Category: Current Productions

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James Norton in A Little Life with Luke Thompson – review

James Norton is a terrific choice for the lead role in  Ivo van Hove’s production


★★★

Luke Thompson and James Norton, two actors in A Little Life, are seated on the ground looking at each other
Luke Thompson and James Norton in A Little Life. Photo: Jan Versweyveld

Director Ivo van Hove has made quite a bit about the trauma the audience for A Little Life will have to go through when they see A Little Life at the Harold Pinter Theatre or later at the Savoy. There are indeed pints of blood spilt as the central character played by James Norton self harms and attempts suicide. But, to me anyway, this was clearly stage blood, so not that disturbing. I believe the real trauma audiences risk is in their reaction to the detailed descriptions of the physical and sexual and emotional abuse suffered by a child, and the catastrophic effect it has on his adult life.

The little life in question is that of Jude played by James Norton. We see chronological scenes from over twenty years of his adult life starting at 30 years old. Within this narrative are flashbacks to his childhood in which the abuse he has suffered is revealed, up to a point where you may wonder how one person could be so unfortunate. It is probably best to regard the play as a fable about suffering to avoid a reality check.

Although the play is set in New York in modern times, it is deliberately isolated from the historic events and detail of modern life, and we know nothing of the background to Jude’s childhood. This has the effect of making the story more timeless, more universal.

What we learn in the course of the play is not only how child abuse is hugely damaging psychologically as well as physically but also how the love of those in his circle helps him to manage his adult life, and to heal emotionally, at least to some extent. But it is a harrowing journey, in which the past is never far away. His self disgust leads him to self harm and attempt suicide.

Jude’s saviours take the form of his three friends from college who have formed a lifetime bond. Exactly what attracted them to each other is unclear, but I assume it was more than the fact they all pursued careers beginning with ‘a’- artist, architect, actor and attorney, the latter being Jude’s profession. Although he needs them, we find out they need him too.

James Norton, who you may know as Tommy Lee Royce from Happy Valley, is a terrific choice for the lead role. He never changes his appearance from when he is an eight year old to a fifty year old. Yet, through his posture and his body language, he convinces as a child who trusts and is betrayed, and his face as an adult make you feel his pain as well as his indomitable niceness.

The other characters are less well drawn. Luke Thompson as his best friend Willem gives a solid performance, showing love, confusion and desperation in his open face.

The two other friends- JB, an insecure artist JB and Malcolm, an architect with puppy-like enthusiasm- are played by Omari Douglas and Zach Wyatt. His tormentors are all played by Elliot Cowan sometimes oily, sometime vicious, but all unredeemable, unsubtle villains.

Jude’s guardian angel Ana, someone who helped him but sadly died, continues to stay at his shoulder (literally) as a voice in his head encouraging and warning him. Nathalie Armin gives her character strength and warmth. Emilio Doorgasingh plays Jude’s concerned medical friend.

Best of all, Zubin Varla, who has just won an Olivier Award for Tammy Wynette The Musical and who was impressive in Fun Home at the Young Vic, plays his mentor and adoptive father with humour and tenderness.

Tolstoy said in Anna Karenina: “Happy families are all alike; every unhappy family is unhappy in its own way.” And I think this is a clue to one of the failings of this play. The people who help the adult Jude are all nice, but, like happy families, it is difficult to make good, balanced people distinctive and interesting, compared with the unhappy person that is Jude.

Harold addresses the audience directly on a number of occasions to tell us about how to be a good parent, and indeed a good friend. There is quite of bit of exposition in this adaptation of Hanya Yanagihara’s book, almost as if we’re not trusted to draw our own conclusions.

We as an audience are commandeered into being part of Jude’s support group. It is stated explicitly near the end of the play but it is also implied from the start because there are three rows of audience at the back of the stage creating a traverse setting. This has the effect of making the actors closer to the audience, and the audience part of the play. It is as if simply by being there we are bearing witness to Jude’s suffering and giving him the love he needs.

A group of actors stand in a semi circle in a scene from A Little Life at the Harold Pinter Theatre in London 2023
Luke Thompson, James Norton, Zubin Varla,Emilio Doorgasingh, Omari Douglas and Zach Wyatt in A Little Life. Photo: Jan Versweyveld

The set, lighting and video are designed by Jan Versweyveld. Most of the stage floor is painted light red like a faded pool of blood. There are some accoutrements of a home, soft seating, a kitchen area on one side, and a washbasin in the centre representing the bathroom that is the scene of Jude’s self harming and suicide attempts.

One thing that fascinated me was the smells: onions cooking, and the strong scent of Dettol used to clean up the spillages of blood- and there was a lot of symbolic cleaning up by those around him. This may have been meant to underline for us how strong Jude’s memories were of the smell of his abusers.

There is music from a live string quartet placed very visibly at the front of stalls. Written by Eric Sleichim, it is slow, piercing and haunting, evoking Jude’s edgy state of mind. The musicians deserve a credit and are Alison Holford, Eleanor Parry-Dickinson, Hazel Correa, and Alison d’Souza.

A video is projected continuously on the side walls. It is mainly in slow motion, as a camera winds its way through the streets of New York, suggesting I think Jude’s enervated mind, but it quickens and is covered in screen noise as Jude gets high on self harming. At one point it goes as red as the blood being shed.

The nudity is about humiliation and vulnerability

You may have heard that there is nudity in this production. The abuse that Jude suffers involves him being forced to strip naked on a number of occasions. This also happens sometimes when he is attempting suicide. So, if you were wondering, far from being erotic or sexy, the nudity is about vulnerability and humiliation. By contrast, when he gets naked for a scene of lovemaking, he remains under the covers, while his lover parades easily in the nude, showing the equality of true love.

When he is stripped naked to be abused, James Norton adopts a hunched pose that reminded me of Masaccio’s renaissance painting of Adam and Eve, who having lost their innocence are expelled from Eden; and when his friends carry him tenderly to a hospital bed after a suicide attempt, another iconic image from religious paintings came to mind, this time by Caravaggio and Michelangelo‘s images of Christ being tenderly carried by those that cared for him from the cross to his tomb. If these Biblical allusions are deliberate, they may help explain a dramatic ending that could be intended to evoke the entombment of Christ.

The production is nearly four hours long. Not that I was bored, but I did wonder whether the effect of the play would have been the same if it had been an hour shorter and therefore the experience more intense, or if there had been less horror-film blood, or if the self harming had been described or mimed- as the sexual abuse is. I say this because by the end I was less shocked than I think I would have been if more had been left to my imagination. But it’s not for a critic to try to rewrite a play, we can only describe what we saw and felt.

I did find some of Ivo van Hove‘s adaptation and production heavy-handed, but there is much to recommend. As a visceral description of child abuse, A Little Life is painful to watch. As a story of the power – and limits – of love, it is moving. And James Norton does give an extraordinary performance.

The italicised sentence at the end of paragraph 2 was added a few hours after the review was posted, for clarification.

A Little Life is performing at the Harold Pinter Theatre until 18 June 2023 and then transfers to the Savoy Theatre until 5 August 2023. Details from https://alittlelifeplay.com/

Paul purchased his ticket to see A Little Life

Click here to watch this review on the YouTube Channel Theatre.Reviews With Paul Seven

 

 

 

 

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The Best Exotic Marigold Hotel – touring stage version – review

Golden Oldies Shine In This Gentle Comedy 


★★★

Production photo from the 2023 touring stage production of The Best Exotic Marigold Hotel showing some members of the cast standing next to others seated at a table
The Best Exotic Marigold Hotel. Photo: Johan Persson

You’re probably familiar with The Best Exotic Marigold Hotel. The film of that name spawned a sequel and a reality TV show. Now there’s a play of that title currently touring the UK.  Starring are three big names with a long history on stage and screen: Paul Nicholas, Hayley Mills and Rula Lenska. I won’t describe them as old, it’s simply that they’re the same age as old people.

The Best Exotic Marigold Hotel is primarily about retired people and aimed at that market, but there’s no reason why a younger audience (by which I mean people under 60) shouldn’t enjoy it. It’s a story of the triumph of love and hope over adversity.  When I worked in theatre, I remember the midweek matinees were very popular with retired people, so much so that one member of the front of house staff looking from the back of the auditorium at all the white hair, described the audience as the cotton fields. A description I was reminded of when I saw this touring show when it stopped off at Chichester Festival Theatre.

Yes, I am aware that I’m now one of them. So I do know first hand the challenges of getting older, not least of which is the fear of failing memory. And this play doesn’t help, because I found myself thinking ‘I don’t remember some of these characters or sub-plots from the film.’ Well, it turns out it wasn’t a senior moment I was having. Because, despite the title, this play is not based on the film you’ve seen. Like the film, it is inspired by These Foolish Things, a novel by Deborah Moggach. The play is certainly similar  to the film and no worse where it differs.

The shared idea is that a number of retired Brits go to a hotel in India because it’s cheap- oh, and the weather is hotter than good old Blighty. They all have slightly different back stories which are slowly revealed, usually with a twist. Younger generations are represented by a mother and son who have falsely marketed their run-down hotel as being somewhat better than it is. The son is being pressured to marry for money so they can do it up. He would rather marry for love.

It’s as if the play has been fitted with a pacemaker during the interval

The play’s first act gets bogged down in the set-up. The consequence is that it moves at the pace of a 90 year old using a zimmer frame. It probably didn’t help that the actors had a lot of ground to cover on Chichester’s large thrust stage. I took my seat for the second act in trepidation but then the twists emerged and the characters took on new leases of life. It’s as if the play has been fitted with a pacemaker during the interval. And maybe a catheter too as joy, sadness and humour flow in abundance. There’s also a smattering of social commentary too, on India and its call centres and caste system, and on the British attitude to class and to care.

As their characters begin to see more purpose to their lives, the older actors begin to look brighter and move faster, showing that their first half entropy was just an act.

Production photo from the touring theatre production of The Best Exotic Marigold Hotel in February 2023 showing the cast dancing on stage
The Best Exotic Marigold Hotel Photo: Johan Persson

Of the three stars, I found Hayley Mills the most impressive- investing her lines with clarity and urgency- as her character Evelyn came out of her shell. Rula Lenska was full of fizz as the never-too-old-to-have-fun Madge. I was disappointed with Paul Nicholas. He’s a fine actor and portrays the soft-spoken, retiring character of Douglas well enough but he doesn’t quite convince as a grey, brow-beaten husband. The fact is, he’s just too handsome, despite the disappearance of his golden locks, and there’s no concealing his natural vivacity.

The rest of the cast perform well. One of the characters talked of ‘adventure til dementia’ and it is a delight to see these mature actors- Eileen Battye, Richenda Carey and Andy de la Tour continuing to ply their trade and give us a first class example of why old people should not be written off. Of the younger actors, I particularly liked Nishad More as the put-upon Sonny, who displayed appropriate sheepishness in the face of his domineering mother Mrs Kapoor, played with gusto by Rekha John-Cheriyan.

Lucy Bailey directs this large ensemble with finesse and the set by Colin Richmond is just the right blend of the magnificent and the dilapidated. I would have loved to have heard more of the music composed by Kuljit Bhamra which conjured up both ancient and modern India.

The Best Exotic Marigold Hotel is touring the UK with dates annnounced until June 2023 marigoldshow.com

Paul paid for his ticket.

Click here to watch this review on the YouTube channel Theatre.reviews With Paul Seven

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The Lehman Trilogy – review

Theatre at its most pure


★★★★

Production photo from the National Theatre production of The Lehman Brothers showing three actors holding their hands out
Michael Balogun, Hadley Fraser & Nigel Lindsay in The Lehman Trilogy. Photo: Mark Douet

Lehman Brothers Inc was the highest profile bankruptcy of the 2008 financial crash. Of course there were bigger investment banks in America that played an even bigger part in the collapse of the financial markets and many banks, in the UK as well as the US, ended up being bailed out with our money. But it was important that someone got punished and Lehman was not in the category of ‘too big to fail’.

We are all still suffering from that collapse and subsequent bailout, of course, but at least one good thing came out of it- The Lehman Trilogy. It began, as so many great shows have, at the subsidised National Theatre, went on to the West End then to Broadway and now it’s back in the West End, laden with Oliviers and Tonys, at the Gillian Lynne theatre. With a new cast. So do they measure up to the originals, and what is it that has made a play about a subject as dry as finance such a huge success?

The Lehman Trilogy asks the question, how did a company as important and powerful as Lehmans end up being so reckless and destructive. To find out we travel back to when Henry Lehman and his two younger brothers first came to America back in 1844.

It’s an epic story told on a large stage. At the centre is a large box in which the action takes place. Parts of it are glazed, and the inside is divided into spaces by glass. It is the kind of modern characterless glass office occupied by financial institutions everywhere. It is decorated with a desk, a boardroom table, and lots of boxes used for transporting files- memorably seen as sacked employees carried them out of the building.

We start with the moment Lehmans went bust. Everything that happens in the 164 years leading up to that moment takes place in that space, so we never forget where we’re heading. At the back and sides of the stage, designer Es Devlin has placed a semi-circular wall onto which projects appropriate landscapes that give us a visual context- the cotton fields of Alabama that provided the Lehmans with their first trading opportunity to the skyscrapers of New York.

Production photo from The Lehman Trilogy February 2023 showing an actor standing reading a newspaper with two other actors sitting each side of him
The Lehman Trilogy. Photo: Mark Douet

As I said, the scale of the story is epic, the set feels epic, yet amazingly, just three actors play not only those three brothers but the succeeding generations and everyone they come in contact with. They tell us the story, and act it out, sometimes without even carrying out the actions they are describing. At one point, a character says about himself ‘he adjusts his tie’ but he doesn’t actually do it. Our own imagination creates the epic.

Myriad characters come and go, often briefly but vividly sketched. The actors, without changing costumes, become children, brides-to-be, cotton farmers, and many more. This leads to a lot of comedy but it also means they never quite stop being, nor can we forget, those immigrant brothers who started it all.

It is the purest kind of acting that relies not on props or costumes but entirely on voice and body. They speak a rhythmic language that verges on poetry or perhaps more accurately rap. In fact, much of this play’s power comes from Ben Powers’ adaptation of Stefano Massini’s Italian original script.

It’s a Brechtian way of telling a story, interesting, funny and gripping but not emotionally involving, which is reinforced by it taking place within a glass box.  So, we always see that this is a story not of a family but of American capitalism.

It is an acting tour de force from Michael Balogun, Hadley Fraser and Nigel Lindsay. There is one wonderful moment I remember when Hadley Fraser plays eight different potential brides in rapid succession. Or the same actor, who I would have to say was the first among equals, briefly plays a man described as someone whose body is built around his smile. And it is.

So, in three acts, we see the brothers committed to their Alabama community trading in actual goods- cotton- buying , selling and transporting it. Helping rebuild the cotton trade after a disastrous fire. At first, you admire their ability also to see disasters as opportunities.

The new generation born in America begin to forget their Jewish roots: shiva when the first brother dies lasts seven days, the next three days, then, so anxious are they not close the business, three minutes silence for the last of the brothers.

Money becomes all important. They no longer trade in something physical- they never see the coffee or iron or other commodities. They trade shares not products. As the new generations succeed the old, the Lehmans become shareholders not partners so they have much less to lose, and the risks become greater. After a period of regulation following the Wall Street Crash, the American idea of liberty, so inspiring but also so potentially damaging, re-emerges and the scene is set for the final disaster.

It’s a salutary tale that makes you admire these entrepreneurs, then despise the heartless money grabbers they become, while laughing at the sheer lunacy of ithe world of finance.

Production photo from the National Theatre production of The Lehman Trtilogy February 2023 showing actor Hadley Fraser dancing on a table
Hadley Fraser in The Lehman Trilogy. Photo: Mark Douet

The third act tails off a little as the final Lehman dies, without any of them suffering the consequences of their actions. It is others that take the company and the financial world over the edge. But not without a , as they found out when the music stopped moment when a metaphor of dancing sees the last of the Lehmans, again it’s Hadley Fraser, no longer making decisions but simply standing on a table doing the twist, as the computer coding spins across the back projection, showing the algorithms that have taken over from human beings, making him and his colleagues more and more money but taking them further and further from the real world. It is literally dizzying, as dizzying as the bankers found it trying to understand their own complicated and ultimately worthless financial packages, which became apparent when the music stopped. A special word of praise to the video designer Luke Halls.

This may not be a story that you can get emotionally involved in, but this is Theatre at its finest, thanks to director Sam Mendes and his writers.

If you haven’t already seen it, don’t miss this opportunity.

The Lehman Trilogy can be seen at the Gillian Lynne Theatre until 20 May 2023

Paul was given a review ticket by the producers

Click here to watch this review on the YouTube channel Theatre.Reviews With Paul Seven

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The Crucible with Erin Doherty – National Theatre – review

★★★★

Erin Doherty in The Crucible at National Theatre London 2022
Erin Doherty in The Crucible at National Theatre London 2022
 

Back in 1953, when Arthur Miller wrote The Crucible, a play about the late 17th century witch trials in Salem Massachusetts, he no doubt had in mind a modern day witch hunt in which a US senator persecuted perceived communists, especially in Hollywood. But it could be about any time when authorities demonise others to consolidate their power.

It’s a compelling study in how the process of a witch hunt develops a momentum of its own and triggers vengeance, fear and even mass hysteria. Lyndsey Turner’s intense production is powerfully acted by Erin Doherty, Brendan Cowell and the rest of the cast.

In a small town run by the church, some misbehaving girls try to get off the hook by claiming to be possessed by the Devil. This gets out of hand as they take the opportunity to get their own back on some respectable and respected citizens by accusing them of being disciples of the devil who lead them on. A trial ensues. Adults confess to outlandish encounters with demons, more accusations fly, more adults confess in a form of mass hysteria, and the children too start to believe their own tales.

The girls are led by Abigail. It’s a bravura performance by Erin Doherty. You might know her best as an excellent Princess Anne in The Crown but she shows her full range as an actor here. Her character is clearly a rebel but also scheming. So, we see her wheedling, pleading, and, in a terrifying scene, inspiring the other girls into wild-eyed, uncontrolled shaking, as if possessed.

Authoritarian power is just one of the subjects explored in Arthur Miller’s complex play, but it’s the one from which all elsefrom which all else arises. As we enter the Olivier auditorium, we are confronted by pouring rain. Every scene begins with pouring rain. Torrents of water team onto the front of the stage. It seems this community is already suffering the punishment of a pitiless Old Testament God. We’re told the community is a theocracy. No separation in those days between church and state: the Church is in charge and there can be no challenge to its authority.

Photo: Johan Persson

The church leader Reverend Parris is confronted by children secretly rebelling against the church’s rules by secretly dancing, among other things. Some of the citizens believe this behaviour has been caused by the Devil in the form of witchcraft. The priest is skeptical but he knows support for him in the community is shaky, so he calls in a preacher with higher authority and a knowledge of witchcraft: the Reverend Hale. A major trial follows, headed by Deputy Governor Danforth, played with a steely eye and a stern jaw by Matthew Marsh. He has his own reasons for wanting to stamp his authority on the community.

At this point, it’s a case of ‘to a hammer everything is a nail’. It seems obvious that the children are dissembling but, as the excellent National Theatre programme points out, the authorities see what they believe rather than believing what they see. As the witch hunt goes to extremes in the heat of the ‘crucible’, both Parris and Hale, given passionate and nuanced performances by Nick Fletcher and Fisayo Akinade respectively, begin to see how one-sided the trial is. They realise good people are being dragged down and note that ‘every defence is seen as an attack on the court’.

Production photo from The Crucible at the National theatre London in 2022 showing Brendan Cowell
Brendan Cowell in The Crucible. Photo: Johan Persson

One man who speaks out against the trial is John Proctor whose wife is accused of witchcraft. It’s a thundering piece of acting from Brendan Cowell as a good but flawed man. In a heart-breaking sequence, he nobly tries to reason with the Court and is brought down by his own honesty and the challenge he poses to the Church’s teachings.

What else is going on? Oppression of women by the church. They are expected to be silent and obedient. As the girls are indoctrinated by tales of hellfire and damnation, they are primed for believing they have been taken over by unseen forces. And they have a readymade means of excusing themselves.

Fear, revenge and greed all play a part. People turn on each other to save themselves. The girls are only too quick to denounce the many adults they resent. Ruthless people take the opportunity to gain land from those found guilty of witchcraft. There’s a lot to think about and be shocked by in this intelligent, frightening play.

It’s easy to discern many parallels more modern than the McCarthyite witch hunt. We can see what goes in all totalitarian countries where a weak authority cannot be questioned: the actions of the morality police in Iran for example, or would-be authoritarians closer to home for whom an alternative point of view or a minor misdemeanour can ignite outrage on social media leading to death threats and cancellation.

Director Lyndsey Turner has created an fervid production, only marred by a tendency at times towards melodrama. One nice touch is that nearly all the characters point fingers as they argue, a metaphor made physical. The masterful set by Es Devlin is appropriately black-and-white except when we visit the Proctors’ warmer-coloured home. An opaque ceiling hangs over hhe entire stage. Through it filters a diffused flouredcrnt white light suggesting no one can hide from a pitiless regime.

Crucial to the production are Tim Lutkin’s lighting and the sound by Caroline Shaw, Tingying Dong and Paul Arditti. The cast are usually lit from the side creating a lchiaroscuro effect, again suggesting no middle ground. A stretched low note drones in the background, ratcheting up the tension.

The impressive cast also includes Sophia Brown, Karl Johnson, Eileen Walsh and Tilly Tremayne.

The Crucible was performed at the National Theatre 21 September – 5 November 2022, and will transfer with cast changes to the Gielgud theatre from 2 June to 7 September 2023

Paul was given a press ticket by the producer.

Click here to see the review on the One Minute Theatre Reviews YouTube channel

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Crazy For You coming to West End – review

Chichester’s magnificent Crazy For You gets a London transfer but how does it compare to Anything Goes?

★★★★★

Production photo from Crazy For You at Chichester Festival Theatre in 2022 showing a chorus number
Crazy for You. Photo: Johan Persson

Crazy For You at Chichester Festival Theatre is a faultless production. Just like Anything Goes, another song-and-dance Broadway musical that also originated in the 1930s, it is a joyous, jaw-dropping spectacle with some of the best songs ever written and the best dancing you will ever see.

Charlie Stemp who has already impressed in Half A Sixpence, Mary Poppins and more is here stretched – literally – into twists and leaps and other astounding physical feats. He is not only athletic, his dancing conveys emotion and is beautiful to watch.

It’s interesting to compare and contrast Crazy For You with its rival, both in the 1930s and now, Anything Goes.

Crazy For You was created in 1992 but based on a 1930 musical called Girl Crazy by George and Ira Gershwin. Cole Porter’s Anything Goes followed in its 1934. This was the first golden age of the Broadway musical. The modern musical, in which a serious plot and deep characters drive the show, was still a decade away. It was the time not only of the Gershwins and Cole Porter but of Irving Berlin, Jerome Kern and Rodgers and Hart. The Jazz Age was at its peak. Light-hearted song and dance with a romantic plot were the order of the day.

Both musicals were revived in the late 20th century as Broadway made something of a comeback after the invasion of weighty British musicals. The sheer escapism of both musicals, and their predecessor 42nd Street, was just what audiences were yearning for. While the 1987 return of Anything Goes left it largely intact, with a few song changes and a rewriting of the plot, the 1992 revival of Girl Crazy, now called Crazy For You, involved a root and branch reappraisal. The plot was substantially altered, many of the original songs were excised and loads of additional Gershwin songs introduced. The result was, and is, a triumph for the book writer Ken Ludwig, director the late Mike Okrent and choreographer Susan Stroman.

The Plots are fun

So, what about those plots? Well, they’re both simple fun. Anything Goes features a romance aboard an ocean-going liner, Crazy For You is a romance taking place in a run-down theatre in Nevada. Both involve bumps on the road to love and, of course, disguises. Here, I think, Crazy For You has the edge, for a plot that is a little more coherent and more muscular, by which I mean Anything Goes is almost too frothy.

The Music is divine

So, dare we compare the music? I think this is going to be a matter of taste. I love Cole Porter’s work. It’s such a perfect marriage of music and lyric. The melodies seem effortlessly elegant. The words always clever and witty. But sometimes this elegance and wit makes them seem removed from real life. His greatest love songs are up there with the best in the Great Amercian Songbook- Night And Day and Ev’ry Time We Say Goodbye (‘There’s no love song finer, but how strange the change from major to minor’)- but they’re not included in Anything Goes which nevertheless has some of the cleverest songs ever written (‘Good authors too who once knew better words / Now only use four-letter words / Writing prose / Anything goes’).

In my opinion, George Gershwin was the finest popular composer of his day and Ira Gershwin is a contender for the finest lyricist (although I might award that title to Lorenz Hart). Ira has a way of finding the unexpected rhyme. Take Someone To Watch Over Me: ‘I’d like to add his initial to my monogram
Tell me, where is the shepherd for this lost lamb?’ or the internal rhyme in Embraceable You: ‘I love all the many charms about you
Above all, I want these arms about you’. Fabulous.

It’s very hard but I have to choose the Gershwins for that extra feel of real emotion. And in Crazy For You, you get almost the best of the Gershwins, with Shall We Dance?, I Got Rhythm and possibly my all time favourite love song They Can’t Take That Away from Me all thrown in. The new orchestrations by Doug Besterman display a masterful lightness of touch, by the way.

The productions are extraordinary

Productyion photo from Carzy for Uou at chichester Festival Theatre in 2022 showing Carly Anderson, Charlie Stemp and the company
Carly Anderson, Charlie Stemp & the company of Crazy For You. Photo: Johan Persson

So what about these two revivals of the revivals? Anything Goes undoubtedly scores on its set, with a huge ship occupying the back of the stage. Chichester’s thrust stage makes large sets impossible, so, although the great Broadway designer Beowulf Boritt’s sparkling curtain representing a Broadway theatre sent a tingle down my spine when the lights went up, and his trucks showing the exteriors of a Nevada hotel and theatre are effective, the Chichester production of Crazy For You never feels as lavish as you might hope for a major musical. Anything Goes also features a cast about twice the size of the pretty big Chichester ensemble.

The Performers are outstanding

The current production of Anything Goes at the Barbican in London, originally starred Sutton Foster and Robert Lindsay, and now features the equally enjoyable Kerry Ellis and Denys Lawson. The co-lead is a comic gangster and not, as might have been the case in previous productions, Miss Ellis’s romantic interest. Crazy For You features Charlie Stemp and Carly Anderson as the two lovers, Boby and Polly.

Both musicals are well led and offer a talented cast in depth. In Crazy for You’s 26 strong cast, it’s difficult to pick out individuals but I must mention Tom Edden as Bela Zangler, the exasperated producer, and who extracted maximum laughs. The mirror scene in which he and Charlie Stemp match each other’s actions is hilarious. Meryl Ansah is Bobby’s desperate, dominant would-be fiancée who gets to sing the delightful Naughty Baby. Gay Soper is Bobby’s imperious mother, and Matthew Craig is Lank, Bobby’s threatening but ultimately comical rival in love.

The performers in both productions sing well. Kerry Ellis is possibly the finest singer of the bunch, but I did love Carly Anderson’s moving versions of Embraceable You and Someone To Watch Over me.

Production photo from Crazy For you at Chichester Festival Theatre in 2022 showing Charlie Stemp
Charlie Stemp in crazy For You. Photo: Johan Persson

As for the dancing, of course they are all great. The chorus line tap dancing in Anything Goes, led by Miss Ellis, is eye-popping. But, when it comes to individual dancing, Charlie Stemp is in a different class to the others. Superlatives fail when it comes to his ability to spin and jump over and over again. He combines this athleticism with beauty and emotional truth. Crazy for You is worth the ticket price just to see him. He’s also nice looking and sings and acts well.

The Directors are geniuses

Both musicals have a combined choreographer and director. The great Kathleen Marshall brings her skills to Anything Goes and the result is very slick and impressive, especially in the chorus work. Susan Stroman, who choreographed the original 1992 Crazy For You, now directs as well. I left feeling I’d like her choreograph every musical I see from now on. There is so much invention in the solo, duet and chorus numbers.

I have one reservation about Crazy For You. Act one ends in an overwhelming routine for I Got Rhythm. It builds and it builds, and just when you think it can’t build any more, it does. A standing ovation halfway through a show is a rare thing. But it also happens in Anything Goes, when the title song is given a similarly exhausting work out. You think, how can they follow this? Well, Anything Goes does with Blow Gabriel Blow, and a big ending. Crazy for You continues to excite with brilliant song and dance but never again hits the height of I Got Rhythm. The end is more of a walk down than a finale. Then again, that soaring final line of ‘Who Could Ask For Anything More’ did bring the audience to its feet once again.

I’d love to see both these shows again but if I was offered tickets for them both right now, which would I choose? At the end of last year, I said Anything Goes with Sutton Foster had given me my best night in a theatre since they reopened. But, right now, I would choose the exuberant Crazy For You at Chichester Festival Theatre starring Charlie Stemp.

Crazy For You ran at Chichester Festival Theatre until 4 September 2022. It will transfer to the Gillian Lynne Theatre in London’s West End from 24 June 2023 to 20 January 2024

Paul was given a press ticket by the producers.

Click here to watch this review on the One Minute Theatre Reviews YouTube channel.

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Oklahoma! with Arthur Darvill at Young Vic – review

The old songs still soar in this new look at Oklahoma!

★★★

Production photo from Oklahoma! at the Yougn Vic theatre in London featuring Arthur Darvill 2022
Arthur Darvill in Oklahoma! at Young Vic. Photo: Marc Brenner

If the optimistic, can-do nature of Rodgers and Hammerstein musicals grates on you a little, the new Broadway production of Oklahoma!, now the Young Vic, will be right up your Stetson.
Daniel Fish‘s production, co-directed at the London end by Jordan Fein, examines this 20th century classic from a 21st century perspective. It’s even been nicknamed ‘Wokelahoma’ by some wags. Curly is less heroic, Judd less of a villain, the previously admirable strength of the Oklahoma community more sinister.
Let’s start with Laura Jellinek and Grace Laubacher ‘s design. Most of the audience is on either side of the stage, traverse style. On the back wall is a painting of open plains with sketches of a couple of farm buildings. At the other end is a live band. The unraised stage is bordered by long trestle-style tables; the cast stays on stage most of the time. It feels and is meant to feel like a community hall, all the more so because the entire auditorium is evenly and brightly lit. The last time I experienced this kind of lighting was when I went to see my daughter in a school play. It’s as if we the audience are part of that community and that the community is commenting on their own story. Very Brechtian. But this does mean emotional involvement and dramatic tension are kept at a distance.
The famous opening song Oh, what a beautiful mornin’ is sung initially by Arthur Darvill accompanying himself on guitar before others join in. Straightaway you know that this is going to be a different kind of Curly because, although he’s an attractive guy, he’s nothing like the famous Curlys of the past, tall, well built men like Arthur Drake, Howard Keel and Hugh Jackman. Mr Darvill is small and wiry, and, unlike those rich baritones, he has a beautiful tenor voice,  with a nice falsetto.
There was a certain way in which romantic male leads were expected to behave in the mid 20th century when Oklahoma! was written. Even if sensitivity does actually figure in the finest male roles of the period, Hammerstein clearly admired the strong self-assured roll-up-your-sleeves type of hero: the common man who built America. Like Curly. He is even contrasted with weaker male figures like Ali Hakim and Will Parker, played for a great many laughs by Stavros Demetraki and James Davis. Now, we can and usually do choose to take Curly’s character as being of its time, but in this production, looking through 21st century eyes, his charm does lean over into smarm, his cockiness becomes arrogance, his laddishness seems awfully like harassment, and his possessive jealousy spouts toxic masculinity. So he’s not as obviously attractive as one would normally expect.
Then again, nor is Jud the hired help as nasty. Curly’s prospective spouse Laurey is frightened of Jud, which is why she doesn’t reject him and thus he’s encouraged in his pursuit of her. By making him less sinister and more misunderstood, this production undermines the basis of her fear. Patrick Vaill plays Jud with sad-eyed sensitivity showing that he’s awkward with women. There’s a hint of the ‘incel’ about him and, although he’s potentially violent, it does seem that he’s despised by everyone simply because he’s a loner. He’s considered a genuine outsider, not simply someone from outside like Ali Hakim, who’s been accepted into the community. People’s descriptions of this nicely coiffed clean boy as dirty seem to stem from simple prejudice.
When Curly talks with Jud and encourages him to think about suicide, which I guess was always weird, the talk becomes distinctly nasty because it takes place in pitch black. Normally exit signs or some sliver of light enable your eyes to pick up something, but here you literally couldn’t see your hand in front of your face. Then in the second act, when Curly is determined to outbid Jud in an auction, the humiliation of the outsider seems less like punishing him for his unpleasantness and more like simple malice.

Production photo from Oklahoma! at Young Vic theatre in London showing actora Anoushka Kucas and Arthur Darvill 2022
Anoushka Lucas and Arthur Darvill in Oklahoma! Photo: Marc Brenner

The lighting isn’t always bright or nonexistent. Sometimes Scott Zielinski’s design bathes the room in orange or green or shines spotlights, as befits the moment.

Rather than the country music you might associate with a southern state like Oklahoma, the band plays bluegrass style: in other words, lots of stringed instruments. And, under Musical Director Tom Brady, what a marvellous sound they make. That most romantic of songs People will say we’re in love is as beautiful as it could be.

Three women dominate this production

Anoushka Lucas plays Laurey as confused, vulnerable and passionate in equal measures. She’s not only a fine actor, she’s another fantastic singer.
Lisa Sadovy plays Aunt Eller with a twinkle in her eye, but harder and more cynical than you might expect. And all the better for that. The women definitely hold their own in this production.
The plot is unchanged, at least until the end. Curly makes clear he likes Laurie but plays it down a bit. Laurie feels the same about Curly but won’t admit it. The suppressed sexual desire rises like steam. When you think about it, an awful lot of this musical concerns young people desiring one another.
The surrey with a fringe on top is not the familiar jaunty tune that matches the rhythm of a horse and carriage. Instead, it’s slow and sensuous. The line ‘Don’t you wish it could go on forever and you’d never stop’ is delivered with a lascivious smile. It’s clear it’s another kind of ride Curly’s thinking about. 

Production photo from Oklahoma! at Young Vic in London showing actor Marisha Wallace 2022
Marisha Wallace in Oklahoma!

The emphasis on sex continues when we meet Ado Annie and her big number. I cain’t say no. She’s not portrayed as an amusingly silly girl but as a woman confident in her sexuality. Marisha Wallace is not only hilarious., she also has a tremendous voice that blasts the song into the category of showstopper.

Oklahoma! is famous for being one of the first, if not the first, musical to be led by the book, or story. So the songs serve the book, which was written by Oscar Hammerstein II, by revealing character and driving the narrative forward. It may also be the first to fully integrate dance. In fact, Agnes de Mille‘s choreographed dream sequence is one of the iconic moments in the original and her name still appears in the credits, even though her choreography has disappeared.
Now Laurey’s dream is a contemporary dance, choreographed by John Heginbotham. It starts with an electric guitar screaming a stretched out version of Oh, what a beautiful mornin’ that generated the same startled surprise in me as when I first heard Jimi Hendrix playing another classic, The Star Spangled Banner. This is the moment when Laurey is supposed to see clearly that she should choose Curly but it’s less explicit than Agnes de Mille‘s ballet so it confuses more than clarifies.
This production isn’t the only one recently to try to update Rodgers and Hammerstein. Chichester Festival Theatre‘s South Pacific, which is due a London run, dampened down the sexism and bolstered the anti-racism. The Open Air Theatre‘s Carousel faced its domestic violence head on. And I think this is right if we’re to continue to enjoy the positive qualities of their musicals.
However, the ending of this reimagining of Oklahoma! left me disappointed. Not a word has been changed., remember, but the actions have. For me, the reassessment of Curly’s character is pushed too far. I don’t want to give you a spoiler, but I’ll just say that the sham trial now seems like a real miscarriage of justice brought about by a community that sticks together against outsiders. And it makes the ending considerably downbeat.
While I love the new arrangement of the songs, the comedy, the sexiness, and the examination of maleness, I did hope to leave with a smile on my face. It felt like Daniel Fish had tried too hard to shoehorn the actual Oklahoma! into his vision of it.
Oklahoma! is performing at the Young Vic in London until 25 June 2022.
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A Secret Guide to Punchdrunk’s The Burnt City

Impressive but confusing immersion into the Trojan War

★★★

Production photo from Punchdrunk's The Burnt City at One Cartridge Place woolwich London in 2022 showing dancer Alison Monique Adnet
Alison Monique Adnet in Punchdrunk’s The Burnt City. Photo: Julian Abrams

The Burnt City is hard to understand and difficult to find your way around. So, this is not only a review of the show but a guide to how to get the best out of it.

Punchdrunk are the leaders in ‘immersive theatre’, in which you are right in the middle of what’s going on. There are lots of stories being told in The Burnt City. They add up to a beginning, middle and end, but not necessarily in that order. Like anything you’re in the middle of, you don’t have the big picture until afterwards, if then.

I usually love this form of theatre so I was desperate to see The Burnt City, but once there, my desire turned to disappointment. I had expected this show about the myths of the Trojan War to be non-linear. As you walk around the 100 thousand square feet of floorspace, you don’t expect to understand what’s going on. As you might be told if you ask for directions, ‘Let fate be your guide’.

There are many stories being told simultaneouslly throughout two buildings,. They are repeated but don’t expect them to be chronological. I had a general idea of the many Ancient Greek myths connected with the Trojan War but I still struggled to identify or connect them. It doesn’t help that they’re mostly told through through dance, rather than spelled out using the spoken word.

I witnessed many events. What I didn’t expect was how uneventful the events would be, how lacking in dramatic tension. The biggest tension is the fear that while you’re watching one event, you’re missing something much more dramatic in another room.

I may not have been as engaged as I would liked to be, or found the events as dramatic as I think they should have been, but it’s still a great experience to be immersed in this world of war and revenge, and to be standing right next to its inhabitants as they meet their fate.

So what is The Burnt City about? It’s based primarily on two Ancient Greek plays, Euripides’ Hecuba and Aeschylus’s Agamemnon, that cover the war between Mycenae (or Greece) and Troy, the largely mythical Trojan War. Will it help if you know these plays? Probably not that much.

What does help is that, as you enter the building, there’s a brief audio history of the Trojan War and its aftermath, so you’ve a fair idea of the big moments you may see. You go through a faux museum which is even more helpful in explaining the events. So, my advice is to take a few moments to look at the exhibits.  The case containing the last exhibit has been broken open, as if to say the past is now coming to life. You’re then in for three hours with no interval, unless you choose to take a break.

Production photo from Punchdrunk's The Burnt City
Fania Grigoriou in Punchdrunk’s The Burnt City. Photo: Julian Abrams

Punchdrunk have acquired their own home for the first time in their twenty plus year history, and have converted their building at One Cartridge Place in Woolwich and the adjoining one into Mycenae and Troy. The sets by Felix Barrett, Livi Vaughan and Beatrice Minns are extraordinary. There is astonishing attention to detail. Mycenae is inspired by perhaps Fritz Lang’s 1920s film Metropolis. Troy suggests a period before the Second World War with a neon sleaze reminiscent of 1920s Berlin.

After the museum, you make a choice about where to go first. Lights beckon you but, to help you find your choice, look carefully and you see signs, one welcoming you to Troy which is down a long tunnel, the other a border crossing gatehouse to Mycenae. Each space has two floors. In both, you witness violent acts or feel the threat of violence but in Troy you find people having fun, while the city is under attack, and you can wander through small spaces and a warren of rooms. On the other side, there’s gloomy Mycenae, a military state where the warriors prepare for war, then return and face its consequences. Here there are two large open areas, downstairs is what appears to be a military camp, upstairs a palace. There are only a few rooms off.

This show, directed by Felix Barrett and Maxine Doyle, is much more about the effect of war than the fight itself, and cycles of revenge dominate. So what are the big moments?

First, at the start of the war, Agamemnon sacrifices his daughter Iphigenia to the Gods in exchange for good fortune. You need to look for a bride getting ready for what she thinks is a wedding. This is in one of the few rooms in Mycenae. You can then watch her taken to the ground floor and placed on one of two giant tank traps, which look like misshapen crucifixes, on which she is killed. Agamemnon’s wife Clytemnestra is not happy about this, but more of that later.

Over in Troy, the Greeks invade using the famous Trojan Horse (which apparently is there is some form but not obvious, so it’s something to look out for). Queen Hecuba’s daughter Polyxena is murdered by invaders and strung up. I found this to be one of the most upsetting scenes.

Hecuba has learned that King Polymester, an ally of the Greeks, has murdered her son, whom she sent to him for safekeeping. He doesn’t know she knows. When he arrives in Troy, she and fellow women do a friendly dance with him in a red room, possibly a nightclub, on the top floor, that eventually turns violent as they overwhelm and blind him.

Back in Mycenae, Agamemnon arrives home in triumph with Cassandra in tow. You can recognise him by his splendid gold head mask, just one of dozens of imaginative, almost superhero costumes by David Israel Reynoso, inspired by Ancient Greece. Agamemnon’s wife Clytemnestra greets him. He goes upstairs where there is a huge block, made of concrete (I think), like a fashion show runway, where he is at first feted, until he takes a shower and Clytemnestra, in revenge for his killing of their daughter, goes all Psycho. It’s one of the more horrific moments, but even so, I found that, because of the time it took to get to that point, with all the slow entwined dancing, it became boring rather than tense.

All the events are repeated so you have three opportunities to see them. If you know what you’re looking for, you can hope to see them all in three hours

Stay until the end because, given that killing is a dominant theme, there is a climax in which many of the performers take part in a kind of techno dance of death, half naked and possibly in hell, but more literally in Mycenae.

A useful approach may be to follow what you might call the wisdom of the crowd. If a group of spectators has accumulated, there’s usually something going on. Their spookily anonymous masks, which we are all required to wear, take away individuality, even more so when they form a crowd and are so focused on following a particular train of events, that they almost crush you or push you to one side.

Some people like to fix on one performer and follow them, because these various stories do have beginnings, middles and ends, unlike the overall show, and those beginnings usually start small, build to a climax which may well be a killing, with some kind of anguished coda. I found these events strangely uninvolving but I think I might have felt more involved if I had adopted this approach.

Much to my surprise, and perhaps because there is so much room, I found there were times and spaces when nothing was going on. I went round a whole floor of Troy at one point and saw nothing going on.

While you may feel you want to spend all your time watching things happening, there is much to be gained from exploring some of the nearly 100 (apparently) small rooms in Troy. These are often bedrooms, sometimes shops, seemingly abandoned in the course of the siege or attack. Go into them, or some of them, take a look at the books and pictures, look behind the clothes in the wardrobes. Not only will you get amazingly detailed insights into their lives, but you will also be rewarded with clues as to what’s going on around you.

Production photo from Punchdrunk's The Burnt City featuring dancers Yilin Kong and Steven James Apicello
Yilin Kong and Steven James Apicello in Punchdrunk’s The Burnt City. Photo: Julian Abrams

Perhaps, before you even buy a ticket, I should give you this tip, and it won’t be a surprise if you know Punchdrunk’s past work. This is a dance show, and I don’t mean Anything Goes dance, I mean contemporary dance. There is next to no speech to help you understand what’s going on, and the dancing is nearly always in slow motion, and stretched out. I’m not questioning for a moment the brilliance of choreographer Maxine Doyle or her dancers but, if you’re not familiar with the language of dance (which I’m not) you may struggle to comprehend what it is the dancers are trying to convey. The performers embrace erotically or sinisterly, push each other apart, swing one another around. You’ll find it portentous or pretentious, depending on your opinion of contemporary dance. Personally I like that kind of dance but in small doses, which this isn’t.

This show is not for the claustrophobic, or people with visual impairment. You may find being in the building overwhelming at times because it’s mostly dark, with haze as well on occasion. And there are some trip hazards, even if they are highlighted with tape.

Given such an underlit environment, it seem odd for me to compliment the lighting designers but F9, Ben Donoghue and Felix Barrett have done a great job of adding to the sense of fear and wonder, with their mixture of murkiness, sudden flashes, and bright spotlights.

The sound by Stephen Dobbie with its screeching thudding reverberating chords adds to the febrile atmosphere.

Practical Tips

Let’s start at the beginning. The organisers quite rightly would like you to use public transport to get to the show. But it is in Woolwich, which is a long way from the centre of London, so you, like me, may have to go by car if you’re not going to spend most of your day travelling. The best place to park, I found, is Calderwood Street multi storey Car Park, which is a ten minute walk away from the venue.

Arrive in good time at the venue, at least 15 minutes before your allocated slot, because there will be a queue to get in, even with staggered entry times. You are asked to put your mobile phone in a locked bag which you then carry around with you. Bags and coats and even bottles of water will need to be checked into the cloakroom. So I advise that you travel light to avoid the massive queue at the end the show. Can you manage without taking a phone? Big decision I know, but if you do leave it behind, don’t forget to print out your tickets and take a payment card (if you want to buy something at the bar). But here’s a tip, the bar stays open after the show ends, so you can go there to wait for the queues to die down.

You will be asked to wear a Covid-safe face covering. This is pretty sensible since you will be in close proximity to a lot of people as you walk around. On top of that, you will be required, in the Punchdrunk tradition, to don a carnival style mask which is actually quite comfortable. Also, this is a promenade show: you will doing a lot of walking, so wear sensible shoes.

There are toilets throughout the building. But finding the one Bar is another story. Here’s a clue. It’s in Troy. Here’s another: ask a steward. They won’t give you any information to do with the show but they will point you to toilets, exits and, crucially, the Bar (which incidentally is a good ploy if you can’t find Troy). You can remove your two masks (hurrah), buy a drink, find a table, and enjoy excellent live entertainment. The whole decadent feel gives Cabaret a run for its money.

It opens an hour after the start, so Troy may be the best place to begin. That way you can spend an hour or so looking round, then take a break in the bar, before moving on to the bleak foreboding of Mycenae. As I mentioned before, it stays open after the show, so you can use every minute of your three hours on the Trojan War if you wish, and still enjoy the cabaret.

The above tips are from my own experience of visiting the show and also from other people’s reports. They are not in any way official information. In fact, Punchdrunk go out of their way not to give you any directions or timetable, and the stewards won’t help. Therefore I apologise if there are any factual mistakes.

Punchdrunk’s The Burnt City continues at One Cartridge Place until December 2022. Tickets available from onecartridgeplace.com

Paul was given a press ticket by the producers.

Click here to watch this review and guide on our YouTube channel One Minute Theatre Reviews

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Pride & Prejudice* (*sort of) – review

The Funniest Show in The West End


★★★★

Production shot featuring the cast of Pride asnd Prejudice Sort Of at the Criterion Theatre London
Pride & Prejudice* (*sort of) at The Criterion

Some critics have acclaimed Pride & Prejudice* (*sort of) as the funniest show currently in London’s West End. I was late seeing this little gem at The Criterion, but I can’t disagree.

It is an outstanding achievement by Isobel McArthur. She not only wrote it, with a little help from Jane Austen, she also co-directed it with Simon Harvey, and stars in it.

What’s particularly clever about her take on Pride & Prejudice is that, although it’s a spoof, it is extremely faithful to the story.  Much of the comedy derives from the same situations that are funny in the book, and it is, at key moments, quite moving. I was surprised at how touched I was by the ending.
So, she has paid homage to the qualities of the story and some of the dialogue, while extracting a great deal more lol.

It’s funny before it even starts, when we’re presented with the concept of five modern working class women playing early 19th century maids who recreate the story with makeshift costumes and props. So we have the bathos of this classic story and its characters being presented from today’s perspective. There’s 21st century language, including a lot of swearing: Darcy is described as a ’twat’ (and that’s one of the milder insults). Elizabeth tells Mr Collins exactly what he can do with his marriage proposal. So, there’s the shock of seeing Jane Austen’s reserved characters, who normally use sensitive language, mouthing expletives. But there’s also the anachronism of party food at a ball being Pringles and Wagon Wheels.

Is there no end to Isobel McArthur’s talents?

Of course, the basic material is great. Pride & Prejudice is not only Jane Austen’s most popular work but one of the most read novels written in the English language. That’s thanks in no small part to the character of Mr Darcy, played over the years on screen by Laurence Olivier, Colin Firth and Matthew McFadyen. To that pantheon, we can now add Isobel McArthur.

There have been many excellent takes on Pride & Prejudice, like Lost In Austen, Bridget Jones’ Diary, Pride & Prejudice & Zombies and a Bollywood musical Bride & Prejudice. It is without question a crowded market, but Pride & Prejudice* (*sort of) manages to stand out.

To add to the enjoyment, it’s actually a musical comedy. The story is interspersed with moments when the characters grab a microphone and sing classic romantic pop songs like Will You Still Love Me Tomorrow, Holding Out For A Hero, Young Hearts Run Free and You’re So Vain (about Darcy of course). And Lady in Red, a song by Lady Catherine de Bourgh’s relative Chris de Burgh! It’s tremendous fun, a bit like karaoke at a hen night.

The cast of five take on all the parts. Isobel McArthur is a wonderful Darcy. She conveys very well the stiff reserve that conceals a romantic heart. In addition, she plays an even more coarse than usual Mrs Bennet. Tori Burgess creates a truly obnoxious Mr Collins, Christina Gordon plays Lizzie’s sister Jane and the appalling Lady Catherine de Bourgh.

There were two understudies on the night I saw it, which is par for the course at the moment in theatre, mainly because of the Covid. I had been looking forward to seeing Hannah Jarrett-Scott and Meghan Tyler who are both highly experienced actors and were very well reviewed. However Annabel Gordon did well as quietly desperate Charlotte trapped in her hellish marriage, as well as playing the soppy Charles Bingley. Leah Jamieson acquited herself well as the strong-willed but annoyingly self-satisfied Elizabeth Bennet.

Sometimes the characters are too much of a caricature and I did expect, having set the idea in motion, that the play would give us more of the maids’ angle on events than it actually did. But it is rich in ideas and displays non-stop creativity.

I particularly liked the moment when Elizabeth looks at a painting of Darcy and Isobel McArthur slides behind the empty frame to pose as the portrait, whose eyes then follow Lizzie round the room.

There is one simple set, designed by Ana Inés Jabares-Pita, that suggests a rich household, not dissimilar in décor to the lovely Criterion Theatre, using minimal props, and with books as a motif. It features a magnificent centrepiece of a wide staircase that winds all the way up to the flies, with steps supported by books.

This is a light hearted and lightweight play. It doesn’t have the depth of Laura Wade’s Austen inspired comedy The Watsons, which I saw at The Menier, and which was due a West End transfer before Covid struck. Nevertheless, it’s just what you need to cheer you up in a year that has started as depressingly as the last one ended.

Covid is scaring audiences away from theatres, which is a shame, because this is a show that should be selling out, and looking forward to a long run, rather than closing prematurely. I recommend you to see it while you can.

Pride & Prejudice* (*sort of) is performing at the Criterion Theatre in London until 6 February. An autumn 2022 tour is planned with a possible return to London in 2023.

Click here to watch this review on YouTube

 

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Is God Is – Royal Court – Review

Aleshea Harris’ bloodbath thriller is a bit anemic

★★★

Production photo of Cecilia Noble, Tamara Lawrence and Adelayo Adedayo in Is God Is at the Royal Court theatre in London
Cecilia Noble, Tamara Lawrence and Adelayo Adedayo in Is God Is. Photo: Tristram Kenton

Is God Is by up-and-coming American playwright Aleshea Harris is a revenge tragedy, or perhaps tragicomedy, in a tradition that dates back to the Old Testament and takes in Jacobean tragedy and Quentin Tarantino along the way. Perhaps it most resembles the plays of Martin McDonagh, but, in any comparison with them, I’m afraid Is God Is comes off worse.

17 year old twins find out that their mother, whom they thought had died in a fire when they were small children, is actually alive but finally succumbing to her injuries. The reunion is not entirely joyous because she wants them to kill the man responsible for her condition, her former abusive partner and their father. She wants him ‘dead. Real dead. And lots of blood is fine’. The young women, who were also scarred by the fire,  don’t really question whether this is moral or legal or even practical. As far as they are concerned this is a mission from God, since their mother created them. They are driven by the need for vengeance and so is the plot.

So begins a killing spree.

Aleshea Harris’ play won the Relentless Prize in the USA and the relentless speed is helped by the device of the characters introducing themselves in the third person, rather than reveal their characters through their words and deeds. The killing spree leaves no time for a pause for thought about morality, family, class and race, which are all touched on. And the play’s high speed drive straight down the highway gives no opportunity for a twist or a turn, like the sudden slamming on of brakes and or a hairpin bend, except perhaps at the very end when you might be left wondering whether vengeance is worth it. Compared with all the plays by Martin McDonagh that I have reviewed in the last couple of years, The Lieutenant Of Inishmore, Hangmen, A Very Very Very Dark Matter and his early work The Beauty Queen Of Leenane, seen recently in Chichester and at the Lyric Hammersmith, there are no shocking twists or unexpected revelations, of the kind which enrich his work.

No blood but real fire

The older more extrovert sister Racine acquires a rock- which is thought to be the weapon with which Cain killed Abel- and proceeds to use it against all she comes into contact with, even after the slightest offence.

Unlike, I believe, the original New York presentation of Is God Is, there is no blood splattering Ola Ince’s production. So much for ‘lots of blood is fine’. The violence, while plentiful, is so stylised that it neither shocks nor is any more convincing than the characters’ motives. The horrific scars become symbolic tattoos. Once you take both horror and nuance out of the equation, you’re not left with much.

There might not have been any blood but there was real fire in Chloe Lamford‘s design. I liked her simple cartoon-like sets, with the titles for each scene like Going West and Showdown from the script writ large, encouraging the sense that we were watching chapters of a pulp novel being acted out.

I also enjoyed the acting. Out of a uniformly strong cast, I’ll mention in particular Cecilia Noble as the mother or God or, as in the cast list, She. It was a chilling moment when she conjured up what happened to her on the fateful day of the fire, and her powerful command to ‘make him dead’ was like the word of God.

Her two twins, the older Racine played by Tamara Lawrence and younger Anaia played by Adelayo Adedayo were a great double act. Their repartee was sharp and funny, made more so by the use of the Southern States vernacular and rhythms of speech.

It’s clear that Aleshea Harris is a writer to watch. She has a poet’s ear for dialogue. She is also able to make subtle homages to past masterpieces of the vengeance genre without laying it on thick. I’m sure we’ll be seeing a lot more from her but I don’t think she’s quite there yet.

Is God Is runs at the Royal Court Theatre until 23 October 2021

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What If If Only by Caryl Churchill – review

A surprisingly funny play about loss and grief

★★★★

Production photo showing Linda Bassett and John Heffernan in What If If Only at the Royal Court Theatre in London
Linda Bassett & John Heffernan in What If If Only at the Royal Court. Photo: Johan Persson

At the beginning of What If If Only, we meet a man referred to in the cast list as ‘someone’. He’s sitting at a table in a small room talking to himself or rather to someone who isn’t actually there.

His first words are about a man who spent ten years trying to paint an apple so that it looked just like an apple, then seven years trying to paint an apple so that it looked nothing like an apple. Given that Caryl Churchill’s new play is less than 20 minutes in length, I assume she wouldn’t waste words. So what’s the significance of the apple fable? I’ll come back to that.

We immediately discover that his partner has died but that he still likes to talk to his beloved and wishes he could get in touch with them, beyond the grave, as it were. John Heffernan’s portrait of grief is touching, it’s so quietly sad. A bit too quiet actually in terms of being heard at the back which is a shame because James Macdonald’s production savours every word.

Our ‘someone’ wonders ‘what if’ his loved one had lived, and wishes ‘if only’ they had lived. He longs to see a ghost. Designer Miriam Buether’s cube-shaped room, which is a metaphor for being contained by the present, rises to let in a ghost from outside the present moment.

Thought provoking and cleverly told

What follows in this short comedy about loss is both thought provoking and unexpectedly funny. Much to our surprise, and that of the protagonist, the ghost that appears is not wished-for dead figure from the past but a ghost from the future, then more futures. All are represented by a smiling and occasionally stern Linda Bassett who has great fun switching between characters in some packed monologues.

Actually, we do meet one more character- a child who could be part of this man’s future. ‘Child Future’ was confidently played on the occasion I saw it by Samir Simon-Keegan who may well be part of the future of acting.

It’s a play about dealing with grief and the theme that emerges is that you can’t bring back the past, only take one of many possible routes into a future that is certain to be different from the past. Not a hugely original idea, but cleverly told.

So what about the apple? Is the apple a metaphor for the present? While his loved one was alive, each new moment resembled the previous moments in his memory, so was he at that time painting an apple that looked like an apple, but when his loved one died, the present was no longer matched his memories, so he was trying to paint an apple that looked nothing like an apple.

Maybe I’m reading too much into the apple. What if I hadn’t tried to analyse the meaning of the apple story? If only I hadn’t mentioned the apple.

What If If Only continues at the Royal Court Theatre until 23 October 2021

Click here to watch the video of this review of What If If Only on YouTube

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