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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.
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Commercial theatre companies like the Michael Grandage Company are never going to produce ground-breaking theatre if they have to balance the books whilst selling seats for £10 in the front row of the stalls. This being said, Nicole Kidman's great return to theatre is rather daring, doing an unknown play about the forgotten woman in the discovery of DNA. Having studied the History of Medicine for History GCSE, I had some knowledge of Crick and Watson's discovery and knew of Rosalind Franklin. This play examines Franklin's role closely and talks about how an individuals role is forgotten. Anna Ziegler's play tells Franklin's story with the use of flashbacks from the five other scientists arguing over Franklin's ability and personality which is expertly executed with great lighting design from Neil Austin that make subtle changes between time periods. Christopher Oram creates a set very much in keeping with his other designs for the company with an archaic flavour juxtaposed with the modern flooring. It isn't instantly relevant but there is a hint of this groundbreaking work going on in the these old, crumbling institutions. The whole production revolves around Kidman, who, unlike her character, is always centre stage and at times feels like a vehicle for the great actress yet the production doesn't suffer because of it. She is moving in her lack of emotion in a way that so few actors can do. It is almost overwhelming and heartbreaking after a difficult first half. She is supported by a great supporting cast who make up for their lack of diversity with solid performances. Stephen Campbell Moore is almost sympathetic as Kidman's appallingly sexist colleague whilst relative newcomer Joshua Silver brings charm and a purely likeable character as Franklin's assistant who is the human voice in the play. Crick and Watson are played as jarring and grating by Edward Bennett and Will Attenborough whilst the American fan played by Patrick Kennedy helps to bring out a more emotional wreck performance from Nicole Kidnan. I can't evaluate the Winters Tale metaphor properly as I rather ignorantly don't know the plot yet the feminist message it portrayed was rather moving in a world that knows John Gielgud as one of the masters yet have forgotten his female counterpart Diana Wynard (a name I had to look up). This production is striking and shows that commercial theatre can be interesting, if not totally radical.
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It is fair to say that I have not been overly impressed by the output of the RSC recently. The Henry IV plays were far from comedy gold and I wasn't charmed by Oppenheimer. There is a certain dry quality to what the company produce which is problematic. However, I think this production of Salesman has restored my admiration for the company. It still is a traditional staging, with nothing particularly revolutionary and yet a combination of Miller's divine text and first rate acting makes overall for a successful production. I wasn't taken with Sher's Fallstaff at all as he took the character to a place that changed and warped the dynamics and the chemistry of the play. This meant that my first opinion of this actor was negative. However, his portrayal of Willy Loman is poignant and awe inspiring to see. Harriet Walter too puts in a stellar performance as Linda, showing the character to be the true salesman of the play in her resolute defence of Willy. The relationship between Sam Marks and Alex Hassell at the start was the moment when I could connect with the characters because of the raw emotion shown. The relationship between Hassell and Sher is also fantastic; far more complex and interesting than in Henry IV. The set design from Stephen Brimson Lewis is a tad too ordinary for me yet there are moments such as the movement scenes that show real promise. The quality of the acting shines in what could be another drab and dull RSC production which left me in tears yet genuinely angry at the society, painted by Miller, that would fail this family.
