Caroline or Change, Minerva Theatre- 1st June 2017

I travelled up to Chichester the week before the start of my A Levels to try and escape from the madness and the stress and dread of revision. Chichester is perfectly placed in comparison to suburban London as a spot to escape to. From passing what likes a settlement from Game of Thrones (which is in actuality Arundel- but from afar could be Kings Landing) on the terrible Southern train journey to the quaint English village (Chichester is a city in name only!), it was very easy to forget the terror of the upcoming few weeks.

The show, Caroline or Change, was mightily impressive; a through-sung musical investigating Southern race relations in the 1960s through the prism of a black maid working for a Jewish household. Tony Kushner's initial dramatic act of anthropomorphising the household objects in what is otherwise a piece of musical naturalism helped to heighten and open the audience up, like in Angels in America, to the extraordinary nature of this very ordinary story. Jeanine Tesori's music formed occasionally moved into the operatic, using a range of musical influences from gospel to traditional Jewish modes to form a unique sound-world. Michael Longhurst direction was characteristically clear. As best demonstrated in his productions of Amadeus, They Drink it in the Congo, and A Number, Longhurst has a real skill for making very small stylistic decisions which best shines light and focus on the strengths of the written work as opposed to major changes which draw focus from the work to the director. In Caroline, this took the form of the use of a revolve, allowing the story to be effectively told to all three sides of the Minerva. Sharon D Clarke gave a showstopping performance, keeping in an anger that is only truly released in an Act 2 showpiece aria 'Lot's Wife'. The Broadway transfer of this production has just been postponed due to the virus but hopefully this underappreciated musical gets the audience it really deserves in it's first revival on Broadway.

An Octoroon, Orange Tree Theatre- 29th May 2017

I have seen Ned Bennett’s Production of Branden Jacobs-Jenkins’ An Octoroon three times at both the Orange Tree theatre in Richmond and in it’s successful transfer to the National Theatre and each time was a profoundly different experience. In the Dorfman on the third visit, Bennett had added pyrotechnics and crazier eccentricities to scale up the show to fit the bigger space and to try and shock much the same audience who had seen Katie Mitchell’s Cleansed in that same space just a few years earlier. The second visit was towards the end of it’s first run at the Orange Tree, and word had got around about just how stunning this production was. Bringing my friend Harvey with me, we at 18 fitted into an uncharacteristically young audience in the Richmond space; the production had found its audience and had attracted the same crowd that flocked to see Pomona. However, it was the first visit to this production that sticks in the memory most.

It was early in the run and the matinee audience was filled with the regular Richmond matinee crowd- elderly and, I would venture, on the conservative side of theatrical taste. They had seen that the theatre company that has made its name on revivals of Rattigan and Shaw plays were mounting an adaptation of a quaint melodrama by Dion Boucicault and thought it might make a fun afternoon at the theatre. One of the joys of watching this profound and challenging play was seeing the unease as Ken Nwosu as BJJ walked into the centre of the theatre in his underwear before sitting within the audience in his opening monologue on being a ‘black playwright’. That unease turned into profound terror as Nwosu and Kevin Trainor (playing a representation of Boucicault) circled each other screaming, before the theatre was plunged into darkness as Snoop Dogg blared throughout before a live cellist accompanied a tap-dancing br’er rabbit. As the melodrama itself started up, I could see one old lady rocking back and forth with her hands over her ears. This visit, more than any other time, I could see an example of an audience being really challenged about what theatre was and could be, whether it was appreciated or not.

Re-reading the play yesterday as the video of the murder of George Floyd at the hands of a Minneapolis policeman circulated around social media, I was taken back to the fourth act of this play. Boucicault’s 1859 play is a melodramatic entertainment surrounding a white, slave-owning protagonist George Peyton saving an ‘octoroon’ (one eighth black) girl Zoe from evil, slave-owning McClosky. The fourth scene, which Jacobs-Jenkins describes in his play as ‘the sensation scene’, revolves around the Native American character Wahnotee exposing McClosky’s villainy by showing a photo of McClosky killing Paul, a ‘slave boy’. ‘BJJ’ breaks out of the play at this point to consider how to effectively convey the shock of this moment to a modern-day audience, at which point a large projection of a lynching is projected.

In Jackie Sibblies Drury’s Fairview, the overwhelmingly white audience is directly asked to stand on the stage and let ‘people of colour’ live their own lives free from the white gaze. That moment in the fourth act of An Octoroon expresses much the same thing. Whether it’s the developed photograph of the murdered Paul, the countless sickening photos of lynching, the reports and videos of countless numbers of black people being racially profiled by police in America and in the UK; there is something sick about the white population that feeds off this need to see stories about black people suffering at the hands of ‘evil’ white people. Yesterday, seeing less people share the video and instead share examples of overt and covert white supremacy was a step in the right direction at least yet still demonstrating a kind of stasis in the brutalisation of black lives since the 19^th century.

Jacobs-Jenkin’s only major diversion from the plot of the original melodrama is in the final act where, diverting away from the reunited George and Zoe to a reflective and comical discussion between Dido and Minnie in which, like most modern audiences trying to rationalise the plot of a melodrama, they find that they either ‘zone out’ or find the whole thing pointless.  The genius of this adaptation is that Branden Jacobs-Jenkins transforms a pretty offensive and dated melodrama into a truly nuanced and engaging work; one that really demands action from it’s audience and only seems to gain ‘relevance’ over time.

Review Catch-Up: January

Due to exams, I have slightly neglected my reviews. To catch up, I've combined everything I've written on each production I've seen and added some bits to ones I have not written about (spectacularly poorly in some cases!!).

Cavalleria Rusticana/Pagliacci, Royal Opera House ****

Damiano Micheletto has partially made up for his atrocious production of Guillaume Tell with a beguiling and sweet production of Mascagni and Leincavallo's verismo operas, only momentarily letting the action stagnate, patly due to a monotonous design. Pappanno delivers a typically lyrical and sumptuous interpretation of the score with some impressive lead performances Eve-Marie Westbroek and Aleksandrs Antonenko.

Funny Girl, Menier Chocolate Factory *****

Despite later controversy, Sheridan Smith gave a performance as good as Imelda Staunton's Mama Rose, bringing charm and a bundle of energy to Fanny Brice. Michael Mayer's production does the performance justice and, evidently since recent events, makes the production far more than just a Smith star vehicle.

Les Liaisons Dangereuse, Donmar Warehouse ***

Josie Rourke's elegant production combined with Tom Scutt's lavish design and standout performances from Dominic West and Janet McTeer only partly disguise a play that loses the power struggle beneath relentless sex. This major flaw taints these talents, not least that of Morfydd Clarck who is a fast emerging star, making the most of an ill-written part after her blistering performance in Violence and Son last year at the Royal Court.

Grey Gardens, Southwark Playhouse ****

Unlike most, I adored the first act of this superb musical as much as the more contemplative second act as it contains some of the best original music from Scott Frankel that I have heard since Bend Itl. Jenna Russell is divine whilst Sheila Hancock plays the older Edith with a devilish humour and Rachel Anne Rayham is a notably strong supporting member as young Edie Beale (who Jenna plays in the second act). The only hang up I had with Thom Sutherland's production was the numerous direct references to the source material making whole sections of the second act redundant to those who haven't watched the documentary. Despite this, the Southwark Playhouse continues to produce first class musicals in a superb venue.

Richard II, Barbican Theatre ***

A standout performance from David Tennant is just enough to salvage an evening which Greg Doran seems hell bent to destroy by sucking the life out of Shakespeare's most poetically beautiful play with a reverent and dull production. Beginning the Kings and Country cycle, Tennant is the greatest part of the marathon but perhaps is the only truly brilliant aspect of the RSC's demonstration of it's waning influence in London.

Linda, Royal Court ****

Nima Dumezueini is a powerhouse in Penelope Skinner's devastating play on societies mistreatment of middle aged women. Michael Longhurst makes full use of Es Devlin's masterful set to create a world full of people on the edge. This is a production and a play which shows the central role of the Court in showcasing artistic brilliance across the board.

Fear and Misery of the The Third Reich, Union Theatre ***
Gary Wilmott has brought was is claimed to be the first full production of Brecht's play to the Union and, if performed in August rather than in January, it could have been far more pertinent in explaining how sane people can succumb to the propaganda and fear-mongering pushed by politicians. We need a new adaptation to free the play and production from seeming dated despite Wilmott's best efforts to show that it is a situation that any group of people can fall into. This is a production and a play which, in the age of Brexit and Trump, is more thought- provoking than before.

Pelleas et Melisande, Barbican Hall **

This semi-staged production of Debussy's opera further demonstrates how awful Peter Sellars is as a director; it still astonishes me how revered he is in the opera world. Even the brilliance of stars such as Simon Rattle or Gerald Finley can save this dreadful evening, potentially the worst I've had at the opera  with LED lights which contribute nothing and music which crumples in an over staged concert performance which can't decide whether it wants to place the staging or musical excellence in the fore-ground.

Bull, Young Vic ****

Bartlett's play is revived in the Maria at the Young Vic with a new cast which brings fresh devastation to the text. Marc Wooton is a more sympathetic Thomas to Sam Troughton, but still has some venom in him so that the chemistry is still electric. Susannah Fielding's Isobel is venomous and delightfully vicious, making the interplay with Max Bennet's Tony partly harrowing but also hilarious.

Cymbeline, Sam Wannamaker Playhouse *****

After studying Othello, I had started getting tired of Shakespeare and his half-hearted writings of female characters but Sam Yate's production in the breathtaking Sam Wannamker has restored my faith in the Bard. He uses the space simply whilst also exploiting the space's opportunities, turning Jupiter's visitation into something truly extraordinary. Newcomer Emily Barber brings real intelligence and strength to Innogen whilst the whole ensemble give a mix of emotional truth and beautiful comedy. A definitive production of Shakespeare's most underrated play.

RSC Shakespeare on Screen series, Barbican Cinemas ***

To coincide with the King and Country season at the Barbican theatre, the RSC are also holding a season at the cinema which celebrates the various interpretations of these texts on screen. My experience of the season started with a panel discussion on the art of transferring Shakespeare to screen with Gregory Doran and Sir Ian Mckellan. This informative and highly entertaining discussion revealed facts such as the fact that Mckellans opening gasmask scene in Richard III was him breathing in iambic pentameter and that you must never call an television adaptation a film as 'there is no film involved'. This 

Panel discussion was followed by a screening of the partially recording of Peter Hall's 1959 production of A Midsummers Night Dream featuring the enchanting Charles Laughton who showed us his magnificent Bottom. I remain sceptical about productions being filmed yet this is the most delightful one I have seen. The dated and traditional nature of the production charms and actors Vanessa Redgrave and Julian Glover show their tue talent in creating quality drama over many decades. Perhaps more pleasing than the production was the opening twenty minutes where Laughton takes us on a trip around Stratford-upon-Avon which both demonstrates his extraordinary affability and effortless charm.

Unfortunately, the screening of Othello wasn't quite as enjoyable. Despite a wonderful introduction from Sir Willard White, this near-complete version of the text both makes it long (3hours 30mins) and uncomfortable in it's depiction of race and gender. Trevor Nunn's production slips into the pitfalls of this racist and sexist play. Imogen Stubb's Desdemona is pitifully weak from the beginning, with no character development as Othello's rage increases. Whilst White's Othello is convincing, it does not address the warped view Shakespeare creates that assumes that it is a black man's nature to be violent, which turns it from a play about racism to a racist play. Even Mckellan is far from outstanding as a rather standard evil Iago. Zoe Wanamaker provides the only real standout performance as a defiant and strong willed Emilia. 
King Lear is similarly long and tough to watch, there is undoubtedly more to reap from the experience. Scofield's Lear occasionally comes across on screen as dull, even with cuts, but the meeting between mad Lear and blind Gloucester still brought tears to my eyes and the cinematography in Peter Brook's film is quite beautiful even if it isn't quite enough to fully grasp the beauty of the play.

Hapgood, Hampstead Theatre ***

Stoppard's relentless science talk is done at it's least annoying in Howard Davie's production of this Cold War thriller. Lisa Dillon is funny, smart, and spectacularly middle class as the titular heroine with a supporting cast who provide her with obstacles in a formulaic but fun way. The sciency stuff only occasionally gets bogs down the plot which is an achievement for Stoppard. However, Hampstead is starting to frustrate me now as it is continuously churning out productions of plays by white, middle-aged male playwrights on it's main stage with little representation for any other forms of diversity. 

The Master Builder, The Old Vic **

Ibsen has never felt so boring as in David Hare's adaptation and in Matthew Warchus' production. Whilst in preview, the relationship between Ralph Fiennes' Halvard and Sarah Snook's Hilde had no real chemistry and Rob Howell's was not evocative or grand enough to warrant two intervals. In this barn of a building, this production provides a truly depressing evening.

Escaped Alone, Royal Court *****

Caryl Churchill's latest play is a magnificent meditation on loneliness is realised terrifically by James Macdonald. The jumps from Churchill's typical detached conversations to the terrifying streams of consciousness of Linda Bassett as Mrs Jarret wonderfully displace and confuse the audience but also contains a side-splittingly funny monologue about cats from Sally (Deborah Findlay) and an equally well constructed serious one from Vi (June Watson). It is so refreshing to see exiting new work containing wonderful parts for older female actors in a house which clearly acknowledges that everyone needs to be included in forging the future of theatre.

The Mother, Tricycle Theatre ***

After the staggering success of Florian Zeller's The Father, his companion piece arrives at the Tricylce after it's run in Bath. Unfortunately, the two pieces are too similar to warrant two separate plays. However, it is a very successful production with Gina McKee giving a performance near the level of Kenneth Cranham's in the Father. Laurence Boswell's production is intellectually stimulating, with a more homely setting given by Mark Bailey than the one provided for the Father, but the production as a whole suffers for the lack of an original premise.

London Symphony Orchestra- Antonio Pappano, Barbican Hall *****

Antonio Pappano is perhaps the greatest conductor of the 21st century. His enthusiasm seeps through into his interpretations of the great composers. Rachmaninov's Rhapsody on a Theme of Paginini was passionate and beautiful, with the 18th variation proving a jear-jerker as the theme is flipped. This was largely due to Lise de la Salle tremendous solo on piano. However the surprise came in the second half with Respighi's Roman Trilogy, a piece with which I was unaware. I expected little but what I got was one of the most inspiring 30 minutes of my life. Starting with the roar of the the Roman Festivals before moving to the more subtle Fountains and Pines, one saw all humanity through this piece, from brash and pompous, to beauty and modesty. You saw the huge debt the piece owed to the Romantic movement but the piece was not Romantic. You felt Pappano's enthusiasm and emotion within the piece and came out cherishing every second of that experience. This was truly a heavenly evening of music that I feel so lucky to have witnessed.

wonder.land, National Theatre ***

The main reason for the anxiety about the form of Norris' tenure seems to be his Christmas musical which is being critically and publicly lampooned. Damon Albarn's and Moira Buffini's updated adaptation of Lewis Carrol's Alice in Wonderland certainly is a mess. The exceptional concept is demolished by a preposterous book from Moira Buffini ('now I'm not alone; like a nail all ingrown' is actually a lyric in this musical). Damon Albarn's music is high concept but lacks a memorable melody which is an important thing for a family musical. The video design takes away from the realism of normal life and the game graphics would mean that wonder.land would never be used in the modern age. Furthermore, there are extremely irritating performances, not least by Hal Fowler whose M.C needs to be reined in to stop being so grating.  But for all of this shows grave faults, it provides a great few hours of entertainment. If you don't take anything seriously, you can enjoy the ridiculous child who throws up for no reason and seems to only exist just to cram another issue in. You can also appreciate some exceptional performances. Lois Chimimba and Carly Bawden play the real and virtual Alice with personality and charm, especially Bawden as I thought I would spend her time on stage wondering how Rosalie Craig would have done it, so the fact that I didn't is a testament to her performance. Anna Francolini brings her formidable skill to the queen of spades like Mrs Manxome, delivering her opening number with fierce power in a 'model of a modern major general' style song and is generally an exceptional Disney villain, being bad with no real threat which suits the production well. Overall, whilst this show is almost a total failure, it is fabulously enjoyable to watch.

A Christmas Carol, Noel Coward Theatre ***

Christmas wouldn't be Christmas without this Dicken's classic. This story of redemption resonates even now in a world in which capitalism dominates the festive season so this tale is a good reminder of  'the true meaning of Christmas'. This is captured nicely in Phelim McDermott's wholesome production even if there is no real genius to it. The problem with this production for me lies in the knowing nature of it. Through his set design, Tom Pye exposes the wings whilst puppeteers Jack Parker and Kim Scopes create the visual effects live on stage. This leads to comical scenes with flying and snow throwing. However, the breaking of the fourth wall goes too far in the closing scenes and it turns from charming to pretentious. Other choices are better made such as Jim Broadbent's performance as Scrooge. He plays the infamous character as the man capitalising on Christmas spirit for his own game but is less of a caricature than the normal portrayal. He is supported by some wonderful actors who give wonderful performances who multi-role superbly. Adeel Akhtar, Amelia Bullmore, Keir Charles and Samantha Spiro bring exuberance and joy to their parts. Sadly damaged by a shaky adaptation, this production has potential to shine with such talent on stage and occasionally does.

In the Heights, Kings Cross Theatre *****

With Hamilton taking Broadway by storm, Lin-Manuel Miranda's previous musical has moved to the now not-so-temporary King's Cross theatre after a hit run at the Southwark Playhouse. If In the Heights is the inferior musical, Hamilton must be the most divine piece of genius on the face of the earth. Thanks to a magnificent production from Luke Sheppard, this musical about life in an American Dominican and Puerto Rican community. Seen primarily through Sam Mackay's Usnavi, there are multiple strands which interweave and mingle. The music is pulsating and challenges the form of music theatre, with rap being introduced in an authentic and non-distracting way whilst the choreography is the strongest in the West End. Drew McOnie has crafted one particular party seen that rivals West SIde Story in the way it can contain emotion, plot and beauty through dance. This is carried out by a scarily good cast that sing and dance with real brilliance. The complexity to this show is impressive and means that this is a true hit.

I Want My Hat Back, National Theatre ****

This years show for young children at the National transforms Jon Klassen's popular story into a fun hours-worth of excitement. Wils Wilson directs this rather quaint and enjoyable production in which Marek Larwood's bear tries to find his hat which has been stolen by Steven Webb's rabbit. Natalie Klamar, Peter Lawman and Naana Agyei-Ampadu play an assortment of animals and shrubbery during this bears journey to find his hat. Fly Davis' design creates an inviting, living room setup where the children could play and interact with cast members before the show. Sadness and tragedy is shown quite candidly here, with a surprisingly vivid death which I initially thought would upset the young audience yet they handled it well with no one seeming upset. Arthur Darvill's music is jolly and upbeat whilst Joel Horwood's book is fun both for children and adults. Performances, as expected, are excellent, especially Larwood who tackled tricky questions from some inquisitive children well. This is a charming production that takes it's audience seriously and, as a result, is much better for it.

The Dazzle, FOUND111 ****

FOUND111 is a new, temporary space in the heart of London which has transformed into a New York apartment for the UK Premiere of Richard Greenberg's play about love and the perils of intellect. David Dawson plays Homer Collyer, a man whose sole purpose appears to be to support his ultra-intellectual and musical brother Langley, played magnificently by Andrew Scott. Complete with alibis in the form of opera plots and complaints that instruments are a 64th tone flat, this pair are the height of eccentricity. Ben Stone's intimate and cluttered design shows a world of disorder which brushes off love interest Milly Ashmore (Joanna Vanderham) and the convention she brings with her. Vanderham's American accent feels a tad inconsistent but is only jarring for the first few minutes until you are taken into her intense and sad performance as a woman whose order threatens the life of Scott's Langley. A poignant and moving second act is finished with the perfect final image that finishes a beautiful production in an exciting space.