Longer versions of reviews featured on the YouTube channel and podcast One Minute Theatre Reviews, mainly London shows and selected regional and touring productions
The lights come up and there on the stage is Carey Mulligan. No set, just Carey Mulligan.
She’s the only person we’re going to meet for the next hour-and-a-half. She holds our attention for that long. We do see some colourless generic sets occasionally during Girls & Boys at the Royal Court but the main image you are left with is that of a single person alone on a blank set.
It’s a tour-de-force. Yes, she’s very engaging with her twinkling eyes and dimpled smile. But, more than that, she has the skill of seeming to speak directly to you. Her pauses make you hang on her words. Her timing is Olympic stopwatch standard.
Carey Mulligan in Girls & Boys at Royal Court
Now delivery is one thing but, no matter how great an actor she is, she needs the words- and Dennis Kelly’s play, looking back on the story of a relationship from its light hearted beginning to its devastating end is also a grand achievement. It’s funny, insightful and sharp as a 4K TV. The language is at times rich, almost Rabelaisian, and at others pared down to the bone.
I’m guessing that the director Lindsey Turner made a major contribution to this triumphant production. It begins like standup comedy and ends like the bottom has fallen out of the world. Paralleling the course of the woman’s relationship, I began roaring with laughter and ended in shock.
Girls & Boys with Carey Mulligan at the Royal Court continues until 17 March 2018
Here’s the review from One Minute Theatre Reviews on YouTube-
Anne-Marie Duff & Rory Kinnear in Macbeth at National Theatre. Photo by Brinkhoff and Moegenburg
The first thing to say about Macbeth at the National Theatre is that Rory Kinnear and Anne-Marie Duff as the murderous couple do full justice to Shakespeare’s magnificent poetry and his insights into human nature.
Director Rufus Norris places Macbeth in some post-apocalyptic version of today’s world. Rei Smith’s design is a disaster but not in the way some critics meant. The striking black and broken set underlines that something terrible has happened. Society has broken down into low tech tribes fighting for turf. They exist in ruined buildings, wearing cobbled together clothes and sitting on what looks like furniture salvaged from the tip. The characters’ many different accents take the setting well away from Scotland into what could be any modern war zone.
Beautifully acted by Rory Kinnear & Anne-Marie Duff
Macbeth is an ordinary person who finds himself in this extraordinary situation- and no-one does the complexities that lie beneath ordinary people better than Rory Kinnear. You feel that in peaceful times, his Macbeth could have been the guy from accounts, so low key and sensitive and humorous is his portrayal. Yet, in this time of war, he’s become a successful soldier.
Once his ambition to become the top man is sparked by the witches and his wife, even though he clearly isn’t a leader and despite his conscience and all the horrors, he heroically follows through what he started. Unlike Anne-Marie Duff’s wonderfully agitated Lady Macbeth, who, when tested, can’t cope. Rory Kinnear’s everyman Macbeth does dreadful deeds but makes us wonder what we could be capable of in such violent, anarchic times.
The production is a little lacking in tension at times, especially at the end, which I put down to this grubby small scale war needing to be played out in more confined space than the Olivier. Then again, a smaller theatre would have meant less people getting to see this dystopian, beautifully acted production.
Here’s the review on the YouTube channel One Minute Theatre Reviews-
The Shadow Factory by Howard Brenton at Nuffield Theatre. Photo: Manuel Harlan
Howard Brenton is an inspired choice to launch the Nuffield Southampton’s new theatre. His latest play The Shadow Factory is not only about the city in the second world war, it fills the large space.
The imaginative set has been created by the group of artists called 59 Productions whose impressive pedigree includes video work on War Horse and An American In Paris. Virtually the only elements of the set are tubular lights above that bend and move to recreate brilliantly the sense of planes overhead and maps projected on the floor of the thrust stage to show not only scene locations but the targets of German bombs. Combined with amazing surround sound, the feeling of being under air attack made the hairs on the back of my neck stand up.
One of Luftwaffe’s targets is Woolston, Southampton, home of the main factory producing Spitfires. After this is blown up, production switches to multiple locations around the area- the shadow factory of the title.
And this is where it gets interesting. The British government, once at war, committed itself to full-on war without mercy or conscience. In The Shadow Factory, we see them requisitioning property, specifically a local laundry business and a country house, with no care for the owners.
Anita Dobson & David Birrell lead an excellent cast
The central characters are there to give a human face to the story but, I suspect, not meant to distract us from it by tugging at the heartstrings. Even so, the excellent cast do bring them to life. Special mention here for Anita Dobson and David Birrell playing two vivid characters each.
Dobson is both the laid back, generous aristocratic American Lady Cooper and the indefatigable, humorous grandmother Ma. Both of Birrell’s characters oppose the government in their different ways: Fred Dimmock, the rebellious laundry owner, and Air Chief Marshal Sir Hugh Dowding who is too gentlemanly for modern warfare.
The cast are uniformly good. Catherine Cusack also doubles up: Lil Dimmock is on the edge of a breakdown and Sylvia Meinster whose propriety isn’t enough to overcome a foreign name. Lorna Fitzgerald (Jackie) and Shala Nyx (Polly) played two of the numerous strong women in this play who face up to the horrors of war and make their mark. It was a pleasure to see Hilton McCrae take the part of the ruthless charmer Beaverbrook. Daniel York is splendid as the conflicted Len Gooch, likeable local factory manager and reluctant tool of the government.
A chorus of local people appear regularly and, by the device of singing together, create a strong sense of community in the face of German bombardment and government dictatorship.
Sam Hodges’ production of The Shadow Factory hits the target.
The Shadow Factory was originally performed in early 2018. It returns to Nuffield Theatre Southampton from 30 January, 2019 to 2 March, 2019
Here’s my review on the YouTube channel One Minute Theatre Reviews-
Harry Potter And The Cursed Child. Photo: Manuel Harlan
A Worthy Addition to the Harry Potter saga
I’ve read the Harry Potter books and seen the films. If you haven’t, you might be less intrigued than I was by this return to Hogwarts because the past looms heavy in this new adventure.
JK Rowling tells a good children’s story that adults can also enjoy, and she does it again with her stage play Harry Potter And The Cursed Child, currently at the Palace Theatre London.
Harry Potter And The Cursed Child. Photo: Manuel Harlan
Her chronicle of good versus evil in the world of witchcraft continues with the sons of Harry Potter and his former enemy Draco Malfoy. Both boys suffer from being the children of well-known parents. That’s why they become friends and go an adventure together, an adventure which is as much about the excitement of problem solving as fighting evil.
Good story by JK Rowling- great play by Jack Thorne
The Cursed Child is blessed with a script by Jack Thorne which is full of humour and emotional depth, especially in the difficult relationship between the adult Harry and his adolescent son, both troubled by the past in their different ways, both feeling inadequate. It’s also fascinating to see the way Draco Malfoy is changed and challenged by becoming a parent.
The story is about the effect of the past on the present. Literally and chillingly, we see that changing the past can change the present. More interestingly, what the older characters have or haven’t done previously affects how they are now. It is this exploration that makes what otherwise would be a good children’s show into something of real interest to an adult audience.
Harry Potter And The Cursed Child. Photo: Manuel Harlan
There are many very good characters well acted. When I saw the plays,Rayke Ayolashowed a good range of emotion as Hermione Granger. I especially liked the Malfoys played with relish by James Howard and young Samuel Blenkin,who was the star of the show.
John Tiffany’s production has some excellent theatrical effects: the appearance of the Dementors is spine tingling. The illusions by Jamie Harrison that provide some real ‘wow’ moments such as the split second in which actors seem to disappear into a telephone.
The difficulty for me is that while action adventures told on a stage work well for children, for adults they can seem a little melodramatic. Despite or perhaps because of an existential threat in the story, this is no exception.
That said, this is a magical production and a worthy addition to the Harry Potter saga.
Harry Potter And The Cursed Child can be seen at the Palace Theatre London
Here’s my review from the YouTube channel One Minute Theatre Reviews
Hadley Fraser, Ross Noble and Summer Strallen in Mel Brooks’ Young Frankenstein
I guess you’ll either love or hate the crude humour of Mel Brooks’ Young Frankenstein, currently at The Garrick Theatre London. Think Carry On or Benny Hill. Think corny jokes about women bewitched by men who are large down below and men hypnotised by women who are large up top.
Personally I loved it. It takes a comic genius like Brooks to turn what could seem base and old fashioned into good-hearted fun. And, despite being primarily a movie maker, he knows how to write a stage musical. The Producers was a huge hit and Young Frankenstein, again based on one of his movies, deserves to be.
Mel Brooks has a way of creating hilarious characters and putting very funny words in their mouths. Those words come thick and fast so, if some jokes miss the target, there’s a hit close behind. Brooks’ view of male-female relationships may seem like a relic from the past but the conflict between ego and id is eternal. So the theme of men and women having their ideals undermined by their animal desires is the stuff of great comedy.
Take the number Please Don’t Touch Me, led by Dianne Pilkington, as an example. It contrasts hilariously Frankenstein’s fiancee’s prim behaviour with her filthy mind.
Lots of laughs from Ross Noble and Lesley Joseph
All the song-and-dance numbers are superbly choreographed in classic style by the director Susan Stroman including a wonderful version of Puttin’ On The Ritz.
The cast may change but there is enough meat for any good performer to get their teeth into. Having said that, I’ve nothing but praise for the current team. Hadley Fraser has the biggest part (you see how Brooks’ humour is catching). He is spot on as the high-minded Frederick Frankenstein.Summer Strallen, who was outstanding in Top Hat, shows why she is one the best musicals performers around. They’re a lovely pair- Fraser and Strallen, I mean (damn you, Mel Brooks!).Lesley Joseph and Ross Noble get lots of laughs as the servants. (Sorry, I’ve run out of sexual innuendos.)
The stereotypes of men and women are dated but if you can accept that, Young Frankenstein is a lot of fun.
Strictly Ballroom The Musical. Photo: Alistair Muir
I love a good musical and, while Strictly Ballroom at the West Yorkshire Playhouse might not reach the heights of a Sondheim or a Rodgers & Hammerstein for character and depth of feeling, there is an enjoyable love story and some excellent dancing. The good news is, it can be seen in London in 2018.
Anyone who liked Dirty Dancing or Footloose should love this. If you don’t know Baz Luhrmann‘s film, it’s the story of a pair of ballroom dancers determined to express themselves their way, even if that means breaking the rules. Freedom versus the establishment is always a good story. Along the way they inevitably fall in love and equally inevitably face bumps in the road to finally getting together.
Sam Lips and Gemma Sutton in Strictly Ballroom at West Yorkshire Playhouse. Photo: Alastair Muir. Photo: Alistair Muir
If that sounds like a formulaic show, I don’t mean it to. It’s lively, inventive, often funny and sometimes moving. In any case, we don’t need the most original story for a musical to work. What’s most important is the terrific choreography by Drew McOnie (his work includes last year’s brilliant On The Town at the Open Air Theatre). The dancing and the singing are impressive throughout.
Strictly Ballroom The Musical is playing at the Piccadilly Theatre from 29 March 2018. Jonny Labey and Zizi Strallen will perform the lead roles with Will Young playing the newly created role of band leader Wally Strand. Drew McOnie again directs and choreographs.
Here’s my YouTube review of the original West Yorkshire Playhouse production-
Before Network even begins, the Lyttleton Theatre stage is full of things going on. There are diners to the right, a TV control room to the left, a big screen in the middle, a shiny reflective centre stage. For someone like me who loves a show that could only be done in a theatre, it’s a case of ‘you had me at hello’.
Jan Versweyveld’s set may be just a bit too fascinating for the good of Ivo van Hove’s production. Fortunately he has one great asset keeping Network focussed: Bryan Cranston. As the TV news anchor suffering a breakdown, he commands the stage even when he is one tiny component in a mass of activity. His authoritative voice, his physical presence and his warmth, as for example when he interacts with the audience, add up to a tour-de-force.
By contrast, the sub-plot about a relationship between two other characters, which are well acted by Michelle Dockery and Douglas Henshall, tends to get lost in the sea of screens, reflections and general sense of pandemonium.
Bryan Cranston in Network. Photo: Jan Versweyveld
Like the film it is based on, Network is set in the 1970s when TV news was newer and more dominant than today, so its warnings about the dire effects of treating news as entertainment (echoed by Quizwhich opens soon in London) seem overly familiar to nearly all of us who have grown up with a TV in the corner and come to regard it not as a window on the world but more a gogglebox.
The play moves on to ‘expose’ global capitalism before putting in a plea for the humanity of the life we actually live. Lee Hall’s play, based on Paddy Chayefsky’s film script, is preaching to the converted- we are after all an audience of physically present people watching real humans on stage) and I emphasise ‘preaching’. Nevertheless it’s an unforgettable production and a towering performance from Bryan Cranston.
Steffan Rhodri and Nathaniel Parker in This House at Chichester Festival Theatre. Photo: Johan Persson
I would never have thought day-to-day politics could be so tense. This House, which I saw at Chichester Festival Theatre’s Minerva is set in the 1970s when Labour was running minority governments and ends at the moment the Tories returned to power. But it’s not about Wilson, Callaghan or Thatcher. The play is set in the Whips’ Offices, the people who organise their party members’ voting.
These are dramatic times as Labour struggles to maintain its majority and govern, a situation not dissimilar to Theresa May’s government. The tension mounts when ‘pairing’ is suspended. This is the agreement whereby members absent through government business or illness have their missing vote cancelled by someone from the opposition not voting. To go behind the scenes and see that our democracy can only work by co-operation and compromise is an eye-opener.
Phil Daniels & Steffan Rhodri in This House at Chichester Festival Theatre. Photo: Johan Persson
Many people- some of the Brexit voters and Trump supporters, for example- seem to be rebelling against the perceived cosiness of the establishment. James Graham, author of This House, shows that there is a purpose to this comity. We have only to look across the Atlantic to see how the extreme differences between Republicans and Democrats have brought government to a halt after decades of working together.
Politicians Are People
But more than the drama and the lesson in democracy, This House reveals the real people behind the parliamentary constituencies. Plays need characters and This House is packed with flawed human beings with feelings. They are sometimes bullies, sometimes desperate and, most movingly, they can be compassionate. We see that in many cases these are people who care passionately but still respect their opponents and act honourably.
Politicians often try to show their human side in PR exercises- a pint down the pub or an appearance on Have I Got News For You– but This House does a far better job at showing they are as funny, sad, triumphant and tragic as the rest of us.
This House can be seen on NTLive showings. Watch it on YouTube on the National theatre At Home channel from 28 May for a week.
Nativity! The Musical with Simon Lipkin, Daniel Boys and children Photo Credit: The Other Richard
Nativity! is already one of the nation’s favourite Christmas films, now Nativity! The Musical is destined to become a fixture on theatres’ advent calendars for many years to come.
For this, we have to thank writer and director Debbie Isitt. She did the same jobs on the Nativity films but, before she went into moviemaking, she was a renowned theatre writer and director. And it shows. Ms Isitt knows what works on stage.
So she has taken all the elements that made her film such a hit: the story of the disadvantaged schoolchildren attempting to put on a five star nativity show against all the odds, the memorable characters, the upbeat songs like Sparkle And Shine and Nazareth. Then she’s added many more songs (co-written with Nicky Ager) and some scenes that are pure theatre, such as a satirical number about Hollywood and the nativity show itself, and turned it all into perfect theatrical entertainment.
You smile all the way through and come out beaming like a red nosed reindeer.
Debbie Isitt knows how to create a hit
This touring production, which I saw at Leeds Grand Theatre, is also blessed with an excellent cast. Simon Lipkin is very funny as the wildly enthusiastic man-child Mr Poppy. Daniel Boys as Mr Maddens finds the same combination of inner sadness, quiet determination and basic niceness that Martin Freeman found before him.
And the children, on whom the show stands or falls, are disciplined, well rehearsed and a total delight- the icing on the Christmas cake.
A bit of sentimental light entertainment is just what you need in the deep midwinter but there’s more to Nativity! The Musical than that. It has something to say about the importance of inspirational teachers, it captures the spirit of Christmas and it’s faultless theatre. Only a Scrooge wouldn’t love it.
Nativity! The Musical is performing at the Eventim Apollo London for Christmas 2018. In autumn 2019, the production will visit Wolverhampton Grand, Aylesbury Waterside, Canterbury Marlowe, Wales Millennium, Theatre Royal Plymouth & Southampton Mayflower.
Adam Gillen & Lucian Msamati in Amadeus at National Theatre Photo: Marc Brenner
National Theatre designers abhor a vacuum. Faced with the big space of the Olivier and Lyttleton auditoria, they feel the need to fill them with sets that dominate and slow down the plays.
Not so Amadeus. The stage is filled, but with people, mainly an orchestra. So Mozart‘s sublime works literally take centre stage, not to mention Simon Slater‘s wonderful additional music with its jangling jarring sounds conveying the states of mind of the two protagonists.
Chloe Langford keeps the sets simple and nothing distracts- appropriately a simple piano dominates every scene.
Brilliant acting by Lucian Msamati & Adam Gillen
The two central roles of Salieri and Mozart are acted brilliantly. Lucian Msamati is the wily member of the establishment. You can feel his anguish at understanding the greatness of Mozart’s music while being denied the talent to match it. You understand why he wants to bring his rival down.
It’s a difficult trick to pull off but Adam Gillen communicates the great composer’s annoying child-like innocence while still exuding the power of his genius.
There is so much in Peter Shaffer‘s play that a revival is more than merited: the frustration of recognising great art but being unable to create it oneself; the ease with which a cynical dissembler can destroy a naive open person; that Man tests God’s achievement rather than the other way round; that immortality can be obtained through evil or through association with the immortal; and much much more. All of which is brought out vividly in this bold production directed by Michael Longhurst.
