Jekyll and Hyde, National Youth Theatre, Ambassadors Theatre, London

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

The National Youth Theatre’s production of Jekyll and Hyde is a deconstruction of the original novella by Robert Louis Stevenson, rebuilt with a modern feminist twist by writer Evan Placey. Combining Victorian settings and morals with modern day language and values adds a new dimension to the duality theme of the story.

The decision to have a female Jekyll is not only brave but astute, and this production perfectly captures the zeitgeist with the discussion about sexism in film and theatre so much in the news. The writing is forthright, the jolt of the coarse language spoken by the Victorian ladies near the start of the play becomes clear in the second act, there is no doubt that Evan Placey is a talented author, of whom we will hear more in the future.

Aside from the writing there is much to recommend in this production. The acting throughout is accomplished. Jennifer Walsh in particular is excellent as Florence, a young adult coming to terms with the fact that although no one else is going to stand up for her, she has the power to stand up for herself.  Elizabeth McCafferty confidently makes the transitions between Jekyll and Hyde both striking and convincing. Mohammed Mansaray has a funny scene as a priest, which he delivers very well.

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

The direction is brisk and contemporary, so that even in the midst of 19th century London, we feel linked to the current day. The director, Roy Alexander Weise, is not afraid to be confrontational, daring to breach our comfort zone in order that we feel the characters’ anger. The costume design is remarkable and clever, the ensemble changes from church house to flop house in the blink of an eye.

 

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

 

Jekyll and Hyde has a few rough edges, but challenging, thought provoking productions like this are exactly the remit of The National Youth Theatre and I have to say that I thoroughly enjoyed this show.

Advertisements

Follies, National Theatre, Southbank, London.

ntgds_lr_follies_editorial_lores_rgb-xlarge_trans_nvbqzqnjv4bqrztbxiabcvehja2lncrbaqctb0fis-lilonsyie-xyy

Follies is probably Sondheim’s most traditional musical, in that it has set pieces, dance routines, show girls and, separate songs that don’t bleed into each other. However, it is still complex; the story has great depth and some of the songs are operatic in nature.

It is expensive and complicated to produce, it has a large company, with demanding roles throughout the cast. It needs an orchestra. Full productions of Follies are rare, the last proper one in London was thirty years ago, so when there is a high quality, committed revival such as this on offer, the opportunity needs to be grabbed.

It’s Sondheim, so the material is fantastic. It has some of his most famous songs, the storyline is elegant, and it is almost upbeat for Sondheim, (that means everyone in the cast isn’t going to live out the rest of their lives in abject misery!). It’s the National Theatre, so the production values are top notch. Dominic Cooke and Bill Deamer as director and choreographer have both done a wonderful job. I particularly loved the way each dancer at the reunion had their younger version dancing with them. I also loved the way all the mature dancers paraded down the stairs in a dignified manner wearing evening gowns, while their younger incarnations scrambled in over the rubble at the back of the stage, in their high heels, basques and feathers.

Imelda Staunton, Janie Dee, Philip Quast and Peter Forbes are the four leads, so the acting and singing are outstanding. Imelda Staunton does an emotionally draining rendition of “Losing My Mind” and Philip Quast’s voice is as amazing as it always is. It has Tracie Bennett and Geraldine Fitzgerald in supporting roles so it has incredible strength in depth. Tracie Bennett is in full on scene stealing mode with “I’m Still Here” sung with a mixture of pain and defiance.

Follies at the National Theatre is fantastic, and given all the elements that went into making it, there was never any doubt that it would be.

The Ferryman, Gielgud Theatre, Shaftsbury Avenue, London W1

theferryman_03

The Ferryman is a kitchen sink drama with an epic storyline. Apart from the prologue, it is totally set in the large kitchen of a family farmhouse outside Derry. The action is a day and a half in the lives of the extended family that resides there. But, the themes are huge, its about family and war, about love and loyalty, about freedom fighting and terrorism, and it tells these stories through short interwoven family interactions that come and go throughout the play that gradually meld together to make a complex tapestry.

Jez Butterworth has been spoken of as one of the best writers around today, and with  The Ferryman he delivers. The language and the narrative are superlative, it is the writing of someone both confident and ambitious. He is brave to wind traditional songs and ancient stories through the dialogue and he is talented pull it off so well.

The direction is awesome, there are 17 characters in this play, without counting the live goose, rabbit or the baby. Just moving them all around the stage must have been a major task but, Sam Mendes makes the whole setting feel real,  natural and, even simple.

The cast is also fabulous, lots of lovely performances from so many different actors. Paddy Considine and Laura Donnelly are great as Quinn and Caitlin, but right through the cast there were great turns. I loved Rob Malone as the troubled Oisin. Brid Brennan had a scene stealing part as Aunt Maggie Faraway and she played it perfectly. Dearbhla Molloy and Des McAleer are wonderful as Aunt Patricia and Uncle Pat.

As you can tell, I loved this show. I have to finish because I am about to run out of superlatives. This is a play that will become a classic piece of literature that will be on school curricula.

 

 

Late Company, Trafalgar Studios 2, London SW1

xlatecompany-pagespeed-ic-d7h0sbiznu

Late Company is an intense, intimate play, perfectly suited to the small Trafalgar Studio 2, whose three rows of seats all feel right in the heart of the action.

The parents of a teenager who committed suicide, invite one of his teenage tormentors, and his parents, to dinner. Brave, is one word you could use, to describe the sending of that invitation, and equally brave to accept.  Presumably one set of parents is hoping for some kind of closure over the death of their son and the other parents are hoping for some kind of redemption for theirs.

The result is an awkward dinner party of epic proportions; raw emotions unsuccessfully reined in over pasta and salad, broken occasionally by moments of dark humour. The play is beautifully written and wonderfully acted. The writing is very even handed, you can understand the pain and resentment of each character as they speak, and yet you can also understand why the others cannot forgive.

The acting is key to this play, all five are brilliant, but David Leopold as Curtis, the accused bully, is exceptional, his part is a great one, and he delivers it perfectly. I love writing that encourages us to examine our prejudices, and this is a play that complicates the allocation of blame.

Jordan Tannahill, who wrote this at the age of 23, shows all the hallmarks of a very talented new playwright and I will be looking out for more of his work when it comes to London.

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.

Hamlet, Harold Pinter Theatre, London,

hamlet-2017-main-400x400

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.

Our Ladies of Perpetual Succour, Duke of York’s Theatre

olops16_13-announcement-assets-2160x2160_aw_0

Six catholic schoolgirls in uniform arrive on stage to sing a hymn, Mendelssohn’s “Lift Thine Eyes”. They have angelic voices, it is beautiful. After the song they begin to talk, the language is sinful and the subjects are carnal. The juxtaposition is funny and moving.

This play is the story of their day trip to Edinburgh to sing in a choir competition. Over the course of this twenty four hours they meet various characters from the places they visit. These characters are played by the girls themselves and this combined with the strong accents and dialect made following the action hard work in places. However, the script is witty and coarse and the singing is fantastic, especially the classical pieces and hymns. Many of the rock songs are Electric Light Orchestra covers.

Our Ladies of Perpetual Succour is a well observed play. It is insightful, in that it makes us aware of the difference between the world that their convent schooling is preparing them for and the actual world that they will inhabit when they leave. This play makes you question how qualified ecclesiastic schools are at preparing children for a life in a secular society.

An entertaining and thought provoking show, with a very talented cast. I am sure we shall hear of many of these actors again.