review – Page 14 – Theatre Things

Review: Cry Havoc at Park Theatre

Published on March 31, 2019July 20, 2019 by LizLeave a comment

Inspired by playwright Tom Coash’s time living and teaching in Egypt, Cry Havoc explores the idea of the Western “saviour” through the ill-fated love story of Mohammed (James El-Sharawy) and Nicholas (Marc Antolin). Mohammed is an Egyptian who’s just returned from several days being beaten and tortured in prison. Horrified, his British partner Nicholas instinctively wants to try and fix the situation – initially with cups of tea and first aid, and later by applying to take Mohammed home to England with him, whether he wants to go or not.

It’s no coincidence that against all logic, the play often feels more like Nicholas’ story than Mohammed’s. The Brit’s tone-deaf response to his lover’s plight places him firmly at centre stage, and consistently reveals a lack of awareness or respect for the country that’s been his home for the past six months. It never occurs to him until the play’s dramatic climax that Mohammed might not want to flee Egypt, or that he might prefer to stay and fight for a better future. Similarly, Nicholas’ slightly surreal encounters with embassy official Ms Nevers (Karren Winchester) have very little to do with the absent Mohammed, and very much to do with their own personal values and motivations.

Though he may be misguided, however, Nicholas isn’t a bad guy; his actions reveal his sense of privilege, but they’re clearly prompted by genuine affection and concern, and as a character he remains very likeable despite his faults. The relationship between the two men is believably played by James El-Sharawy and Marc Antolin, their conversations in Mohammed’s bedroom revealing the intimacy and happy memories they share. But the bruises on Mohammed’s face and the bandage on his hand – along with the recurring question: “What is your relationship with this man?” – are a constant reminder of the prejudice and brutality waiting just outside. For those of us lucky enough to live in a more tolerant society, the idea that a young man can be arrested and beaten just for being gay is difficult to accept – and in that sense, perhaps Nicholas’ reaction isn’t so unreasonable after all.

Under Pamela Schermann’s skilled direction, the play’s relatively short scenes run smoothly from one to the next through simple black-outs. Though the embassy scenes take place away from Mohammed’s flat, it’s always there in the background, with the focal point of Emily Bestow’s set a pair of bloody handprints on the wall behind the bed. These are not, as we and Nicholas first assume, a sign of violence but of religious devotion – just one more cultural misunderstanding in a play that’s full of them.

Cry Havoc is a far quieter and more contemplative play than its title suggests; with the exception of its penultimate scene there’s little drama, and the closest we get to dogs of war are the ones barking outside Mohammed’s building. That said, there is a sense of building tension throughout as the two lovers find themselves repeatedly at odds over their future, and this discord shines a new light on the well-worn subjects of immigration and asylum. It’s a thoughtful, challenging and extremely well acted play, and definitely worth a visit.

Review: Fiddler on the Roof at Playhouse Theatre

Published on March 30, 2019March 30, 2019 by LizLeave a comment

Earlier this year, only a few weeks into the Menier Chocolate Factory run of Trevor Nunn’s critically acclaimed Fiddler on the Roof, its West End transfer was confirmed. Yesterday, a mere couple of days after the show opened at the Playhouse Theatre, it was announced that booking has been extended to September. And it’s not hard to see why.

Set in 1905, Fiddler on the Roof tells the deceptively feel-good story of Tevye (Andy Nyman), a Jewish patriarch in the Russian shtetl of Anatevka, whose determination to abide by tradition is repeatedly tested by the insistence of his strong-willed eldest daughters (Molly Osborne, Harriet Bunton and Nicola Brown) on choosing their own husbands. But as Tevye himself explains in the show’s opening monologue, the lives of the Jewish community in Anatevka are as precarious as a fiddler on a roof; no spoilers here, but let’s just say anyone hoping for a happy ending to the show is in for a bit of a shock.

And yet, in a way, it’s not such a shock. This is a story that shouldn’t strike any kind of chord for a supposedly enlightened 21st century audience – yet tragically (and incredibly), it still feels all too relevant, and the final scenes all too inevitable. The production very deliberately immerses us in the life of Tevye and his community, with Robert Jones’ stunning set design wrapped all the way around the theatre, and the actors frequently walking among the audience to enter and exit the stage. Having joined them for the Sabbath, for a wedding and a joyous, alcohol-fuelled celebration of life, the show’s heartbreaking conclusion becomes all the more impactful, not least when you acknowledge it’s based on historical fact.

Andy Nyman is an absolute natural as Tevye; from the moment he arrives on stage, he has such energy, wit and warmth that it’s impossible not to like him. Tevye as a character provides plenty of opportunities for humour – always quick with a witty retort, not afraid to give God a good talking to, and amusingly full of bluster while he secretly lets his wife and daughters walk all over him. But as the show goes on the role calls for much greater emotional depth, and Nyman is absolutely on the money on both fronts. Alongside him, Judy Kuhn is similarly captivating as his wife Golde, and the two have touchingly believable chemistry as a husband and wife who may not have married for love, but have discovered it together over the past 25 years.

Jerry Bock and Sheldon Harnick’s score is one that most people will be familiar with, even if you’ve never seen the show, and it boasts some excellent tunes. Despite their catchiness, though, the musical numbers shouldn’t be dismissed as simply a singalong opportunity, and seeing them performed – without exception, brilliantly – in the context of the production lends them layers of new meaning. The choreography, by Jerome Robbins (who directed and choreographed the original Broadway production) and Matt Cole, is sensational to watch and performed with such enthusiasm and joy by the whole cast that it becomes utterly infectious.

Oh, and did I mention the production is gorgeous to look at? Robert Jones’ set overflows from the stage to take in the whole of the Playhouse (now starting to get a bit of a reputation for its incredible transformations) – and it’s exquisite in every detail, from the dim, smoky atmosphere that envelops you as you walk in, to the simple rustic homes of Anatevka and the trees silhouetted dramatically against the subtly changing light as day turns gradually to night.

Funny, heartwarming, fascinating, tragic and devastating, Fiddler on the Roof is an unusual but hugely powerful musical, and this production brings out the very best in it. The previous run at the Menier was a sell-out, and this one looks set – and deserves – to go the same way. So get yourself a ticket while you can; this triumphant revival is not to be missed.

Fiddler on the Roof is now booking to 28th September at the Playhouse Theatre.

Review: Mary’s Babies at Jermyn Street Theatre

Published on March 23, 2019July 20, 2019 by LizLeave a comment

A true story based on real events, Maud Dromgoole’s two-hander Mary’s Babies was inspired by Mary Barton, the founder of a London fertility clinic whose work resulted in the birth of an estimated 1,500 babies – many of whom were fathered by Mary’s own husband, Bertold Wiesner. The play imagines what would happen if some of those children found each other, and in doing so reflects on the true nature of family, legacy and what really makes us who we are.

Mary's Babies at Jermyn Street Theatre — Photo credit: Robert Workman

Two actors – Emma Fielding and Katy Stephens – heroically play 39 characters over 90 minutes in this fast-moving and often very funny production directed by Tatty Hennessy. Both handle the multitude of male and female roles with apparent ease, getting the balance just right between keeping each character unique and recognisable to the audience, and simultaneously demonstrating the half-siblings’ genetic similarities to each other. For the avoidance of doubt, however, for each scene the names of the two characters involved are illuminated in picture frames hanging on the wall behind them. This helpful feature of Anna Reid’s minimalist set allows us to quickly identify who we’re looking at, and certainly makes the play much easier to follow as more characters are introduced – though it can easily be overlooked at first, particularly as the first scene draws our attention away from that part of the set.

Most of the 39 characters appear only once, the majority in a single particularly chaotic party scene. The play focuses its attention primarily on just six people, whose reactions to the startling discovery of their heritage cover a broad spectrum. For some of them, the revelation of where they come from is welcome news; for others, it’s devastating. Some view their new-found siblings as an instant family, while others can’t help but continue to see them as strangers. One character, who isn’t – as far as she knows, at least – a member of the Barton Brood, is envious of her partner’s new “sibs”, her relationship with her own recently deceased father having brought her little happiness. Another discovers to his horror that he’s both father and uncle to his unborn child, after unwittingly marrying his half-sister.

Even with this limited number of central characters, there’s a lot going on, and the play’s relatively short running time of 90 minutes means we never get to delve in depth into any of the individual stories. We do, however, get some interesting questions to take away and think about in our own time. Questions like: what makes someone family? Do our genes or our upbringing have more impact on the person we become? And is it necessarily a good thing to know where you came from, or is it better to remain blissfully ignorant?

There are a few scenes scattered throughout the play that feel superfluous and rather left-field (even after re-reading it, I’m still confused by the one about the chickens), and consequently distract from the main narrative. Some moments feel unnecessarily flippant, like the Catherine Tate-esque registrar who definitely shouldn’t be allowed to deal with bereaved customers. And it’s not a production for the easily distracted; each scene lasts on average about three minutes, with some significantly shorter, so it’s literally possible to blink and miss a crucial detail.

For the most part, though, Mary’s Babies is enjoyable and witty, and surprisingly easy to follow despite its complicated structure. A thought-provoking play, and an impressive feat of endurance and versatility from two talented performers.

Review: Macbeth at Jacksons Lane

Published on March 23, 2019July 20, 2019 by LizLeave a comment

There’s a lot to like about Proteus Theatre’s original take on Macbeth, especially if you’re a fan of all things 80s. The action of Shakespeare’s tragedy has been transplanted to the cut-throat financial markets of London in 1987, inspired by the crash of Black Monday. Director Mary Swan’s vision is one that fits well with the story of Macbeth, in which power is everything and rivals will stop at nothing to come out on top – but despite some solid performances and strong design decisions, the production as a whole never quite takes off.

Unfortunately, this is largely due to an unconvincing portrayal of Macbeth by Riz Meedin. Though he does a decent enough job as the hen-pecked husband who’s browbeaten into regicide by his scheming, ambitious wife (Alexandra Afryea), the character never really develops beyond that. Even later in the play, his Macbeth still feels hesitant and not at all like the murderous tyrant hellbent on slaughtering men, women and children alike to secure his position. If anything, Danny Charles’ slightly sleazy Duncan and Jessica Andrade’s manipulative Malcolm come across as more threatening.

While both Charles and Andrade prove themselves adept at playing multiple parts (including a couple of very entertaining cameos), the play’s strongest performances come from Alexandra Afryea as Lady Macbeth – already at the brink of insanity when the play begins as a result of both her ambition and her grief for a lost child – and Umar Butt, in two very different guises as Banquo and Ross; his appearance as the ghost Banquo is one of the play’s most striking (and gruesome) scenes.

The 80s setting is cleverly worked in; each scene change is heralded by another classic hit, and the characters’ power suits and corded phones leave us with no doubt what decade we’re in. Instead of a crown, the current “king” is portrayed as a sort of mafia don figure with their coat draped across their shoulders, Macbeth snorts cocaine before murdering Duncan, and Banquo and Fleance head out for their fateful ride wearing motorcycle helmets. Katharine Heath’s clever multifunctional set design finds the characters first battling it out on the stock exchange trading floor (with Duncan and Scott on the rise; a nice detail) but with a few simple rearrangements transforms into a lift, an office, a dinner table and a phone box, among others.

The concept does slightly lose its way in the final battle, because it’s not really clear who’s fighting who, or how or where. The confrontation between Macduff and Macbeth also feels a bit anticlimactic, although the framing of Macbeth’s killing as a hit rather than a death in combat is interesting and gives the play’s conclusion an original new angle. There’s certainly no lack of drama, either, with Peter Harrison’s excellent lighting design bringing an intensity to the stage even at times when it’s missing from the performance.

Shakespeare’s work is so frequently performed that it’s refreshing to see a version like this one, which makes you consider a story you know well in a completely different way. It’s also great to see Shakespeare performed by an entirely BAME cast, something we still don’t see enough of in London. Tapping into the greed and corruption of the business world is a clever move, so it’s a pity that the production itself – though imaginatively staged – doesn’t always reflect the necessary ruthlessness to quite carry it off.

Review: Never Trust a Man Bun at Stockwell Playhouse

Published on March 19, 2019July 20, 2019 by LizLeave a comment

Double dates don’t get much more awkward than this one. Lucy (Katherine Thomas) just wants to stay home and watch Gogglebox – but her best friend Gus (Calum Robshaw) and his recently back-on-again girlfriend Rachael (Natasha Grace Hutt) have other ideas. They’ve just announced they’ve set her up with the man bun-sporting Caps (Jack Forsyth Noble), for some unfathomable reason; the two of them are clearly a match made in hell from the moment they set eyes on each other. It doesn’t help that Caps has got his eye on Rachael, and soon he’s trying to drag Lucy into his dastardly plan to steal her from Gus. Worse: she’s actually thinking about it, for reasons that both confuse and annoy her.

Katherine Thomas makes her professional writing debut with Never Trust a Man Bun, which transfers to Stockwell Playhouse following a short run at Theatre N16. Under Scott Le Crass’ direction, the jokes fly thick and fast through the course of one disastrous evening – most of them at the expense of one or other of the characters. As in any good sitcom, each has their “thing”: Rachael is irritating and almost unbelievably stupid (“the plural of ‘mice’ is ‘mice’!” she declares proudly at one point), Gus is a total pushover, Caps is obnoxious, manipulative and not ashamed to use his autistic sister to get sympathy, and Lucy’s default setting against everyone – even people she likes – appears to be defensive sarcasm and general nastiness. It’s no surprise the evening doesn’t end well; what’s significantly more surprising is that we don’t end up hating everyone on stage.

The jokes are well-placed and delivered with excellent comic timing by the cast of four, though a couple of the gags go on for a bit longer than feels strictly necessary. At times, too, realism takes a hit at the expense of humour (it’s hard to believe anyone could seriously be that proud of putting pretzels and crisps together) but what does ring true is the complicated tangle of emotions being experienced by these confused 20-somethings. It’s not all about their romantic disasters, as entertaining as they may be; there’s also career anxiety, money worries, and the not altogether welcome realisation that they’re no longer the same people they were ten years ago. It’s a play about growing up and finding your place in the world – and perhaps coming to terms with the fact that it isn’t where you thought it would be. That’s a panic I think most of us can relate to, at least to some extent, and it’s in the brief moments where the play stops looking for laughs and gets serious that it’s at its strongest.

Never Trust a Man Bun is a promising and well performed debut, peppered with some great one-liners and laugh out loud moments. It doesn’t quite feel like the finished article yet, but with a bit of polishing and strategic pruning, there’s potential for a play that offers up real insight as well as laughs.