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Review: The Country Wife, Minerva

A cracking cast can’t quite make sense of a modern updating of The Country Wife at Chichester’s Minerva Theatre

“What is wit in a wife good for, but to make a man a cuckold?”

How many productions does it take for a playwright to have a moment? We could be on the cusp of a Wycherley wave, with the second production of The Country Wife to arrive this year (the first being at the Southwark Playhouse in April). 

But though this Restoration writer is proving popular, directors seem unable not to tinker with his work – that production was set in the 1920s and Jonathan Munby here moves it even further to the present day, casting new light but also dimming its intent. Continue reading “Review: The Country Wife, Minerva”

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12 Days of Christmas – Black Mirror Christmas

“So thanks to you, some dork meets a girl, not much of a Christmas story…”

On the sixth day of Christmas, Black Mirror also gave to me…only bloody Jon Hamm!

Well this was a White Christmas but necessarily like the ones you used to know. Black Mirror’s 2014 Christmas special saw writer Charlie Brooker go feature length and director Carl Tibbetts get crazy fortuitous as Jon Hamm just declared his love for the series and his interest in appearing in it one way or another, the result being this interlinked triptych of stories, combining as ever to chilling effect.

Hamm plays Matt, a man working in some unspecified remote location and sharing a cabin with Rafe Spall’s Joe. They’ve been living together for five years without really communicating but this particular morning, Joe wakes up to Matt making Christmas dinner, determined to get the story of how he ended up in this isolated place. And sure enough, it is a tale of human exploitation of technological advancement. Continue reading “12 Days of Christmas – Black Mirror Christmas”

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Review: The Captain of Köpenick, National Theatre

“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