Andrea Levy’s novel Small Island comes to life most beautifully in this adaptation by Helen Edmundson at the National Theatre
“How come they know nothing about their own empire?”
There’s something glorious about Small Island, its epic scale suiting the National Theatre to a tee as a story about marginalised communities finally breaks free from the Dorfman… Andrea Levy’s novel was memorably adapted for television in 2009 and Helen Edmundson’s version is no less adventurous as it refashions the narrative into a linear story of just over three hours and stellar impact with its focus here on three key characters whom circumstance pushes all together.
Jamaicans Hortense and Gilbert with their respective dreams of being a teacher and a lawyer, and Lincolnshire farm daughter Queenie, all searching for their own version of escape and all unprepared for the consequences of smashing headfirst into the real world. For dreams of the ‘motherland’ prove just that for these first-generation immigrants shocked by the hostility of post-war Britain. And Queenie’s hopes of freedom are curtailed as she finds herself trapped in a loveless marriage to bank clerk Bernard. Continue reading “Review: Small Island, National Theatre”
What happens when whack-a-doodle becomes wearying – find out in Pity at the Royal Court
“What happens next is verging on the ridiculous”
Things start off well at Rory Mullarkey’s Pity. We’re directed to the rear of the Royal Court, enter through the back and get to walk over the stage with tombolas, ice-creams and brass bands all around (I’d happily listen to the Fulham Brass Band’s version of ‘Hello, Dolly’ all day). Chloe Lamford’s design certainly looks a treat in all its cartoon-comic brightness but ultimately, is indicative of a real issue with Sam Pritchard’s production.
“You need to turn your attentions to different people”
For Mullarkey’s play is concerned with violence – paradigm-shifting, society-shattering violence and the way that the British might very well respond to it. And as he suggests that we’d react to the collapse of civiliisation by making a cup of tea, you can’t help but wonder, really? On the one hand, everything here is telling you not to take things so seriously. On the other, communities across the world are being ripped apart in actual conflicts. It’s a tension that never satisfactorily resolves here. Continue reading “Review: Pity, Royal Court”
“It’s because you love him too much”
So a slightly odd position to be in, as we saw Harry Potter and the Cursed Child Parts 1 and 2 nearly 7 weeks ago at their first previews. And with the #keepthesecrets campaign already in full force then, I didn’t write up a review, opting instead for this preview of sorts. And even now, I’m loathe to write too much about it, for it really is the kind of play, and production, that benefits from the multiple elements of surprise contained within.
And it really is packed full of them, from all aspects. Based on an original new story by JK Rowling, Jack Thorne and John Tiffany, Thorne’s play revels in the richness and full depth of the Harry Potter universe to the point where the named cast are described as playing “roles include…” so as not to spoil what’s to come. This does have the knock-on effect of making this a play not really suitable for newcomers but I can’t imagine too many of them will have booked! Continue reading “Review: Harry Potter and the Cursed Child, Palace – totes spoiler free!”
“How is that even possible?!”
Well it’s finally here, Harry Potter and the Cursed Child Parts 1 and 2 have landed at the Palace Theatre in a blaze of insane publicity and media coverage desperate for a touch of that JK Rowling magic to drive web traffic. In some ways, I’m no different (hence this post!) but in one crucial way I do have the advantage – I’m one of the lucky audience members who has now seen both shows, along with the one and only scene-stealing appearance of Sprocket the owl.
It’s no secret that Rowling is asking people to #KeepTheSecrets and there’s always an interesting tension about whether or not one should observe an embargo when you’ve paid for your ticket (a whole £10 per show too, we weren’t going crazy!). So for now, I’m leaving you with this little collection of teasers about some of my favourite things from the show and be warned, they do increase in mild spoilerishness (mostly about staging, the final E is the one to avoid if you’re not sure…forgive me JK!). Continue reading “Preview: Harry Potter and the Cursed Child, Palace”
“I will have Gaveston, and you shall know what danger ’tis to stand against your king”
Now this is what I want my National Theatre to be like – creative, bold, fresh, fearless. There’s no pretending that Joe Hill-Gibbins’ production of Marlowe’s Edward II is flawless perfection, its modern ambition sprawls over the Olivier’s vast stage and up onto the walls as screens either side relay live video footage, but the energy at hand from both cast and creatives is wonderfully galvanising and points defiantly towards the possibilities of the future when Nicholas Hytner finally stands down in a couple of years. Traditionalists may balk, especially in some of the more challenging sections of the first half but for this institution to thrive, it has to be allowed to experiment and expand its remit and that ought to be supported by all.
Under the cruel yoke of his father, Edward suffered his lover Gaveston to be exiled but on ascending to the throne to become Edward II, he restores him to England and lavishes him with jewels and titles. But their overt hedonism riles up the powerful barons of the realm as they take up the cause of his neglected queen Isabella in an audacious power-grab, setting up the kind of conflict that leaves no-one unscathed. John Heffernan ascends to his first major London lead role with all of the subtlety and aching depth that has long made him a favourite around these parts. His Edward is a capricious fidget, pathetically desperate to please Kyle Soller’s cockily assured Gaveston and their headlong lustful passion is one that you believe he would fight tooth and nail for, yet he also possesses an innate grace under pressure – his abdication speech is profoundly moving, the desperation of his exile near-impossible to watch. Continue reading “Review: Edward II, National Theatre”
“So wise, so young, they say, do never live long”
I picked on this radio adaptation of Richard III to be my companion on a particularly long journey over the weekend since it came in at nearly three hours of running time, but hadn’t anticipated that it would be as dull and unengaging as it was and consequently I struggled to get to the end of it. Quite why this should be I’m not entirely sure, it is competently spoken throughout – Douglas Henshall taking on the title role – but it never gripped me, it never seemed to transcend the medium to come alive and sound real rather than an academic exercise and so it left me most disappointed indeed.
“Laws are like sausages, it’s better not to see them being made”
‘Released after fifteen years in prison, trapped in a bureaucratic maze, petty criminal Wilhelm Voigt wanders 1910 Berlin in desperate, hazardous pursuit of identity papers. Luck changes when he picks up an abandoned military uniform in a fancy-dress shop and finds the city ready to obey his every command. At the head of six soldiers, he marches to the Mayor’s office, cites corruption and confiscates the treasury with ease. But still what he craves is official recognition that he exists.’
It is probably cheating to use the official synopsis of a play wholesale like this but to be honest, I couldn’t care less after suffering the bloated self-satisfaction of The Captain of Köpenick at the National Theatre. An adaptation by Ron Hutchinson of a 1930s German satire by Carl Zuckmayer, it is a heavy-handed, ploddingly-laboured, fatally-misjudged confection which throws everything plus the kitchen sink into the Olivier but for shockingly low returns.
Running time: 2 hours 30 minutes (with interval)
Booking until 4th April
“We have seen better days”
Relevance. From the moment that Timon of Athens was announced as part of the upcoming season at the National Theatre with its look-alike poster image, it was clear that this would be a production straining for resonance in the modern world. This is nothing new of course – the recent Antigone opened with an evocation of the capture of Bin Laden, the RSC have relocated Julius Caesar in a modern-day African dictatorship, numerous Comedies of Errors have touched on people-trafficking – but in his quest to update this neglected Shakespeare problem play for our times, Nicholas Hytner seems to have suffered very much from square peg round hole syndrome. Aspects of this production may well improve as the preview period progresses, my problems with it ran much deeper.
Timon starts the play as a major player on the London social scene, showering the city and his acolytes with his financial largesse and a dubious open door policy. But such cultural and personal philanthropism comes at a serious price when it emerges that Timon is in fact bankrupt and when he turns to those who he has lavished with money and gifts, they turn their back on him and offer no help. He exacts a stinking revenge on them during a feast and then retires from society to become a bag lady. Even then, an unexpected discovery means that he cannot truly escape his former life but his influence is channelled into a darker stream of action as civil unrest is steadily growing. Continue reading “Review: Timon of Athens, National Theatre”
“How ill agrees it with your gravity to counterfeit thus grossly with your slave”
Ephesus is London, Syracuse is somewhere in the West Indies (I think) and we’re in the modern day: Dominic Cooke’s production of The Comedy of Errors moves into the Olivier at the National Theatre for an epically long run of a thoroughly updated version of this play. One of Shakespeare’s earliest works, it’s a classic tale of mistaken identities as two sets of twins separated at birth by a shipwreck rocket around the same city causing absolute mayhem as wives, merchants and policemen get tangled in a confused mess over the course of a manic day. We took in a late preview of this show which opens officially on Tuesday 29th.
Though it is Lenny Henry’s face on the poster, this is Claudie Blakley and Michelle Terry’s show. As Adriana and Luciana, here a pair of loaded Essex girls, they ooze buckets of attitude as they sit through manicures and massages whilst bemoaning their menfolk and spend the vast majority of the play in some seriously impressive towering heels, even managing to run round the stage in them several times. Blakely’s comic timing is nigh on perfect as she rages through Ephesus/London but also plays a depth to this woman, all too aware of her husband’s philandering and her final contemplative gaze at her husband is a mightily powerful moment. Terry is transformed with straightened blonde locks and a delightfully brash manner which milks every conceivable laugh from her lines: together they are just dynamite. Continue reading “Review: The Comedy of Errors, National Theatre”
“I don’t need you to be a birdman, I just need you to be my dad”
Written by David Almond and with music by the Pet Shop Boys, My Dad’s A Birdman is the Christmas offering at the Young Vic this year, suitable I’d say for children from the age of 5 upwards. Set in a house on Lark Lane somewhere on Tyneside, young girl Lizzie Crow lives with her dad Jackie, who is obsessed with becoming the Human Birdman. Auntie Doreen who lives nearby, tries to keep things in order, cooking dumplings for everyone and making sure Lizzie does her homework, but when The Great Human Bird Competition comes into town, all attention turns to who will be able to fly right across the river Tyne and win the big prize.
For Dad, who has already built himself a nest and a pair of wings, it is the perfect opportunity to get closer to his dream of flying and by the time the competition starts with a great big ramp being constructed in Giles Cadle’s simple design, there’s a brilliant scene with several people trying, and failing, to make it across in all sorts of manners, all introduced by the organising Mr Poop who might just be a little more bonkers than everyone else. Lizzie seizes the chance to get closer to her father but has to deal first with the interferences of Auntie Doreen and headmaster Mr Mint. Continue reading “Review: My Dad’s A Birdman, Young Vic”