I'm back! Things I've seen from August 2012

As the title suggests; I'm back! After a long time away I have decided to start posting again. Due to a large work load, my theatre-going was put on hold and so after august I didn't see a lot of things which meant that I stopped posting reviews. So, to make up for lost time, I though I would quickly compile a list of things I have seen from then till now...


The Last of the Haussmans (National Theatre) - Funny, moving and brilliantly acted with a script that lacked a touch of originality. Helen McCrory was on top form and gave the best performance I believe she has ever given. ****

Timon of Athens (National Theatre) - A Shakespeare I was completely unfamiliar with. Although Hytner's production was fairly safe, the relocating to modern day did help lift the play's themes of money and hypocrisy to the surface. Great central performances and set in the second half. ****

Richard III (Globe) - Mark Rylance gave a highly original and comedic take on one of Shakespeare's greatest villains. An assured production, which rarely disappointed. ****

Twelfth Night (Globe) - A comedic tour de force, this production was one of my highlights of last year's theatre offerings. Paul Chahidi gave the best performance of Maria I have ever seen, and Stephen Fry's Malvolio perfectly blended humour with tragedy. *****

The River (Royal Court) - Haunting, mesmerising, subtle, beautiful. The battle to get tickets was certainly worth it. *****

Julius Caesar (Donmar Warehouse) - In a year of great all-male Shakespearean productions, it was refreshing to see an all-female production of Shakespeare's bloodiest play. The concept wasn't the strongest and lost its way half way through. However, the set, lighting, sound and performances redeemed it and helped produce a production that will most definitely be remembered in year to come. ****

Written On Skin (Royal Opera House) - A stunning production directed by Katie Mitchell of a stunning score and libretto. An opera truly for now. A triumph in every sense. *****

6 Week Theatre Challenge: 21 -25

21. What is the most disappointing thing you have seen at the theatre?

Most definitely Michael Grandage's production of King Lear was the most disappointing thing I have seen at the theatre. I suspect that I might have succumbed to the hype before I went to see it which probably didn't help. If I hadn't heard comments like 'the finest King Lear I have ever seen' (Daily Telegraph) this decent production wouldn't have felt like such a let down. Gina McKee, on the other hand, was brilliant as Goneril.

22. Which actor/actress do you wish did more stage work?

I would love to see Gillian Anderson do more stage work, as well as Damian Lewis.

23. Which theatre have you been to most?

The National Theatre due to their huge repertoire and the fact that they can stage numerous productions at the same time. I find there is always something on at the National which I would like to see.

24. Is there a specific theatre you would like to go to more?

I would like to go to more regional theatres more often such as the Liverpool Everyman and Sheffield Crucible.

25. What do you wear when you go to the theatre?

When seeing an opera or ballet I opt for more formal attire (but not too formal), other than that I dress casually.

6 Week Theatre Challenge: 6 - 10

6. What is the best performance you have seen?

The best performance I have ever seen would have to go to Mark Rylance as Johnny 'Rooster' Byron in Jerusalem. Rylance's performance was visceral, raw and electric, whilst also being deeply touching at the same time. It was truly a humbling experience seeing Rylance in this epic role in a equally epic play.

7. What is the best ballet you have seen?

Giselle at the Royal Opera House was a brilliant ballet to have witnessed. Tamara Rojo as the fragile Giselle and Carlos Acosta as the noble prince highly elevated this production so that it became something of a theatrical event. The atmosphere was almost palpable in the final moments and the rapturous applause proved that Giselle was just as brilliant as I hoped it would be.

8. What is your favourite London theatre.

This question is hard due to me having many favourite theatres in London. I have always found the Harold Pinter theatre quirky and full of character, however the National Theatre has everything you would ever want in a theatre. Not only does it show some really quality productions, it also offers three theatres so that the national can offer different types of works. The staff are always nice and the bookshop is a theatre buff's heaven.

9. Is there a production you wish you had seen?

Definitely. Over the years there have been many productions which I wish I had seen. Recently, I would have like to have seen Constellations at the Royal Court (I hope I can catch it when it transfers to the Duke of York's). I would also have liked to see A Doll's House at the Donmar a few years ago which starred Gillian Anderson, Christopher Eccleston and Tara Fitzgerald.

10. What is the best lighting you have seen in a production?

I really loved Bruno Poet's lighting in Frankenstein. The hundreds of lights of the ceiling of the Olivier were beautiful and the rest of the on stage lighting was brilliant - it really added another dimension to the production.

Antigone - National Theatre

Antigone, the infamous Greek tragedy written by Sophocles, tells the story of a defiant woman who goes against the state to fight for what she believes in. This defiant woman is played by Jodie Whittaker in Don Taylor's new version of Sophocles' masterpiece which also stars Christopher Eccleston as Creon, the ruler of Thebes.
Directed by Polly Findlay, this modern day adaptation has been located to a bleak office reminiscent of war bunkers - the state's headquarters. The set is vast, desks adorn the stage and the chorus acting as Creon's advisers watch a small screen bewildered and shocked at what they are witnessing until at last a victory is announced. This is a terrific start, setting a dark tone and fast pace to what quickly becomes a disappointing production. As with most productions in the Olivier, the drum revolve is brought into play as the set revolves to reveal a wall at which Antigone and her sister Ismene meet. Annabel Scholey brings a brilliant degree of terror to the troubled Ismene, whilst Jodie Whittaker's Antigone (complete with a jarring Manchester accent) is weak and not strong-willed enough for us to believe that she is strong enough to go against the state in a society in which women are subservient. I can't help but feel that Annabel Scholey would have made a more convincing and engaging Antigone.
Christopher Eccleston's Creon is, like Whittaker's Antigone, not strong enough for the production and for the audience to believe that he is such a dictatorial ruler. With these rather weak performances, the production as a whole lacks drama which is essential for a Greek tragedy centred around the themes of death and the Gods. The only injection of drama comes from the entry of Tiresias in the latter part of the production, however, the electronic sound scape which accompanies his entrance is not fitting with the production as a whole. Jamie Ballad's performance of the blind and disfigured prophet is blistering and thrilling, combining a twisted wit and gruesome frustration.
As a whole, Polly Findlay's production just falls short of the mark in terms of dramatic intensity and performances, Saying this, the production is not overly weak and some of the performances are intense leaving some lingering sense of tragedy. I am going to give this production a low three stars, just clawing out of a high two stars.   

Detroit - National Theatre

Detroit is the hilarious, shocking and hard-hitting new play from Lisa D'Amour. Set in an unknown 'first-ring' suburb, D'Amour's play deals with the relationships and dynamics between two couples - Ben and Mary, and Kenny and Sharon. Austin Pendleton directs this terrific ensemble, creating an exciting and current piece of theatre.
The performances in this production are terrific and tragically comic; Justine Mitchell's Mary is dry and filled with bubbling emotions whilst Will Adamsdale plays Kenny as a frantic and dangerous character who really sets this play alight, igniting a visceral energy which ripples throughout the audience. Clare Dunne as Sharon, in the latter part of the one act drama, also offers a highly kinetic performance which is thrilling to watch. There are some truly comic moments in this production, one featuring a lot of alcohol and loud music, which really highlights the tragedy of the chracters' lives; Pendleton and D'Amour give the audience some striking contrasts which are beautiful, but at the same time are also disturbing as we see these characters' lives spiral out of control in such a hectic and care-free manner. The staging is also inventive and possesses a voyeuristic quality which adds to the intimacy of the production. 
The last fifteen minutes of this intoxicating production, however, fails to ignite the same energy that the play previously possessed and feels ever so slightly dull. I found myself wondering why we needed the inclusion of a fifth character to spell out what had just happened to the audience as if we hadn't just seen the play. It added nothing and took away some of the surreal magic of the previous scene.
Despite the disappointing ending, this is great piece of theatre which I loved and would highly recommend. I would have been tempted to give Detroit a full five stars, however because of the ending I am going to have to knock it down a star to four.    

The year of Shakespeare

Photograph: Keith Pattison

Shakespeare seems to be the name on every body's lips in the world of theatre this year. With the The Globe's hugely impressive GlobeToGlobe taking place right now and the RSC putting on their 'What Country Friends Is This' trilogy, Shakespeare seems to be everywhere up and down the country (just this morning it was announced that the Sheffield Crucible will be putting on a new production of Macbeth directed by Daniel Evans). With huge amounts of plays to choose from, I thought I would compile a list of the Shakespeare must sees of the year:

Ninagawa Company's Cymbeline at the Barbican, 29th May - 2nd June.
Otello at the Royal Opera House, 12th July - 24th July.
Troilus and Cressida at the RSC, 3rd August - 18th August.
Timon of Athens at the National Theatre, 10th July - 9th September (as of yet, more dates are yet to be announced).
King Lear at the Almeida Theatre, 31st August - 3rd November.

What is impressive about the amount of Shakespeare being put on this year is that it allows for the more obscure plays to be performed which might not normally get a look in when up against Macbeth or Hamlet. I think, this year, the most exciting productions will be of the more obscure of Shakespeare's plays such as King John at the RSC has been put into an innovative and original production by Maria Aberg.


p.s. I haven't abandoned this blog, I have just been very busy as of late and therefore my theatre-going duties will resume in a couple of weeks.

Michael Grandage talk - National Theatre

Yesterday (13/04/12) I went to the Michael Grandage platform at the National Theatre in which he talked about his decade at the Donmar and the book of the same name which will soon come out.
The Michael Grandage talk was my first platform at the National which is surprising as most of the productions I see are there, but anyway it was a very insightful 45 minutes in which we were given a great insight into some of his productions and his overall experience in turning the Donmar into a powerhouse of theatre. Some of the highlights were as follow:

• Frost/Nixon was apparently a difficult experience due to there being a fare few egos involved.
• Jonathan Groff will be taking Eddie Redmayne's place in the LA production of RED - Alfred Molina will be returning.
• Grandage told us that he doesn't do read-throughs due to the actor's being at different places in terms of performance.
• He likes to use more abstract sets due to his upbringing in Cornwall as he continually saw figures against the landscape - he also wittingly added that some actors find this hard as they love props, continuing to tell us that Derek Jacobi loves a good prop.

I really wanted to ask if the reports of him directing Ben Whishaw and Judi Dench is a new John Logan play were true, but felt that it would put him on the spot. Nevertheless, the talk made for a great evening and I would heavily recommend the NT platforms.