Blue Stockings, The Yard Theatre, London E9

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It is a shocking fact that women were not allowed to graduate from Cambridge University until 1948. This play is set 50 years earlier and concerns four ladies who attended Girton College, Cambridge at the end of the 19th Century. It is a well written and cogent drama about the beginnings of the women rights movement. it gives voice to all points of view at that time, ranging from those who believed that education would distract women from being good wives to those who thought that noisy demonstration calling for immediate emancipation was the only way forward.

The Yard is an interesting theatre space, the seats are close to the action, but the wide stage and high ceilings make it very open. I really like the apparent simplicity of the direction, schoolroom projectors set the scenes, blackboard writings mark us as being in a classroom, a pictures of an orchard or Van Gogh’s night sky move us outdoors. This is inventive and effective.

The quality of the acting is very high and there are nice performances even in the smaller parts. Mischa Jones is fabulous as Tess, she brings a nice balance of intelligence and innocence to her role. Laura Trosser has a great part as Miss Blake, resolutely playing the long game in the fight for equality and she plays it perfectly. I really liked Quinton Arigi as Will, whose position changes as the story develops.

Blue Stockings is part of the National Youth Theatre of Great Britain’s East End season at The Yard Theatre. It is a sterling production of a very good play, in an engaging venue. I will be looking out for more Jessica Swale written plays. It has also made me look forward to seeing the next play in the season, “The Host” and their revival of “Zigger Zagger” at the Wilton Music Hall, next month.

A thoroughly enjoyable evening. Recommended.

The Lady Vanishes (dir. Alfred Hitchcock) 1938

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The Lady Vanishes is a 1938 comedy/thriller classic of the British Film Industry. It was Hitchcock’s breakout success and convinced David O. Selznick to offer him a seven feature deal in Hollywood. It was Michael Redgrave’s first movie part. Margaret Lockwood was already a leading lady, but this was her biggest film to date. It is also notable for being the first appearance of Charters and Caldicott a cricket obsessed comedy duo who were very famous throughout the 1940s.

The film was a huge hit, not only in the UK but also in the US, where it won the New York Times award for best film of 1938. The crime/suspense element of the film is very good with a very clever intricate story. The comedy is genuinely funny, the leading couple have great chemistry and their bickering is arch and witty. The supporting characters add to the entertainment, whether its the whimsical humour of Wayne and Radford as Charters and Caldicott, the slapstick of  Emile Boreo as the Hotel Manager, or even the awkward situational comedy of “Mr and Mrs” Todhunter.

This movie is almost 80 years old, so there are parts which seem unsophisticated from a modern perspective, but for me, this adds to its charm. I love the opening scene, where the avalanche has delayed the train. To our refined eye, it is patently a set up model, but although we know this, it works perfectly well and sets the stage to start the story.

It is one of the films that contains the traditional Hitchcock cameo, very near the end of the film, he appears on Victoria station. Although he was nominated at the Academy awards, as best director, five times, he never won any of them. So this movie was his only award for best director, he won the New York Times award in 1939. This film is a significant piece of British cinema history as well as being a very enjoyable watch.

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Apologia, Trafalgar Studios, London

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I went to the first night of the previews. I really enjoyed it. The action takes place over an evening birthday party and the morning after. It was a little slow to get started but after that, the first act is good; the script is funny, arch and sharp. It appears to be a play about nostalgia for the idealism of the 1960s and children with abandonment issues. However, the second act is transformative, I love how it turns your perspective on its head, we get to know the characters better and see their motivation differently. The play is really about women’s place in society, whether this has changed over the past 50 years and about the price people are willing to pay for attempting to bring about change.

The direction is simple, Jamie Lloyd lets the words speak for themselves. The set is clever, the stage is framed like a picture or perhaps the old photograph given as a birthday gift.  The whole cast is good, but this play is really about the women, Laura Carmichael and Freema Agyeman are both outstanding and Stockard Channing is amazing.

The writing is great and I will be looking out for other plays by Alexi Kaye Campbell. I guess there will be a few tweaks before the general opening, but it got a full standing ovation on the night I went. I hope the critics like it as much as I did and that Apologia is a huge success.

Hamlet, Harold Pinter Theatre, London,

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Hamlet is a play that has been done so many times in London over the last few years, it seems to be the role that every major star wants to do, to prove their worth. Well, this version, directed by Robert Icke and starring Andrew Scott is, without doubt, the best of them.  The direction is wonderful, it makes the play feel current and relevant to today. I love the use of technology; the ramparts on video cameras, the war coverage on a 24hour news station,  the paparazzi at the wedding.

Andrew Scott is a fantastic Hamlet, hurt, sarcastic and sardonic, he speaks every line as though he is having difficulty putting the depth of his feelings into words. The words are 17th century but his delivery of them is 21st century psychoanalytical. The modern setting brings out humour, in his lines, that was previously hidden and it makes his cruelty towards Ophelia and his mother, all the more harsh.

Derbhle Crotty plays Gertrude, as a worried caring mother, a bit frivolous and taken in by the attentions of her late husbands brother. I liked the chime in accent between her and Hamlet, it emphasised their bond and highlighted his reason for feeling betrayed by her.  Angus Wright is wonderful as Claudius. In this production he is a modern Machiavelli, concerned with approval ratings and how the public would feel if he prosecuted Hamlet for the death of Polonius. He is the ultimate politician king, bland and reasonable while plotting death. It makes one realise how little politics has changed through the centuries.

Peter Wight is great as Polonius, usually played for laughs, but here he is a family man, desperately trying to enhance the lives of his children by means of his diplomacy. The affection between Laertes, Polonius and Ophelia is underlined in this production, and the sense of loss is deeper because of it. David Icke is not afraid to take risks, I am not sure about the Bob Dylan songs, bringing 1960s music into such an up to the minute setting jarred a little, but Rosencrantz and Guildenstern work very well as a romantically involved couple and why wouldn’t one of them be female. I am looking forward to the Tom Stoppard update.

The finale is deliberate, each character allowed their own time. Horatio is solicited to tell the tale, but it has all been recorded on video, so it will be available for the news channels to package and present, from all points of view, for years to come….

This is a fantastic production, it has a month left to play, London theatre at its very best.