Zigger Zagger, National Youth Theatre of Great Britain, Wilton’s Music Hall, London

©NOBBY CLARK
+44(0)7941-515770
+44(0)20-7274-2105
nobby@nobbyclark.co.uk

From the second the opening whistle sounds and the cast of 50 begin their football chants, the audience is dragged in – to a world of youth tribalism, disaffection and tough choices. Wilton’s Music Hall is the perfect size for this play, large enough that the cast doesn’t outnumber the audience, small enough that the cacophony of sound envelops you to feel part of the crowd.

Zigger Zagger is a late 20th century parable, ostensibly about football hooliganism but also about loyalty and fitting in. The protagonist, Harry Philton, excellently played by Josh Barrow, is a school leaver searching for belonging and is drawn to the local football terraces. He is aware of its limitations as a life choice so investigates the alternatives.

Among these are: Police, Army, Religion, Apprenticeship and, settling down. These options are caricatured, often in musical or poetic form. Adam Smart is particularly funny as the Youth Careers Officer. In between each option we are brought back to the terraces for a song and each time we feel the allure of being part of the crowd.

The soundtrack is great, T.Rex, Mud, Bay City Rollers even the Sex Pistols. The crowd songs are classical and traditional, with some chanting thrown in for good measure. Zigger Zagger is a boisterous and entertaining evening, with some great performances, and an interesting reminder of a specific moment in this country’s development.

 

Advertisements

Apologia, Trafalgar Studios, London

dd913zrxgaecwyp

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.

Victim (dir. Basil Dearden) 1961

victim_1961_03

Victim is a classic movie in so many different ways. It is a great representative of the black and white, crime thriller, genre of the early 1960s. The storyline is good, it is well told and the suspense will keep you interested right until the finale.  It is a fantastic British movie, made in the Pinewood studios with high production values. It has all the hallmarks of British film making at the time. The dialogue is clipped and the characters are bristling with repressed emotion.

It has a wonderful setting with splendid views of London just before the start of the swinging ’60s. St Martin’s Lane and Cecil Court are still recognisable, with Oliver! playing at what is now the Noel Coward Theatre. There are also nice shots of Millbank, Soho and the Thames. The pub scenes were filmed in a real pub, The Salisbury, on the corner of St Martins Lane, which was a gay pub until the 1980s. The pub is still there today and still has the Victorian fixtures and fittings seen in the film.

 

Victim has a courageous and dashing performance by Dirk Bogarde who risked his matinee idol status by taking on such a controversial role. He was a male romantic lead, so playing a man with homosexual tendencies, constrained though they may have been, would have put this career in jeopardy. He is excellent in the role and apparently he added the line “I wanted him!” which almost had the film banned. Sylvia Syms puts in a good performance as his unfulfilled wife, wavering between hurt and compassion. The whole cast is excellent and there are recognisable faces throughout the film.

from-victim-to-hero-revisiting-basil-dearden-s-victim-1961-jpeg-142470

This was a shocking film when it came out in 1961 and it almost did not get past either the British or American censors at the time. It was the first film to use the word homosexual and it was the first mainstream movie to allude to it in a non negative manner.  It was this, that made it a danger to public morals and gave it the X rating that it received when it was released. Homosexuality is not the direct subject matter, but a blackmail ring that was targeting the frequenters of a gay pub. This was a common occurrence at the time as homosexual relations were an offence that could land one in jail and would certainly ruin a career.

While this film, itself, did not advocate gay rights, its sympathetic portrayal of some gay characters allowed the conversation to begin and this will have helped to bring about the change in the law six years later. Victim often appears in lists of all time greatest films, and it was certainly a brave and groundbreaking piece of film making.  Whether you are interested in the history of cinema, or the history of gay rights then you should see this movie. It is being shown currently at the BFI on the south bank as part of the gross indecency season, celebrating the 50th anniversary of the partial decriminalisation of homosexuality in Britain, but it very often included in retrospective seasons of gay film, British film, or classic crime thrillers.

Of course, most importantly of all, it is a very enjoyable film to watch!

Rosencrantz and Guildenstern are Dead, The Old Vic, London 2017

ragad-3

“Rosencrantz and Guildenstern are Dead” is funny, thought provoking and enjoyable, all in a single package.

The 3 main actors are remarkably good. I was surprised at what a major part the Main Player is, and David Haig is perfect, giving the impression that he knows the meaning or the outcome, unlike anyone else, but is unconcerned about it.  Joshua McGuire and Daniel Radcliffe are a wonderful double act, McGuire having a great verbal delivery and Radcliffe conveying so much with looks, gestures and shrugs. They complement each other very well here.

The play itself is also a star. It really does not feel like a revival, it does not matter at all that it is over 50 years old, it is timeless. The light touch direction was just what the piece deserves, to let the writing itself shine through.

This is a very good production of an excellent play with simple direction in a beautiful theatre. What more could anyone want?

Who’s Afraid of Virginia Woolf, Harold Pinter Theatre, 2017

35425_full

Who’s afraid of Virginia Woolf perfectly illustrates the difference between the questions “Was it good?” and “Did you enjoy it?”

This is a fantastic play, and a wonderful production of it. The acting was immense from all four characters. Imelda Staunton was as brilliant as you would expect, there is nobody better at making you understand the frailty of a dark, flawed individual, and she can change from a vicious harridan to a seductive, provocative vamp in the blink of an eye.  Conleth Hill was a revelation, he lives that part – how he can keep up that intensity for three hours per performance is incredible.

The direction is sparse, keeping you focussed on the people and the set is simple but effective. Three hours is long for such heightened emotions but the time flew by because of the compelling nature of the character interaction. However, it is comparable to watching a car crash in slow motion because, the farther you move into the play, the stronger the realisation becomes – that there can be no happy conclusion here. The only option is to sit and watch in morbid fascination, to see just how bad the casualties will be.

So, I did not enjoy it very much, it wasn’t written for enjoyment, but this does not prevent it being one of the best plays on in London at the moment.

The audience really appreciated their effort, it is a rare thing these days to see the whole audience stand in ovation from curtain down, but they did here, and this was truly deserved.

If you get the opportunity to see this production, I recommend that you gird your loins, prepare yourself mentally, but definitely go.

Anyone Can Whistle, Union Theatre, 2017

anyone-can-whistle5

Anyone Can Whistle at the Union Theatre is an ebullient production of a lesser known Sondheim musical. Originally performed over 50 years ago on Broadway, it is certainly one of his shows that deserves a second hearing.

The storyline is quirky, this production brings out the humour and mayhem very nicely.

It has some great characters; Felicity Duncan is excellent as the power hungry, desperate to be loved politician, Rachel Delooze and Oliver Stanley are both very good as the lovelorn fake investigator and the fake doctor, and their final duet “With so little to be sure of” is a thing of beauty.

felicity-duncan-cora-james-horne-schub-rachel-deloose-fay-and-oliver-stanley-hapgood-in-anyone-can-whistle-at-the-union-theatre

It is packed with fantastic classic Sondheim songs: “Me and my town”, “There won’t be trumpets”, “Parade in town”, “Everyone says don’t”, “Anyone can whistle” and “With so little to be sure of” are all from this show!

The ensemble here are great, the stage can seem a little packed at times, but this works very well for the chase scene and the dance numbers are filled with energy and inventiveness.

anyone-can-whistle3

With all the talk of political madness and fake news, the time is right for the revival of this wonderful, undervalued musical and I thoroughly enjoyed this production.

This is a show that is not revived often enough, you should go to see it while you have the opportunity!

Georgia O’Keeffe, Tate Modern, London, 2016

88527000_7bb3efc6-f8d7-41dc-92a0-b21a9ea4e6f2

Georgia O’Keeffe at the Tate Modern is a very big exhibition. There are thirteen room filled with paintings from every period of her career and there are also some works by her friends and collaborators. It was a nice, unexpected bonus to see some Americana by Ansell Adams included in the show.

It is arranged mostly chronologically and with so many pieces on show, you can watch her style developing through the decades. The earliest pieces are from the 1910s and you can see a hint of the time in them. The 1920s pictures and the New York ones have the slightest art deco feel and her ability with colour is profound even from the earliest days.

The 1920s,1930s flower pictures are probably her most famous and they look so modern, vibrant and current even now that it is difficult to imagine how new they must have seemed 80 odd years ago.

Georgia O’Keeffe’s move to New Mexico brought another complete change of style. the only common factor being the inspired use of colour throughout. There are also series from the 1940s and 1950s where some are more minimalist in nature and others are figurative.

The latest pictures date from the 1960s and you can also see the times reflected here.

Initially, I thought that the entrance fee, around £16, was pretty steep for a single show. However, it is probably one of the largest shows that I have ever seen, you won’t really feel like seeing much else in the Tate Modern on the same day, and the quality of the paintings is such that, on balance, it is good value for money. There is also enough depth to the exhibition that you can really see the arc of her development as you walk round the show and it is very interesting to watch those changes over the course of such a long, talented career.