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This review is after I went to a preview for the second time. Before the first viewing, I was cynical. The cockup of an advertising campaign from AKA and the success of recent new musicals meant that I was expecting Howard Goodall and Gurinda Chadha's new musical to be equally fruitless. Safe to say I was blown away. Natalie Dew is a gem as Jess, with such a pure and beautiful voice that portrays the innocence of the character that is suppressed by her parents (played magnificently by Natasha Jayetileke and Tony Jayawardena) who are trying to protect her from an unknown culture. This production addresses the themes of identity and the duty to family vs your own life in a way that isn't in your face like the teen film culture has done of late (with films such as Divergent) but in a way that is well executed. Goodall's music fuses western culture with the Indian timbre exquisitely in a way that no West End show currently playing is doing. Miriam Buether's set, whilst very similar to Anthony Ward's design for Women on the Verge, is different and stylish enough to have a distinct character, helped by a superb curtain that captures the fusion of the cultures. Lauren Samuels is a perfect Jules with acting that has matured since Over the Rainbow and a voice as strong. Sophie-Louise Dann is hilarious and as talented as ever and other supporting roles played by Preeya Kalidas and Jamal Andreas that are equally well performed. There are faults, some of which were ironed out by the second preview but some still remain. Jamie Campbell Bower is an impressive actor but his vocal range isn't exactly perfect yet. However, he is far from the worst turn of a celebrity recently (note Tamsin Greig). The use of a David Beckham lookalike also leaves me slightly cold even after a second look. However, this doesn't detract from a joyous and feel-good evening of entertainment.
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As a disclaimer, I would describe myself as a republican. I see no use to the royal family other than for tourism. I have no sympathy for the argument that it is a hard job for the royals. Therefore the Audience was always going to be a hard sell. Certainly for the first Act, Peter Morgan's play had no real effect on me. The PMs, bar Wilson, lacked any character and felt more like impersonations than anything more developed. Morgan's writing lacks depth and by only giving the majority of the prime ministers as scene each, there is no space for the audience to form any real relationship with them. However, the Second Act felt refreshingly different. The fall of Wilson tugs at heart strings and, by the end, you even start to slightly feel for the queen. This is mainly due to Kristin Scott Thomas' subtle and complex queen. She dominates the stage and oozes elegance whilst also showing a human being at times, showing her vulnerability. The rest of the cast are also good with le Touzel giving a notable portrayal of Thatcher and Woodeson a portrayal of Wilson that captures the man's strong character that isn't softened by Alzheimers. Crowley's set is clever in creating a room bigger than any stage could portray yet feels slightly two dimensional at times. The costume changes are devised cleverly to capture the change of the Queen over the years. This production is the best a play about the queen could be whilst not taking a side but doesn't altogether escape the feeling of a gimmick for tourists.
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As an antisocial type, being told that the show will involve talking to people almost brought me out in palpitations. Luckily, I was on a table with three lovely people and I just about survived the ordeal. Unfortunately, whilst it deals with challenging issues rather well, as a person in my group remarked, World Factory was 'one sprout away from a Christmas game'. The 'show' involves different groups acting as Factory Owners in China and making decisions about our factories taking either ethical or economic decisions based on cards which are handed out. It did feel like it should be on the shelf of a game shop rather than a theatrical experience. Our four hosts start the Game with some verbatim interviews of British and Chinese workers and parts of speeches from Thatcher and Reagan. This part is really interesting and would make a far more challenging production. I get that they are trying to get us to think about the decisions we make and get an insight into the world of the factory but I think, as a piece of theatre, the verbatim approach works far better than a glorified parlour game.
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The Merchant of Venice brilliantly dealt with the issue of anti semitism within the play, depicting an anti Semitic world rather than being an anti semitic play. This is not true with As You Like It when dealing with the huge problem of sexism. I felt truly uncomfortable as Blanche McIntyres production milks every sexist joke dry with the audience not seeming to realise the content of the joke. At times, this production feels really nasty which is a shame. Not that I think this is a deliberate decision from McIntyre but I feel it is careless for no one to identify this. As well as this, the staging is at best uninspired and, whilst I don't expect lavish scenery, I would quite like to see some attempt to give this production an identity which is lost by a lack of set, meaning that it will just merge into another 'Globe show'. Performances also are quite bland and run of the mill. This means that when Michelle Terry enters, she lights the stage with her clever and funny interpretation of Rosalind. The other actor who is also the exception is James Garnon who is just a joy to watch in his debonair and mocking Jaques. Performances from Daniel Crossley and Gwyneth Keyworth are also rather good but the rest of the cast are rather dull to watch. I'm sure none of them are bad actors, however, they are outshone by Terry and Garnon who redeem an otherwise less than impressive production.
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I was lucky enough to be invited to the dress rehearsal of Carmen in seats where you could actually see the emotions on the singers' faces. At times, Bizet's score feels like diluted Puccini but I can certainly see how this opera has become a masterpiece. Complex characters with a pretty simple plot, which is quite closely linked to musical theatre, means that it is great for anyone who wants to get an accessible taste of opera. Bieto's production is distinctly Spanish with a simple but evocative set that at one point is a border post and at another a bull ring. The lighting from Bruno Poet is genius that jump immediately from lighting a huge crowd to a single spotlight on Leigh Melrose's Escamillo. Performances are brilliant all round. Justina Gringyte's Carmen is superbly sung, capturing the vulnerability in what could be a hard, unsympathetic role. Eric Cutler is wonderful in building up Don Jose's love for Carmen so when things turn psycho, you still root for him. The chorus is typically brilliant to create another extremely strong ENO production.
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Ah, Wilderness hasn't been treated well by the critics. Whatsonstage.com even went as far as giving the production one star, a misfortune that is very rarely given out. Therefore, I went in to the theatre expecting the worst production of a play that could possibly be imagined. I came out confused. Did I just see the same show as the critics? Yes, parts are misjudged. The sand seems to have escaped from the previous production of Happy Days to flood the set of this production and the role of Eugene O' Neil watching over the family to signify the nostalgia. It seems to be an attempt to subvert what is essentially frothy fun. Despite this, even Abrahami's slightly dodgy direction can't hide the beautiful, funny and warm story and the wonderful actors telling it perfectly. I am awful in recognizing bad accents but the accents here seemed OK to me. George Mackay is just wonderful as an adolescent that feels slightly too real and relevant for me. Jamie Dee is also great as a conservative mother who has genuine heart. Yasmin Paige isn't quite as marvellous as I would like as her performance feels shrill and annoying and not in a good way. The rest of the cast, though, are good and the overall result leaves you feeling fuzzy and warm inside.
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After productions such as 'Who Cares' and 'The Vote', the National's contribution to the debate in the wake of the election is pretty middle of the road. True, Devlins set is, as always, impressive and imposing. The acting too is decent, although no one stands out. The play itself is the problem. Churchill's play is dry and stodgy with little to connect with. I think it is intended for us to identify human endeavour throughout the ages against the ruling classes to strike a chord in the modern day. Yet, all that is portrayed by Lyndsey Turner's direction keeps it to just a retelling of history despite Soutra Gilmour attempting to blur the lines at the end with her costume designs. This production needs to look to Dara to see how historical stories can be told in a way that connects emotionally with the audience. The Putney Debate scene should have been an exciting climax to the half but in fact was dreary and dull. It should be a play about revolution but instead is about people talking about revolution. Even actors that I love like Joshua James, Ashley McGuire and Steffan Rhodri can't salvage a play that ultimately fails in providing decent theatre. I love the National, but this is a serious misstep which won't help Rufus Norris in his first season.
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Seeing Privacy last year was fantastic; an experience that felt innovative and special. This year, the creative team of Graham and Rourke, as well as some of the cast, have come back together to create something that is as experimental and extraordinary to watch in the run up to the election. Before the show, the audience are allowed to take part in the fictional vote before both writer and director came and explained what we were about to see. The performance I saw on Monday included material that won't be broadcast on Thursday due to ad breaks and also James Graham had written topical references that day which may change by Election Night. This, as well as a truly all star cast, made the whole experience feel magical. To name all 44 actors who all did wonderful turns as voters would be idiotic. However, of the voters, Rosalie Craig and Nicholas Burns as an upper class couple, Hadley Fraser as a drunk and Timothy West particularly stick out in the mind especially. There is a trio of actors that hold the piece together, providing continuity to such a dynamic production. Mark Gatiss, Catherine Tate and Nina Soshanya are each different yet all brilliant as the clerks. Gatiss and Soshanya provide subtlety to Tate's typically brash comedic style whilst that style (which usually gets on my nerves) is reigned in and focussed by Graham's sharp text. It is witty if not stupidly, laugh out loud funny, and shows a true and accurate picture of the state of our country. Politicians such as Paul Chahidi's independent MP is the funniest character in the play yet shows a man who cares for his community, unlike labour who just want to maximise votes in the hope of achieving a majority. And when her majesty Dame Judi Dench graces the stage, it tops off an almost flawless evening of theatre. I emplore anyone to catch this when it is broadcast.
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To my great disappointment, I missed the last Mamet play to grace the West End. However, I valued money and common sense over seeing Lindsay Lohan play act (I'm sure she was excellent and it's me being snobby but I didn't want to waste money). Now another Mamet play is here this time led by Henry VIII and Sulley or, as they are occasionally known as, Damien Lewis and John Goodman. American Buffalo tells the story of three men and how greed, loyalty and honour affect them when conducting a heist to steal a nickel. Despite this, the play is rather marvellous. Mamet explores the themes in a concentrated space with only three characters, keeping a narrative whilst also addressing the nature of men in a way that doesn't feel forced. The first Act drags slightly plot wise but the second act rattles along. Each aspect of this production too is excellently executed. Damien Lewis is masterful in the role of Teach; Goodman sturdy yet gentle as Don and Tom Sturridge slightly disarming as Bob. Paul Wills' design provoked gasps when the curtain rose. Daniel Evan's direction brings the most out of each of the cast; tying everything together. However, I left feeling nothing. Each aspect is almost perfect and yet the overall result feels strangely dissatisfying. I have no explanation for this. Perhaps reading the play will help me understand more of the references and metaphors for me to enjoy it more. I hope this production grows on me yet I am left cold by this extremely clever and well produced piece.
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The Merchant of Venice is a hard play to get right. Putting it mildly, it is problematic in issues of race and gender. It is a play full of contradictions. In one moment Shylock gives a truly moving speech about the poor treatment of Jews and the another he is being made to become a Christian as a hilarious punishment. At one point Portia is put up on a pedestal, a prize for suitors to win by picking the right box, and at another she is showing true strength and saving the friend of her husbands life. Whilst no production could nor should censor the antisemitism and sexism out of the play, the Globe's new production makes this a play about antisemitism rather that an antisemitic play due to a poignant and moving end to the show. The big selling point for this production are the Pryce father and daughter who are both excellent. However, to say that they steal the show would be wrong. Jonathan Pryce is moving and wonderful in the role but he never is the star and is instead part of a wonderful company of actors. The start depicts a world of debauchery with a display of anti Jewish sentiment that creates the atmosphere of the production which isn't totally maintained through the piece yet there are dark undercurrents that run through despite some wonderful comic turns from Christopher Logan and Stefan Adegbola. Britton's designs are, as always, brutal and harsh to accompany Jonathan Munby's subversion of Shakespeare's comedy into a tragic piece. Jules Maxwell's compositions reflect the religious aspects of the play well with bewitching singing, especially from Nuno Silva. This is a confident start to Dromgoole's last season at the Globe with a piece that is conveyed with humanity and sophistication along with the laughs along the way.
Rarely have I been left feeling so uncomfortable by a piece of theatre. The National is hosting the Yard's play about zero hours contracts which interweave 5 characters and their stories around an extraordinarily inhumane job, much as each character has to weave their life around in order to fit doing extra hours at the same rate or having payment be moved five days. This production is raw and edgy with all the rough edges left on. Not all the dialogue was heard as one cast member is very softly spoken which, whilst it is obviously a dramatic device, it means the piece doesn't always have the effect it hoped for. Apart from this, it is perfect programming from the National and shows that it isn't scared of potentially difficult to sell shows that address issues that are rarely talked about in theatre, let alone in such a gritty way.
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I do not confess to be a fountain of knowledge as far as classical music is concerned. I find it hard to tell the difference between a good performance and a bad performance. However, I can note the experience of listening to such wonderful music by a full sized orchestra. The lyricism and romanticism of Tchaikovsky and Shostakovich's melodies make it just bliss to experience. My hairs stood on edge during the overture to Romeo and Juliet as the main, famous motif reached it's climax as the full force of the Philarmonic created an extraordinary sound. Shostakovich's piano concerto led me to be astounded at the pianist's hands as they darted across the keys is impressive to say the least. The finale of Tchaikovsky's symphony no.6 'Pathetique' was an ingenious end to an evening, with a pertinent end that is serene and beautiful instead of the typical, brash end that most concerts end with. However, I found the experience of the Cadogan Hall to be quite unsettling. I was part of a school party, none of which talked at the wrong time nor clapped between movements. Despite this, I found that the welcome we received from this hall to be quite cold. Almost immediately after we arrived, we were approached by a member of the front of house staff who inquired to where our supervisors were. I have been to many trips with the school and have always received warm responses from theatres wanting to encourage youth into theatre. Why can't this be the case with classical music? Clearly the effect of youth stereotypes are taking effect on the staff in the prim and proper concert hall. So whilst there was some joyful music, I felt the atmosphere of the venue detracted from the overall experience.
