“There’s a pleasure sure, in being mad, which none but mad-men know”
Josie Rourke’s inaugural season as Artistic Director of the Donmar Warehouse starts off with the Donmar’s first ever Restoration comedy – George Farquhar’s The Recruiting Officer. Written in 1706, it is also well known as the play that is rehearsed by the convicts in Timberlake Wertenbaker’s Our Country’s Good and Rourke has assembled a truly impressive cast in order to make a splash with her debut. Plotwise, it is mainly about men who go ‘huzzah’ a lot as they try to recruit the young men of Shrewsbury into the army, balanced with two central romances which are negotiating the impact of a big inheritance on female romantic inclinations.
It’s a whole lot of bawdy fun rather than making any serious points about anything if one is brutally honest, but it is totally made by the quality of the cast. Tobias Menzies exudes charisma as the bounding Captain Plume, well partnered by Mackenzie Crook’s Sergeant Kite, and together they brazenly try to wheedle their way into the sense of duty of the male populace and sweep them off to war. Completely amoral but largely quite funny about it, the scene with the faux crystal ball reader is extremely well done, Nicholas Burns’ demonstrating some nifty moves as gentleman Worthy, and many a laugh is garnered. Most of them come though from the friendly(ish) rivalry with Captain Brazen, a rival recruiting officer who is well portrayed as Mark Gatiss nearly steals the show with an outrageously foppish performance: his vocal delivery at one crucial point was just delicious. Continue reading “Review: The Recruiting Officer, Donmar Warehouse”
“I shall do thee mischief in the wood…
‘Ay, in the town, in the temple…’”
Last July’s Romeo and Juliet at the Actors Church in Covent Garden was a real unexpected surprise in a summer that was full of productions of that play, site-specific theatre that genuinely worked with the idiosyncrasies of the venue and able to exploit them to their full advantage. This year Iris Theatre are putting on A Midsummer Night’s Dream as their main production for the summer, an early showing of which I caught this week, to see whether the magic could be recaptured with this, my most favourite of Shakespeare’s plays.
The venue is St Pauls Church, right in the middle of Covent Garden with its own secluded courtyard filled with trees and shrubbery, which lends itself well to the evocation of the Forest of Arden: Dan Winder’s fluid production places a strong connection with nature front and centre so that the fairies are closer to woodland sprites than the ballet-dressed moppets of old, fitting in perfectly to the grassy knolls, wildflower-strewn groves and secluded bowers, the steps of the church creating a more stately locations where needed. The audience follows the action around the grounds, though there’s only perhaps 2 moves in each half and there’s sufficient room for everyone at each place, sitting or standing – something which is not always the case in promenade productions. Continue reading “Review: A Midsummer Night’s Dream, Actors Church Covent Garden”
“Will you join in our crusade? Who will be strong and stand with me?”
When I first started this blogging lark, I thought that what I wanted was to be ‘respected’ as a ‘serious’ theatregoer and whilst I’ve never been ashamed of being a huge fan of musical theatre amongst many other things, I’d always been uneasy about demonstrating that too much. But after great conversations with so many of my new friends in the online reviewing community, I’ve come to fully appreciate that integrity really does come from being truly honest about things that I see and the things that I love and this could not have been better illuminated than in the last two days: an obscure Sondheim revival at the Donmar and the umpteenth time of seeing Les Misérables, albeit in a new production and I can proudly say that it was Les Mis that came out as a clear winner for me despite what my inner snob may have wanted me to say!
Based on Victor Hugo’s novel, Alain Boublil and Claude-Michel Schönberg adapted it for the stage in 1980, and it first played in London at the Barbican, produced by Cameron Mackintosh and directed by Trevor Nunn, transferring to the Palace and then the Queen’s Theatre where it is still running after 25 years. And to mark that 25th anniversary, Mackintosh conceived this touring version of the show, directed by Lawrence Connor and James Powell (a decision which sadly left Nunn’s nose out of joint) and after touring the country, it has now arrived back at its original home at the Barbican for 22 performances only. Continue reading “Review: Les Misérables, Barbican”