast, local lothario Liolà has knocked up at least three of the local girls and now has three children who are raised by his mother. But when he gets Simone’s young cousin Tuzza pregnant, she and her mother espy a scheme to play on Simone’s fears of childlessness and pass the child off as his own. But Mita and Liolà were childhood sweethearts and together they plot her own revenge. Continue reading “Review: Liolà, National Theatre”
“What is there more?”
The Kitchen was one of Arnold Wesker’s first plays and follows on from the Royal Court’s well-received (if not by me) Chicken Soup with Barley in a year which has been something of a revival for Wesker. Written in 1959 and inspired by his own experiences of working in the catering industry, it is set in 1957 in the basement kitchen of a large London restaurant, the Tivoli. The dynamics of a swirling multi-cultural mass of chefs, waitresses and kitchen porters are exposed as they slowly build to the mad rush of a huge lunchtime service. Playing in the Olivier at the National Theatre, this was a late preview performance.
Director Bijan Sheibani has assembled a cast of 30 who rush about Giles Cadle’s circular kitchen set with increasing fervour as prep turns into service and the banter with all its personal enmities, tribal groupings and rivalries between kitchen staff and dining-room staff becomes increasingly fraught, and of course largely forgotten as the rush passes and the calm of the afternoon allows for a more reflective atmosphere. The less intense evening service provides a final act is no less dramatic though as slow burning stories finally explode. Continue reading “Review: The Kitchen, National Theatre”
“Everything that people say is so much fluff and nothing”
The Cherry Orchard was Anton Chekhov’s final play and although the Old Vic saw Sam Mendes’ Bridge Project tackling it a few years back with a version by Tom Stoppard, it was last seen at the National Theatre a decade ago with Vanessa and Corin Redgrave. This production though sees director Howard Davies reuniting with Andrew Upton with whom he worked on Philistines and The White Guard as they continue to explore 20th century Russian theatre writing and also with leading lady Zoë Wanamaker after their wildly successful collaboration on last year’s All My Sons.
Telling of the terminal decline of the Russian ruling classes at the beginning of the twentieth century, Chekhov’s play is presented in a new version by Andrew Upton which provides a straightforward directness to the text, which is at time effective but also intermittently problematic. For me, it was just too modern for its own good, laced through with random words, colloquialisms and phrases that kept jolting me out of the period setting with some really strange choices, the Nina Simone song lyric being a particularly jarring example. When Upton imposes less on the writing, beautiful and powerful moments arise, it would just be nice if they were allowed to flow better. Continue reading “Review: The Cherry Orchard, National Theatre”
“Russian soldiers being shot with Chinese bullets, sometimes the world is so beautiful”
JT Rogers’ Blood and Gifts started off life as one of the short plays that constituted The Great Game, the Tricycle’s hugely ambitious cycle of works about Afghanistan. He withdrew it from the recent re-run of that set of shows to work it up into a full length play which now premieres at the Lyttelton in the National Theatre. It has apparently had a few teething problems resulting in the first preview being cancelled, so this is a review what became the second preview.
The play starts off in 1981 in Pakistan, in the offices of the Intelligence Services there and up in the mountainous borders with Afghanistan, as James Warnock a CIA agent is sent to the region to try and stop the Soviets in their aggression. In order to do so, Warnock needs to negotiate with the Pakistani Intelligence Services, the KGB and MI6 presence there and most trickily, with the slippery Afghan warlords whose loyalties are easily bought but just as easily lost. We then track events for the next 10 years as the war continues, relationships develop over money and arms, watching appeals at the US senate for Stinger missiles, then finally moving to Afghan foothills for a blistering climax when some serious truths are finally revealed. Continue reading “Review: Blood and Gifts, National Theatre”