“Where will you turn when the house of Bernarda falls”
After establishing quite the name for itself with its all-male interpretations of Gilbert and Sullivan’s work, the Union Theatre are now letting the women have their turn with Triptic’s production of Michael John LaChiusa’s chamber musical Bernarda Alba. Based on García Lorca‘s The House of Bernarda Alba set in 1930s Spain, this condensed version – directed by Katherine Hare in 90 minutes without interval – captures the claustrophobia and the knife’s-edge balance of this group of women with a score replete with Iberian influences and near-operatic intensity.
Following the death of her husband, Bernarda Alba rises to the position of head of her household of five daughters and team of female servants but her strict matriarchal rule is challenged by the arrival of a man – unseen – into their lives. In Hilary Statt’s wonderfully austere, white-washed design, we explore the repressed desires of each of these women, all bristling in their different ways under the harshness of their mother’s rule as old resentments simmer, sexuality promises to burst loose and mental fragility seriously threatened in this tale of “a happy, happy family”. Continue reading “Review: Bernarda Alba, Union Theatre”
“Is it foolish to wait for the day that will never come”
You have to admire the ambition currently on display at the Union Theatre. Writing a new musical is hard enough at the best of times, but when your source material is a Booker-Prize-winning novel which has already had a much loved film adaptation made, then there’s quite a challenge ahead. But that is what Alex Loveless has taken on with his adaptation of Kazuo Ishiguro’s The Remains of the Day.
Telling the story of Stevens in post WWII England, a long-serving butler to the late Lord Darlington who is struggling to deal with his new American employer, he identifies the solution as being retrieving a former colleague from Cornwall, Miss Kenton. As he sets off on a road-trip to try and persuade her, he also goes on a journey through his memories of the inter-war period where we discover that his employer was uncomfortably sympathetic to the Nazis and that his relationship with Miss Kenton ran far far deeper than that of just butler and housekeeper. Continue reading “Review: The Remains of the Day, Union Theatre”
“Can’t complain about the time we’re given”
Despite Lauren Bacall telling me to just put your lips together and blow, I have never been able to whistle. Even if I could, my deaf old ears wouldn’t hear it anyway, but having seen Anyone Can Whistle at the Jermyn Street Theatre in Piccadilly, I now realise that it is symptomatic of a life of emotional constipation and sexual frigidity: eek!
For a blog named for a Stephen Sondheim lyric, I have had precious little experience in seeing his work. Tim Burton’s cinematic Sweeney Todd aside, I’ve only actually seen the recent Menier A Little Night Music so I was pleased to see a number of Sondheim works lined up for this year, which just happens to mark his 80th birthday. Later in the year we’ll have Into the Woods at the Open Air Theatre in Regents Park and Passion at the Donmar. In a couple of weeks there’s a concert on his actual birthday at the King’s Head, but first up in London is Primavera’s production of Anyone Can Whistle. Continue reading “Review: Anyone Can Whistle, Jermyn Street”