I can’t keep away from Marianne Elliott’s award-winning Company, and it richly repays the rewatching
“A festive atmosphere pervades the room”
Hot on the heels of its double Evening Standard-award winning weekend, Company remains in sparkingly good form. And from the seats in the dress circle box (a bargainous £20 if you can find ’em), the slightly restricted view matters not a jot as the extreme proximity means you have something of the intimacy of watching a show at the Donmar. Which in a show of this quality means that there’s all sorts of detail that you can see, which isn’t immediately apparent from the back of the stalls.
Some of my key revelations from this visit (not necessarily restricted to things that we discovered by being close) : Continue reading “Re-re-review: Company, Gielgud Theatre”
As if you needed more convincing, here’s another 5 star review of this superlative re-imagining of Sondheim’s Company
“Everything’s different, nothing’s changed.
Only maybe slightly rearranged”
From the moment Marianne Elliott’s new production of Company started, I knew that it wouldn’t be something I only saw once. Indeed, by the time we’d reached press night, that was my third time at the show! And now that an extension through to the end of March has been announced, there’s never been a better time to get booking. Read my 5 star review of Company for Official Theatre here.
Running time: 2 hours 40 minutes (with interval)
Photo: Brinkhoff Mogenburg
Company is booking at the Gielgud Theatre until 30th March
The company of Company are simply sensational at the Gielgud Theatre – Rosalie Craig, Patti LuPone, Jonny Bailey…just book now!
“Everyone adores you, what an awful thing”
Phone rings, door chimes, in comes an adaptation of Company that subtly but definitively realigns it for a contemporary audience and makes you wonder how you could ever go back to the original as is. Marianne Elliott’s reworking is most notable for the regendering of its lead character – Bobby becomes Bobbie in the extraordinary hands of Rosalie Craig – but the changes it makes filter right down through the show, reflecting the changes in society since the show was written in 1970.
Sometimes it is overt. Amy becomes Jamie here, and Jonathan Bailey’s show-stopping delivery of ‘Getting Married Today’ (seriously, best priest in a show, ever) is underscored by the fact that gay marriage is a thing now. Less obvious is the switching of roles for Susan and Peter, she’s the professional go-getter and he’s the one who faints at the sight of blood. And even Larry becoming something of a toyboy for Joanne speaks towards an important rebuttal of the kinds of cultural stereotype that have been allowed to persist. Continue reading “Review: Company, Gielgud”
Full casting for Elliott Harper’s Company announced – but what does this really mean for a gender-switched production. I crunch some numbers…
The full castlist for Marianne Elliott’s revival of Company has now been revealed, Jonathan Bailey’s casting as Jamie a late twist in the tale in a production trading on the interest of its gender-switching. Making Amy Jamie finally has the impact of queering the show as he remains partnered to Paul; but the rest of the show looks like it merely reinforces the heteronormativity of the world in general. Continue reading “News: Full casting for Company announced – but what does this really mean for a gender-switched production”
“Eä, Arda, Ainulindalë.
Aratar, Maiar, Rána, Nénar”
Believe it or not, there was a time when I lived in London and I only saw a handful of shows a month, actually making considered decisions about what I wanted to see. And I have to say the musical of Lord of the Rings did not make the cut (obvs I wasn’t aware of who Rosalie Craig was at that point, or else I would have gone!). The show lasted just over a year at the Theatre Royal Drury Lane and probably lost a shit-ton of money (it allegedly cost £12 million to make) but we do have a cast recording to remember it by.
And what a rather odd-sounding show it is, little surprise really when you consider that producer Kevin Wallace brought on three different composers to complement the book and lyrics by Matthew Warchus and Shaun McKenna. So Bollywood supremo A. R. Rahman, Finnish folk group Värttinä and Lloyd Webber-wannabe Christopher Nightingale all contributed to an altogether epic score, but one which sprawls in an unwieldly manner as these three strands struggle to cohere into an effective whole.
Continue reading “CD Review: Lord of the Rings (2008 Original London Production)”
“For your love I pray you, wrong me not”
Any filmed adaptation of The Merchant of Venice is up against it for me as I adore the Al Pacino version from 2004 which makes so much sense of so many of the difficulties of the play. This Trevor Nunn production was a big success for the National Theatre, transferring from the then-Cottesloe to the Olivier, winning all sorts of awards and then filmed for the US’s Masterpiece Theatre.
And as is often the case with these stage-to-screen adaptations, it’s a little flat and disappointing, little concession made to the change in medium and so the abiding feeling is that one is left wishing one could have seen it onstage. Which is a shame, as Henry Goodman makes an excellent Shylock, viciously vengeful but clearly victimised too in this adroit resituating of the play to the 1930s. Continue reading “DVD Review: The Merchant of Venice (2001)”
“I’ll show my noble stuff by being bright and cheerful!”
They don’t make ‘em like they used to. Both in terms of writing, Leonard Bernstein’s operetta Candide (with its multiple literary contributors from Voltaire’s novella) dates back to 1956 and an entirely different age, and in terms of production too, Trevor Nunn’s National Theatre liked its big, grand musicals and this 1999 adaptation – co-directed by Nunn and John Caird – was lavishly done with its lush orchestrations fortunately recorded for posterity.
My only previous experience of Candide is with the Menier Chocolate Factory’s production in 2013 so I can’t really comment on the different versions of the show (although having done a little reading, I realise that this is something people have strong opinions about!). Instead, I’m listening to it with pretty much fresh ears, revelling in Bruce Coughlin’s orchestrations and Mark W Dorrell’s musical direction which sound utterly gorgeous, especially with a cast of this calibre. Continue reading “CD Review: Candide (1999 Royal National Theatre Recording)”
“A man dare not play the tyrant in London, because there are so many examples to encourage the subject to rebel.”
It may be The Beaux’ Stratagem but it is Mrs Sullen’s play. The most striking thing about Simon Godwin’s production of George Farquhar’s final Restoration comedy is its determinedly proto-feminist stance as Mrs Sullen – an independently wealthy woman now desperately unhappily married – is given surprising agency to express herself in a meaningful way and attempt to extricate herself from her situation. And in Susannah Fielding’s superbly silken performance, she’s exquisitely played as an almost tragicomic figure, endlessly entertaining in the raucous romping around but as Jon Clark’s lighting picks her out at the end of each act, capable of holding the entire Olivier theatre’s hearts in her hands.
The beaux ain’t too bad either. Farquhar’s plot centres on their attempts to marry into money after squandering their fortunes in London. Hoping news of their disgrace hasn’t reached the provinces, they head north and stop off in Lichfield, pretending to be master and servant, where their attentions fall on a rich young heiress and her unhappily married sister-in-law. Samuel Barnett’s Aimwell and Geoffrey Streatfeild’s Archer are a witty pair of fellows indeed, with a cracking line in beautifully cut overcoats too, as their avaricious adventures are soon overturned by amorous attentions as they can’t help but fall head over well-turned heel for their marks. Continue reading “Review: The Beaux’ Stratagem, National Theatre”
“Oh, my dears…there’s more fun to be had here than at the theatre”
A sense of duty rather than excitement saw me nip into the Old Vic for Fortune’s Fool
and to be frank, I wish I hadn’t bothered. Not a play with which I was familiar, I was shocked at how violently it rubbed me up the wrong way, an uneasy blend of Russian country house-driven ennui and farcical shenanigans which sadly felt like an utterly inessential piece of theatre. In retrospect, I can see how it might have appealed as a piece of safe programming but as with much this year at the Old Vic, it is hard to feel artistically enthused there and though this was an early performance in the run and received enthusiastically at the end, I’ve never seen so many newly empty seats post-interval.
But back to the play. Written in 1848 by Turgenev, Lucy Bailey’s production uses Mike Poulton’s adaptation which was fashioned for Broadway back in 2002 (where it made its debut, though it has been seen in the UK before then). Kuzokvin is a miserable Russian aristocrat who has relied on the kindness of a (long dead) friend for room and board whilst his own property is tied up in legalities. When the newly married heirs to the estate announce they are to arrive, he’s sent into a bit of a tizzy, a situation which is made immeasurably worse when neighbour and fellow aristocrat Tropatchov turns up to join them for a boozy lunch.
For Tropatchov is also miserable and his ennui manifests itself in an embittered viciousness to his repartee and the first half is taken up with the increasingly drunken antics of these aristocrats and their ever-watchful servants as Richard McCabe’s Tropatchov winds up Iain Glen’s Kuzovkin to excruciating levels of humiliations, but unleashing a shocking revelation which it then takes the second act to resolve. It is hardly ground-breaking stuff but crucially it doesn’t offer up anything much of interest, nothing about it held my attention sufficiently or manage to do much more than try my patience.
McCabe is decent enough but it is a one-note character, something exacerbated by the overused tic he gives his toff of frequently flicking his foppish fringe. Glen has the harder task of marrying tragi- with comedy and doesn’t really pull it off at the moment, the drunkenness a horribly stagy sequence and thoroughly unbelievable. The only pleasure for me came from seeing Alexander Vlahos doing well as the returning heir, nice to see him graduating to larger roles since a great turn in Macbeth
earlier this year. So not my cup of tea at all but more than that, it also feels an unsatisfactory (and far-too-female-light) choice of play.
Running time: 2 hours 20 minutes (with interval)
Booking until 22nd February
“You are a tyrant, a traitor and a murderer, a public and implacable enemy of the Commonwealth of England”
55 Days sees playwright Howard Brenton return to the history books, after the sheer brilliance that was Anne Boleyn, in this new play for the Hampstead Theatre. The 55 days of the title refer to the period between the enforced creation of the Rump Parliament, the men determined to try King Charles I for high treason, and the subsequent execution of the monarch after Oliver Cromwell failed to reach a compromise with him. It’s a densely packed historical drama, perhaps a greater intellectual than emotional pleasure, but intriguing all the same.
Mark Gatiss takes on the role of Charles I with a wonderfully arch arrogance, utterly convinced of his divine right to rule and the inability of any higher authority to challenge his own, and his louche physical language belies a sharper intelligence that threatens to undo the work of Parliament to build an unprecedented, solid legal case against their king. And that Parliament is led by Douglas Henshall’s puritanical and precise Cromwell, a powerfully pugnacious presence who, though claiming to be governed by pure notions of free-nation-building, is not above the politicking necessary in order to ensure the smooth passing of his will. Continue reading “Review: 55 Days, Hampstead Theatre”