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This is something that has been expected for a long time and now the time has come that the tragedy of 9/11 is being dealt with on stage in Tansy Davie's new opera. It takes the lives of 5 people in the North tower and follows them as this horror unfolds. It is fair to say that the reaction hasn't all been positive and many reviews have been luke warm but I have to say that my experience of this was far better than many critic's experience. The design from Michael Levine is beautiful in it's simplicity, with three floors capturing the grandure of the towers yet poignant and respectful. Warner's direction too helps create an emotional, heart- rendering account. Tansy Davies' music, whilst not the best, makes full use of the ENO's marvellous chorus that help to convey the mundanity of normal life in New York to a choral, mass- like feel towards the end of the opera. I feel that the shaman is somewhat irrelevant here and needed to have a larger role to give him a purpose. Also, the flying dancer needs to be vsible audience and used more often for the meaning he represents to become truly understood by the audience. Lastly, perhaps the magnitude of the atrocity that took place that fateful day and the everyday problems of the characters don't quite gel as they should which may be down to Drake's libretto that, whilst isn't half as bad as many have said, is relatively mundane as only so much can be conveyed operatically from messages from victims which are hardly poetic. Despite this, it still packs a punch and the spirituality of the final moments is truly special to experience.
You know that you are experiencing a play with heart when you are offered tea as part of the piece. The Royal Court, which has been lampooned recently for a mistimed and ill judged move with The Twits (which I am seeing later on in the run), has done quite the opposite with a verbatim play about the NHS that comes at the perfect time in the run up to a general election. This is the first in a run off plays in subsidised theatre that are preparing for the election, with the National playing Light Shining in Buckinghamshire where they are also reading extracts from the transcript of the 1647 Putney Debates, and The Vote at the Donmar where I would sell my soul in the hope of getting a ticket. However, I don't think that any play could have as much heart as this rather wonderful experience at the Royal Court. You enter into a side building which has transformed into an A and E waiting room. From which, the audience are broken up into groups in what could be the most complex system in getting an audience to move into precise places at precise times and then meet up at exactly the same time at the main Jerwood theatre. This feat is executed impressively in a way that I can't quite comprehend.This is a totally different theatrical experience which I loved. It creates an intelligent debate without picking a side, leaving us to choose who to believe. It brings out the humanity of the NHS through characters such as Marjorie, played with heart by Eileen O'Brian. The rest of the ensemble cast bring together this potentially dry piece and gives it charisma and beauty. This complex play is something that people need to see, not just because of the content but it provides an alternative theatrical experience.
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There is no better example of the beauty of theatre than in Cheek by Jowls daring and relevant production of Measure for Measure. It has become a joke within my family that I was going to a Shakespeare play performed in Russian. However, the language it's performed in should not put you off from seeing such a profound piece that enriches Shakespeare's problem play with influences from Russian Culture. The direction is prominent here with Declan Donnellan crafting each scene from a truly artistic perspective (much like Ivo Van Hove). This means that the story is told mainly through the actors more so than the subtitles. This is essential for people who want to observe the true purpose and art of theatre, as a medium that can bridge language to get to the heart of a piece of work. Transitions from scene to scene are effective, with the whole cast remaining as one body for much of the piece that move across the stage to pick up and drop off the characters needed for the following scene. The heavily cut script gives the story a driving force and keeps the audience on their toes. They deal with the sexual aspects of the play in a brutal yet tasteful way and, whilst there was a disclaimer for nudity, you don't really see anything, yet that doesn't mean that aspects of the production are not harrowing. This is a production that pushes the boundaries of what theatre can achieve. Take a look at the live stream if you can't get down to see it as this sort of theatre needs to be supported to prove that a touring production can be as effective and powerful as any other production.
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Some situations just seem fun to make a play about. Christmas Day running side by side with a game show is one such situation. Unfortunately, it is being played in one of my least favourite theatres. Whereas the other two theatres at the National offer cheap seats with fantastic views of the stage, you have to pay £50 to get a full view of the stage at the Dorfman. The play itself lived up to the irresistible premise. It is hilarious yet, if you choose to delve deeper, Holcroft's play holds substance. Whilst no ones Christmas could get much worse than this, you will almost certainly identify aspects of each character in your family. For me, the Adam's (Mangan) views on games resonated with me as did the views on lager expressed at the beginning. This familiarity gets the audience on board so that they can take it darker and to extremes and get away with it. If you aren't taken in at the beginning, I could imagine that the madness that ensues could be quite tedious. The design is wonderful from Chloe Lamford, with a game board design that works cleverly, weaving the two main themes of the best lay in an aesthetically pleasing and realistic way. Kate Waters directs the fighting so that it is funny yet realistic. Perhaps Marianne Elliot directs it more comedically than dark making the final scene seem slightly disjointed. However, I feel that this is an excellently executed comedy that hits almost all the right notes in spite of it's venue.
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I adore Puccini. Both Tosca and Boheme are astounding masterpieces. I feel that, whilst Butterfly has a similarly romantic score with wonderful arias, the plot is shaky without likeable leads. Pinkerton is a despicable character who never loves his Japanese bride. There is no point throughout the opera where I felt any sympathy for him. Perhaps it is the way Brian Jagde plays him,the way John Luther Long or David Belsaco wrote him or how Puccini interpreted him. Cio- Cio- San is played here by Ana María Martínez in quite a narcissistic way and even though the arias are sung sublimely, the tragic denouement seems to come about purely due to Butterfly's self centred attitude. The last negative thought is on the staging. The stripped back set jars with the grand nature of this opera house which is disappointing for what seems to be a popular opera for first time opera goers. Despite this, there is still plenty to enjoy. It is satisfying when you notice the different themes and the conducting from Nicola Luisotti is wonderful, bringing out the romance in the piece, especially in Un Bel Di, Vedremo which is up there with operas great arias. It is a perfectly enjoyable experience to watch this opera, but it does need a lot of work done before it becomes a true pleasure to see.
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This latest RSC transfer is another fully white cast treading the boards. This is the perfect example of a play which could have easily used actors from a diverse background but has failed. Why does it have to be left to shows like Dara and Miss Saigon to use actors who have a different skin colour other than white. It is shocking that theatre in the present day is still such a discriminatory culture. That aside, the first half of the play is pretty middle of the road, with some interest from Oppenheimer himself whose few speeches are passionate and sincere. However, there is nothing particularly interesting until the bomb is revealed. There, Tim Morton Smith's text comes to life and gets beyond the science (although Stoppard could learn a trick or two from Smith on how to use science in plays and get audiences to understand it) and to the interesting part of this project- the ethics. The final speech from Michael Grady- Hall is one of the most beautiful speeches that will no doubt be performed as audition pieces for RADA for years. The cast too, as white as they are, are electric and superb. Unfortunately, the set has much to be desired. There is minimalism and then there is can't be bothered/ no budget. Having two poles sticking out and a blackboard doesn't count as a set. This has the potential to set the world alight if it was staged in an exciting way. This production is many things, but it is far from exciting.
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This is not a play that debates the morality of paedophilia. In this play, paedophilia is just accepted as wrong and sick. What The Nether is actually about is online responsibility and whether actions on the internet have consequences, filtered through the eyes of a world in a part of the Nether where an unnatural love for children is made acceptable. As far as Oliviers go, this has been nominated for best new play, best supporting actor (David Calder) and actress (the girls playing Iris) and best set design for Es Devlin. I think, whilst this would be a worthy winner in any of these categories, I think that the only realistic chance for a win is for Devlin's astonishing designs. Whilst Haley's writing is shocking and is cleverly constructed, it is a typically royal court play which takes a snapshot unlike fellow nominees which dwell over a concept for longer periods of time, with the stand out written in Shakespearian verse. This will make probably be more likely to sway the panel. Whilst the performances are admirable, with Amanda Hale giving the best with a heavily emotional showing, I wouldn't say that I left being bowled over by the performances. In reality, this production is successful down to the extraordinary set and video designs from Es Devlin and Luke Halls. This transforms the play into a revolutionary production which has redefined the role of technology in staging a play. It gives the play the futuristic look it needs and is just as important as the actors or text. This is what makes the production special.
I have often been left disgruntled by Boubil and Schönberg's musicals as they have often been walking very close to the edge of plagiarism. Marguerite had some phrases which resembled the opera La Boheme and Bring Him Home from Les Mis was dangerously similar to the Humming Chorus from Madama Butterfly. Therefore, I was wary when getting a ticket to Miss Saigon that this story has also been borrowed from the great composer Puccini.
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Luckily, this wonderful musical borrows nothing else and shows a gritty, real, emotional Vietnam that shows the horror of war as well as the joy of love and hope for a better future. Whilst the first scene could do with cuts to keep the pace going, this is the only part of this show that drags. Unlike their other musicals, the pair have been influenced by more more styles, incorporating pop and soul within the beautiful, lyrical music that delights and causes the tears to start somewhere in the middle of the first half and doesn't stop until the tragic denouement. However, it is also hilarious with it's star, Jon Jon Brioes as the engineer, providing plenty of gags whilst also conveying the long discussed nature of the American Dream. The penultimate number in the musical is hate filled, showing the sexualisation of the dream and how it is dressed up to be something it is not. This is the case throughout, with each of the obscene sexual references are a mask for the pain suffered in Vietnam. The juxtapositions create rounded characters and unlike Les Mis, all of these characters are three dimensional; where an innocent girl has the capacity to kill and where the evil woman that stole the protagonist's man is portrayed as innocent unlike Les Mis where all the protagonists are great with only Javert having a complex personality. In comparison, this musical encourages diversity and is almost perfect.
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The production itself does the piece proud. This is a truly remarkable reworking that incorporates the dank slum life to the majesty and ceremony in the parades. Totie Driver and Matt Kinley's set design makes full use of their presumably large budget to create a majestic set whilst Laurence Connor can't seem to put a step wrong with direction which is at times subtle and at others brash in a way which gels well. As far as performances go, Eva Novlezada's Kim is one of the greatest you can see and you can already see a superstar in the making. The stars from Korea and the Philippines, Kwang-Ho Hong and Rachelle Ann Go are both marvellous in their roles and the ensemble are spot on also. If you wanted to part with large amounts of money, this wouldn't be a bad thing to spend it on (unless, like me, you are prepared to wake up at 6am for a day seat for £20).
There is currently a Sondheim overload in London, with Gypsy at the Savoy, Into the Woods fresh out of cinemas and two separate productions of his classic Sweeney Todd. One is at a pop up pie and mash shop on Shafetesbury Avenue, giving it's audience a close and personal tale. The ENO production, on the other hand, is far from intimate, with this semi staged operatic retelling with the ever delightful Emma Thompson as Lovett and the powerhouse Bryn Terfel as the Barber of Fleet Street. From the very start, you know you're in safe hands with a prologue that pulls fun at the glamorous setting, with scores and music stands ending up thrown round the stage and a grand piano upturned. This isn't going to be a normal 'semi staged performance' in the style of the Les Mis concerts.
This production is going to capture the majestic nature of Sondheim's score on a grand scale. In fact, if it wasn't for the orchestra on the stage as well, it could easily pass for a fully staged show. Every aspect of this sublime performance was spot on. From the powerful chorus giving an awe filled rendition of the opening to the love ballads between Anthony and Johanna, played exquisitely by Matthew Seadon- Young and Katie Hall who reach the high notes with such ease. Philip Quast, whose Javert I found a touch too operatic and lacking in emotion is far from emotionless as Turpin, with his solo displaying a depth to the Judge which rivals John Bowe's portrayal in 2012. Alex Gaumond, fresh from being a fraudster in Dirty Rotten Scoundrels, provides a creepy Beadle and the spectacularly high notes are reached, providing me with the greatest surprise of the performance. Rosalie Craig, John Owen Jones and Jack North are also satisfying as the Beggar, Pirelli and Tobias. Bryn Terfel is, as always, masterful as Sweeney, showing a more sadistic man than Ball's Todd and less of a sense of being corrupted by Lovett, who here is played by a tuneful and wonderfully comic Emma Thompson who plays the role in an innocent way. Each little touch from a timpani being Lovett's work station to a bassist's chair being used as Sweeney's barber chair to the conductor's stick to be used as a combo make this production special and memorable. This production captures the true genius of Sondheim with a chilling rendition of perhaps the greatest musical/ opera of all time.
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Marking the 21st birthday of the first performance of My Night with Reg and about a year since the passing away of it's playwright Kevin Elliot, the performance felt especially special. Unfortunately, it was quite disheartening to see that only the stalls and part of the dress circle were full. It's dissapointing to see that whilst the average amount of unsold tickets in the West End for March was 20%, that this remarkable play is far above the average. The play itself is set in one room and is about a group of homosexuals who, under the backdrop of the 1980s and AIDS, the six men's lives interweave in fascinating ways, revolving round one man who is never seen, 'Reg'. The impact of this play when it was first produced can never be replicated as AIDS is not seen as so dangerous in the modern age and homosexuality is mostly accepted by all (except some christian fundamentalists, one of whom put a sticker on the front of the theatre saying 'Jesus saves sinners. Repent and baptise'). Therefore, when there is some full- frontal male nudity in the third act, it never shocks in the way that it should. The bits that still shock are the narrative twists which are littered throughout the play. This has become a period piece which depicts a certain age with only certain relevance today. This production is superbly well performed. Each character is three dimensional and doesn't just conform to gay stereotypes. The main presentation of that stereotype is Daniel performed by The Thick of It's Geoffrey Streatfield who shows his camp, fabulous side in a hilarious first act performance. This performance changes is the last two acts which turns him into a wholly different character. Julien Ovenden, in a break from his musical work, plays the mach, cool guy John who shows true sentimentality. The show's lead, Jonathan Broadbent, plays a diverse Guy who is the most upstanding of the group but has a worrying back story, with a confession in the first act which is truly horrifying yet just shrugged off by the others. The rest of the cast (Lewis Reeves, Richard Cant and Matt Bardock) do a magnificent job of demonstrating the young, the dull and the working class homosexuals showing a diverse range in what would otherwise be just another show with a cast full of middle aged, middle class, white men. Perhaps the designs from Peter Mckintosh doesn't quite fit the Apollo's stage and perhaps the LED lights at the side of the stage doesn't quite work with the set which resembles a 'See How They Run' style farce which captures the comedy and juxtaposes the tragedy within the play. However, this is a play that deserves sell out audiences as well as it's Olivier nomination. It portrays a section of society that is rarely directly addressed in theatre, despite popular opinion, and it is a joy to experience.
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The National is following in the footsteps of the Old Vic and the Barbican with Man and Superman, using star casting to ensure a sellout run. This has certainly succeeded with Ralph Fiennes taking on the Hans Sachs of the theatre world, Jack Tanner, where tickets sold out almost as fast as Cumberbatch's Hamlet at the Barbican did. I managed to get what seemed to be the last ticket available through their entry pass scheme which enabled me to receive a £5 seat in the second row. It seemed like a dream that had come true. The performance itself was quite brilliant. It all revolves round Fiennes who creates a man for which, for three acts you are totally on his side, but for the separate Hell scene, is made to seem dull and against the happiness and fun of Tim Mcmullan's devil before debating about whether man can progress to the superman. If this play was shown at the Royal Court today, it would be about an hour and half long and still slightly drag a tad to the lack of plot line. Yet this production flys by with a running time of three and a half hours (thankfully not 4 hours like the rumours) due to Godwin's intelligent direction, Oram's sublime designs (especially Act 4) and also Shaw's wit and humour which is surprising due to the dry nature of the platforms about it which comprised of an informative but less than enjoyable interview with Godwin and a conversation about Nietzsche and Shaw in which they concluded that they were unrelated. Tim Mcmullan almost upstaged Fiennes as a Spanish brigand and the devil in a superbly witty and funny way. Indira Varma is wonderful as a manipulative and strong woman who, throughout the play, grinds down Fiennes through deception and lies. As far as time setting is concerned, the first two acts jar, with views that felt out of step in a modern setting. Perhaps it is because that world is so far removed from my own. However, perhaps it was just getting used to the play as the last two acts worked perfectly. This is a brilliantly performed piece that captures the comedy as well as the philosophy in Bernard Shaws troublesome play.
