Friday, April 17, 2009
Tuesday, March 10, 2009
Short Cuts
-Gethsemane (National Theatre, Cottesloe)
Gethsemane: –noun
1. a garden east of Jerusalem, near the brook of Kedron: scene of Jesus' agony and betrayal. Matt. 26:36.
2. (lowercase) a scene or occasion of suffering; calvary.
Oh there was a scene of suffering all right. This play made me hate people. The woman with the annoying laugh behind me, the man who coughed a few too many times next to me, people on the tube ride home. Hate. When Moliere wrote The Misanthrope he should have subtitled it: What David Hare's current work does to people.
David Hare has to realise that over-verbiose characters do not a play make. The actors do what they can with indistinct dialogue (where the 16-year-old wreck of a daughter is as loquacious as the Prime Minister for chrissakes) but only Nicola Walker, as a music teacher turned busker, adds a gravitas to a superficial slice of theatre. Strip Hare of his knighthood I say (yes, it was that bad).
-Othello (RSC)
Kathryn Hunter directs what I consider to be one of Shakespeare's greatest plays, with Michael Gould as Iago and Patrice Naiaimbana as Othello. Parts work and parts don't. The typical Hunter-esque (or should that be Complicite-esque?) imaginative use of physicality and simple props can be sublime (white sheets used as waves turn into Desdemona's bedsheets) but Naiambana goes against the pentameter too often and is at odds with Gould's commanding use of the language.
-Private Lives (Hampstead Theatre)
Made me want to put on nice clothes, be glamorous and witty. Is there anything wrong with that? The entire cast is fantastic, the lines are witty, everyone looks fabulous and Coward is preserved. Cheers.
-Mrs Affleck (National Theatre, Cottesloe)
Samuel Adamson's update of Ibsen's Little Eyolf, to 1955 seaside Kent, is what holds back this production from being truly wonderful. Claire Skinner in the title role is phenomenal, managing to portray a character's inner-psychology through subtle physicalities and Naomi Frederick as her sister-in-law is also engaging. Marianne Elliott's direction and Bunny Christie's design continue their line of excellence but it's Adamson's lines that rings false. How can anyone make a line like, "I have a uterus" work?
-Victory (Arcola Theatre)
I love, love, love this play. Do it well and I am happy. Well, I was overjoyed with this production. From the faultless set and costume design by Anna Bliss Scully to the acting ensemble led by the formidable Geraldine James (looking like Vanessa Redgrave twenty years ago) as Bradshaw. Howard Barker's play was treated with so much respect which allowed the poetic lines to truly sing (well, "She moves the grace of ten heifers" isn't commonly thought of as poetry, but here it is). If Barker's idea of Theatre of Catastrophe is real, then this was catacylsmic.
Gethsemane: –noun
1. a garden east of Jerusalem, near the brook of Kedron: scene of Jesus' agony and betrayal. Matt. 26:36.
2. (lowercase) a scene or occasion of suffering; calvary.
Oh there was a scene of suffering all right. This play made me hate people. The woman with the annoying laugh behind me, the man who coughed a few too many times next to me, people on the tube ride home. Hate. When Moliere wrote The Misanthrope he should have subtitled it: What David Hare's current work does to people.
David Hare has to realise that over-verbiose characters do not a play make. The actors do what they can with indistinct dialogue (where the 16-year-old wreck of a daughter is as loquacious as the Prime Minister for chrissakes) but only Nicola Walker, as a music teacher turned busker, adds a gravitas to a superficial slice of theatre. Strip Hare of his knighthood I say (yes, it was that bad).
-Othello (RSC)
Kathryn Hunter directs what I consider to be one of Shakespeare's greatest plays, with Michael Gould as Iago and Patrice Naiaimbana as Othello. Parts work and parts don't. The typical Hunter-esque (or should that be Complicite-esque?) imaginative use of physicality and simple props can be sublime (white sheets used as waves turn into Desdemona's bedsheets) but Naiambana goes against the pentameter too often and is at odds with Gould's commanding use of the language.
-Private Lives (Hampstead Theatre)
Made me want to put on nice clothes, be glamorous and witty. Is there anything wrong with that? The entire cast is fantastic, the lines are witty, everyone looks fabulous and Coward is preserved. Cheers.
-Mrs Affleck (National Theatre, Cottesloe)
Samuel Adamson's update of Ibsen's Little Eyolf, to 1955 seaside Kent, is what holds back this production from being truly wonderful. Claire Skinner in the title role is phenomenal, managing to portray a character's inner-psychology through subtle physicalities and Naomi Frederick as her sister-in-law is also engaging. Marianne Elliott's direction and Bunny Christie's design continue their line of excellence but it's Adamson's lines that rings false. How can anyone make a line like, "I have a uterus" work?
-Victory (Arcola Theatre)
I love, love, love this play. Do it well and I am happy. Well, I was overjoyed with this production. From the faultless set and costume design by Anna Bliss Scully to the acting ensemble led by the formidable Geraldine James (looking like Vanessa Redgrave twenty years ago) as Bradshaw. Howard Barker's play was treated with so much respect which allowed the poetic lines to truly sing (well, "She moves the grace of ten heifers" isn't commonly thought of as poetry, but here it is). If Barker's idea of Theatre of Catastrophe is real, then this was catacylsmic.
Wednesday, December 24, 2008
August: Osage County (Steppenwolf/National Theatre)
It's a cri de couer to rival that of Death of a Salesman's Willy Loman. "I'm running things now", the second act curtain line, as howled by Amy Morton's desperate Barbara, validated all the hype for me. Tracy Lett's August: Osage County is a full-throttled depiction of American life. Beverly and Violet live in the mid-West (or the plains, as one character humoursly describes it as pat of an affliction, "I've got the plains") but when Beverly goes missing and is later found dead, their three daughters and various other family members arrive to deal with the aftermath.
The acting is superb, everyone commits to the piece and, more importantly, they listen to each other. Amy Morton gives one of the best performances I have every seen as the crumbling eldest sister, ably supported by Mariann Mayberry and Sally Murphy as her sisters. Morton is fascinating to watch at all times, whether she is listening, ranting or physically abusing people, she is constantly in the moment, responding. It is a masterclass in acting. Playing a hated, drug-addicted matriarch could easily become a caricature but Deanna Dunagan bring pathos and a strange likability to the character. In fact, almost all the characters are likable (and full marks for including a 14-year-old character who isn't one bit annoying), particularly Matti Fae (Rondi Reed) who brings a necessary lightness to the piece.
The ensemble is an incredibly well-oiled machine and this extends to the beautiful and evocative sound and lighting design. Anna D. Shapiro's exquisite direction allows meaning to flow and gives the characters and the language space. Shapiro is one of the few directors who justifies having actors with their backs to the audience for long stretches. She also unapologetically brings the women centre stage.
Letts manages the near impossible, he makes you laugh whilst your mouth is open in horror. Chekhov brought about the laughing through tears, Letts has brought about the laughing through vitriol. Whilst Letts' play has been compared to King Lear and Three Sisters, the great play it reminded me of was Long Day's Journey Into Night, where familiar bond equals emotional violence. August has earned its place amongst the greats. If only all plays were like this.
The acting is superb, everyone commits to the piece and, more importantly, they listen to each other. Amy Morton gives one of the best performances I have every seen as the crumbling eldest sister, ably supported by Mariann Mayberry and Sally Murphy as her sisters. Morton is fascinating to watch at all times, whether she is listening, ranting or physically abusing people, she is constantly in the moment, responding. It is a masterclass in acting. Playing a hated, drug-addicted matriarch could easily become a caricature but Deanna Dunagan bring pathos and a strange likability to the character. In fact, almost all the characters are likable (and full marks for including a 14-year-old character who isn't one bit annoying), particularly Matti Fae (Rondi Reed) who brings a necessary lightness to the piece.
The ensemble is an incredibly well-oiled machine and this extends to the beautiful and evocative sound and lighting design. Anna D. Shapiro's exquisite direction allows meaning to flow and gives the characters and the language space. Shapiro is one of the few directors who justifies having actors with their backs to the audience for long stretches. She also unapologetically brings the women centre stage.
Letts manages the near impossible, he makes you laugh whilst your mouth is open in horror. Chekhov brought about the laughing through tears, Letts has brought about the laughing through vitriol. Whilst Letts' play has been compared to King Lear and Three Sisters, the great play it reminded me of was Long Day's Journey Into Night, where familiar bond equals emotional violence. August has earned its place amongst the greats. If only all plays were like this.
Sunday, November 16, 2008
Oedipus (Olivier, National Theatre)
If I need to recount the narrative, you've been living under a rock for thousands of years. Ralph Fiennes plays Oedipus, Clare Higgins his mother/wife Jocasta and Jasper Britton is Creon.
Fiennes really comes into his element about mid-way through and the ending is incredibly moving as Oedipus self-destructs. Higgins commands the space, every molecule seems to shift as she moves and has a strong clarity of intention. The male chorus, dressed in their finery, work well and sing wonderfully and Britton is a strong presence, although he came in with a gesture that was too musical theatre (nitpicking, I know).
Director Jonathan Kent keeps the action fluid on a rotating stage that contains little more than a table, benches and massive, iron doorway. The set, lighting and costume design are stark and suitable (although whoever gave Higgins the bland dress deserves a reprimand). Frank McGuiness' translation suffers from being slightly too declamatory initially but has moments that combine poetry and tragedy to startling effect (e.g. Oedipus telling his children, "Your dowry is death").
Overall this is a strong production of a classic play that would satisfy both purist and fan of cutting-edge, which is a talent.
Fiennes really comes into his element about mid-way through and the ending is incredibly moving as Oedipus self-destructs. Higgins commands the space, every molecule seems to shift as she moves and has a strong clarity of intention. The male chorus, dressed in their finery, work well and sing wonderfully and Britton is a strong presence, although he came in with a gesture that was too musical theatre (nitpicking, I know).
Director Jonathan Kent keeps the action fluid on a rotating stage that contains little more than a table, benches and massive, iron doorway. The set, lighting and costume design are stark and suitable (although whoever gave Higgins the bland dress deserves a reprimand). Frank McGuiness' translation suffers from being slightly too declamatory initially but has moments that combine poetry and tragedy to startling effect (e.g. Oedipus telling his children, "Your dowry is death").
Overall this is a strong production of a classic play that would satisfy both purist and fan of cutting-edge, which is a talent.
Friday, November 14, 2008
Ivanov (Donmar at Wyndham's)
Well, I have just seen the performance of the year. Kenneth Branagh as Ivanov: a man whose descent into despair is wrought with such grace, anxiety and woe that I was in tears from the third act. Ivanov has been married for five years to Anna Petrovna (Gina McKee), a woman dying of tuberculosis who needs care in the Crimea, and trying to stave off the advances of the young Sasha (Andrea Riseborough), who has an impressive dowry, which would solve some of Ivanov's problems.
Despite my balcony seat (only 10 quid), the sightlines were fantastic and Branagh has an innate understanding of theatre-space so I never missed a moment. Michael Grandage is a director who knows to get out of the way of the actors yet keeps each moment alive. The translation by Tom Stoppard is occasionally too consciously modern but seems natural and furthered my belief that Chekhov's understanding of human nature is unsurpassed by any other writer.
McKee easily finds the sadness in Anna Petrovna and her now trademark subtlety allows the character room to breathe and to contrast with the sometimes histrionical Ivanov. The moment before the curtain fell for interval was one of the most strikingly beautiful I have seen in recently memory. All the supporting actors are wonderful with special mention to Tom Hiddleston as a clearly-defined Lvov and Sylvestra Le Touzel who brings an authority and weight to Zinaida that is compelling. Ultimately, the show belongs to Branagh as he crumbles under the weight of life, and does it so well.
nb: I really related to Ivanov yet reviews have described the character as "unlikable". What does that say about me?
Despite my balcony seat (only 10 quid), the sightlines were fantastic and Branagh has an innate understanding of theatre-space so I never missed a moment. Michael Grandage is a director who knows to get out of the way of the actors yet keeps each moment alive. The translation by Tom Stoppard is occasionally too consciously modern but seems natural and furthered my belief that Chekhov's understanding of human nature is unsurpassed by any other writer.
McKee easily finds the sadness in Anna Petrovna and her now trademark subtlety allows the character room to breathe and to contrast with the sometimes histrionical Ivanov. The moment before the curtain fell for interval was one of the most strikingly beautiful I have seen in recently memory. All the supporting actors are wonderful with special mention to Tom Hiddleston as a clearly-defined Lvov and Sylvestra Le Touzel who brings an authority and weight to Zinaida that is compelling. Ultimately, the show belongs to Branagh as he crumbles under the weight of life, and does it so well.
nb: I really related to Ivanov yet reviews have described the character as "unlikable". What does that say about me?
Sunday, November 2, 2008
To Be Straight With You (DV8 Physical Theatre/Lyttelton Theatre)
To Be Straight With You is the latest production from DV8 Physical Theatre. Interesting that the company's name de-stresses that they are ostensibly a dance company. Rightly so, as their new show fuses dance and dialogue that makes it neither a dance show, nor a straight theatre piece. Dealing with issues of homophobia, hate crimes and sexuality, Lloyd Newsom and his ensemble have created an evocative, emotional piece that stays with you long after the show is over.
We are told the horrifying facts (for example, the countries where a homosexual act is punished with years of jail time) but the real success from the company comes in allowing the dance to combine with personal tales to create a piece that is truly magical. All of the nine ensemble members shine although particular mention must go to Ankur Bahl who has a monologue whilst skipping rope that is truly astonishing in its physical movement and dramatic weight. My major thought as I was watching these performers was "No ego" as no one person attempts to dominate or shine, rather they let the work shine. This is a major work from an exciting company.
We are told the horrifying facts (for example, the countries where a homosexual act is punished with years of jail time) but the real success from the company comes in allowing the dance to combine with personal tales to create a piece that is truly magical. All of the nine ensemble members shine although particular mention must go to Ankur Bahl who has a monologue whilst skipping rope that is truly astonishing in its physical movement and dramatic weight. My major thought as I was watching these performers was "No ego" as no one person attempts to dominate or shine, rather they let the work shine. This is a major work from an exciting company.
Saturday, November 1, 2008
A Disappearing Number (Theatre de Complicite)
Having won all the major Best New Play awards in 2007, Complicite's A Disappearing Number returns to the Barbican with high expectations. The narrative of the piece is a non-linear parallel storyline concerning the real relationship between two pure mathematicians: Englishman GH Hardy (David Annen) and Indian-born Srinivasa Ramanujan (Shane Shambhu) almost 100 years ago and the influences of their relationship on one between a fictitious modern day mathematics professor, the English Ruth (a very Emma Thompson-sounding Saskia Reeves), and the globe-trotting, American-Indian man she eventually marries (Firdous Bamji).
Simon McBurney, who directed and conceived the production, uses A/V to often stunning effect, in that aesthetics are created that could only come from the application of this technique. However, occasionally the storyline and the actors are overwhelmed by the technical aspect and I longed for the stationary, clean stage approach in the opening scene which allowed the story and the characters to breathe. The music by Nitin Sawhney is atmospheric without dominating the production and it goes without saying that the technical side is first-rate.
The ending is incredibly moving as each strand comes together and perhaps the greatest achievement of the production is that is reveals the intrinsic mathematics than runs throughout our lives and yet makes it seem completely beautiful as well. My heart was touched.
Simon McBurney, who directed and conceived the production, uses A/V to often stunning effect, in that aesthetics are created that could only come from the application of this technique. However, occasionally the storyline and the actors are overwhelmed by the technical aspect and I longed for the stationary, clean stage approach in the opening scene which allowed the story and the characters to breathe. The music by Nitin Sawhney is atmospheric without dominating the production and it goes without saying that the technical side is first-rate.
The ending is incredibly moving as each strand comes together and perhaps the greatest achievement of the production is that is reveals the intrinsic mathematics than runs throughout our lives and yet makes it seem completely beautiful as well. My heart was touched.
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