“It’s the trouble with being so overwhelmingly Labour”
The plot for Jack Thorne’s Hope could be lifted from the newspapers right now – a cash-strapped Labour council is faced with impossible choices as austerity continues to bites hard and £22 million has to be trimmed from this year’s budget, £64 million over the next three years. In Newcastle, the figure is actually £90 million despite having already lost £151 million over the last four years, and the decisions about what essential services are to be cut are those that plague Hilary and Mark, the Leader and Deputy Leader respectively, of Thorne’s unspecified local government.
Stella Gonet’s Hilary is determined to make it work, a New Labour pragmatism already drawing up the list of priorities – Sure Start centres versus swimming pools, daycare for the disabled versus personal safety in rough areas to give but a couple of examples – but Paul Higgins’ Mark is cut from much more traditional cloth and his protesting colleagues coalesce around him. Eventually, he reluctantly spearheads a rebellion and a refusal to set an amended budget but though this is described as a fable, it is no fairytale, and the consequences of defying government are all too real. Continue reading “Review: Hope, Royal Court”
“Is there no room for love in your philosophy of life?”
One of the reasons Fawlty Towers remains so highly respected is because it managed that rare feat of going out on a high after making just 12 episodes. And though the reasons for the relatively limited dramatic output of Anton Chekhov may be more to do with his untimely demise, the ethos seems to me to remain similar – the handful of plays that he left behind should be celebrated as such. But he was also a prolific writer of short stories and spotting an opportunity to enrich the canon, novelist William Boyd has fashioned a new play – Longing – from two of them, directed by Nina Raine (her of the astounding Tribes) at the Hampstead Theatre.
Boyd has used one of Chekhov’s longest stories My Life and “taken its core and impacted it on” one of his most obscure A Visit to Friends and what results is a story of distinctly Chekhovian flavour but one calls to mind numerous of his other plays rather equalling them in their depth and richness. Kolia is invited the summer estate of some old friends but what he thinks will be a relaxing break turns into something much more complex as long-buried emotions come up against current dramas in typically tragicomic fashion. And there’s much to recognise: an ageing woman laments the summer estate she is no longer in possession of, another dares to dream of the love she has sacrificed for a working life, somebody longs to get back to Moscow…these are all highly familiar themes and though they are skilfully woven together by Boyd, there is rarely a sense of dramatic impetus compelling this particular story to be told or ultimately justifying the exercise at large. Continue reading “Review: Longing, Hampstead Theatre”
“The sad-eyed justice, with his surly hum”
The fourth and final part of The Hollow Crown was Thea Sharrock’s televisual debut in directing Henry V, which carried over much of the same cast from the (disappointing for me) Henry IVs of the previous two weeks. The timing was not ideal for me to be honest, as I’ve seen the play in three different productions recently, and so normally I would have resisted the opportunity to see it again. But I needed to complete the set of these Shakespeare adaptations whilst I could still get them off the iPlayer before departing on holiday, and so once more unto the breach I stepped.
In some ways this was the type of production I’d been waiting for: a classical interpretation, but one which interpolated the melancholy, war-heavy themes that have marked the more modernised recent takes by Propeller and Theatre Delicatessen rather than the broadly comic and near-jingoistic approach currently at the Globe. From the off, it is clear that Sharrock is focusing on death as cinematic license permits Henry’s own funeral at the young age of 35 to be used as a framing device, lending an emotional resonance to the film which Hiddleston’s fast-maturing monarch plays against beautifully. Continue reading “TV Review: The Hollow Crown, Henry V”
“I’ll tickle your catastrophe”
I was mildly disappointed by the second instalment of The Hollow Crown, Henry IV Part I and so it was pretty much a given that I’d feel more or less the same about Henry IV Part II and so it came to pass. In some ways, little changed: Walters and Russell Beale continued to be themselves, Heffernan continued to be neglected as a simple serving boy, the women continued to get a raw deal of it only this time Niamh Cusack got in on the action with a mere handful of lines as Lady Northumberland (and admittedly Maxine Peake rightly got a bit more screentime as Doll Tearsheet), Hiddleston and Irons continued to be epically good and it all felt a bit too theatrical for my liking.
I did like that we got more Dominc Rowan in this one, though his hair still caused me consternation, Iain Glen and Pip Carter were great additions to the cast as Warwick and Gower respectively – Glen was particularly sonorous when speaking – and everyone has got to love a scene that looks like it could have been set in a gay sauna 😉 And though they lacked a certain something, the rural scenes with David Bamber and Tim McMullan as Shallow and Silence, were largely well-played. Continue reading “TV Review: The Hollow Crown, Henry IV Part II”
“Then would I have his Harry, and he mine”
The Hollow Crown continues with Henry IV Part I, directed by Richard Eyre who also does the ensuing Part II (but not Henry V, though the productions are cross-cast). But where Rupert Goold’s Richard II embraced the form to create something more cinematic (although not to everyone’s tastes), this is an altogether more traditional affair and not necessarily the better for it.
What Eyre brings out is the father-son relationships. Tom Hiddleston’s carousing Prince Hal, partnered extremely well by David Dawson’s Poins in what was an excellent performance I thought, is movingly forced towards maturity on the battlefield, as King Henry, Jeremy Irons in impassive form and making the presence of what is admittedly quite a secondary character really stand out, laments the fecklessness of his heir. This is contrasted of course by the gumption of young Hotspur, Joe Armstrong oozing rugged charisma and forming the highlight of the whole thing for me, and in a lovely piece of casting, his real father, Alun Armstrong has been cast as his onscreen father which added poignancy to their moments. Continue reading “TV Review: The Hollow Crown, Henry IV Part I”
“The train is coming…”
Judgment Day is a play by Austro-Hungarian playwright Ödön von Horváth, which has been translated here at the Almeida theatre by Christoper Hampton. One of the first commissions after Michael Attenborough’s arrival as Artistic Director, Hampton has long been a champion of this writer and this is the first full production of this play in this country. Von Horváth wrote much of his anti-Nazi work in Germany in the 1930s, but opted to remain in the country to study the encroaching rise of Nazism, instead of fleeing like many of his compatriots such as Brecht.
It’s the story of Hudetz, a stationmaster of a small village who, distracted one evening by a popular local girl eager for a kiss, fails to make the necessary signal to a passing train causing a devastating fatal crash. The girl Anna then perjures herself to defend Hudetz as he seeks to escape justice, despite his unhappy wife also witnessing the events. We then see the effects of overwhelming grief on this pair as they struggle to carry on with their lives, exacerbated by the ever-changing moods of the townspeople, whose vicious, bigoted anger seems to be refocused with every new piece of gossip that comes their way. Continue reading “Review: Judgment Day, Almeida”