Dracula - Review

Noel Coward Theatre, London

*****

Written by Bram Stoker

Adaped and directed by Kip Williams

Cynthia Erivo

To understand why Cynthia Erivo is the Vice President of the Royal Academy of Dramatic Art, just go and see Dracula. For close to two-hours straight through, Erivo doesn’t just dominate this intriguing production, she creates it, assuming all 23 roles of Bram Stoker’s classic yarn.

Kip Willliams’s take on Dracula sees a fusion of gothic horror with 21st-century technology, as physical, practical theatre is (almost seamlessly) joined to painstakingly crafted pre-filmed videos. As a squad of steadicam operators buzz around Erivo’s live work, a big screen merges the real-time with the recorded, taking the concept of live performance to a newly defined dimension.

The play’s design respects the original’s Victorian origins, with Marg Horwell creating images that ingeniously and subtly shift the action from London to Romania. The repressed sexuality of Stoker’s novel is similarly played out, with Erivo bringing a sensuousness to the characters’ carnal desires, both the mortal and the undead.

The teeth, blood and bite marks are elegantly done in this subtle portrayal of horror, but for all the show’s visual wizardry and Craig Wilkinson's stunning videos, it is Erivo’s acting that is spellbinding. While her Professor Van Helsing, Stoker’s vampire-slayer, may be slightly more Gandalf than is necessary, her interpretations of the traditional characters, alongside her effortless transformations is breathtaking.

Not only is Erivo’s physicality meticulously rehearsed, her vocal reach is sensational. As Jonathan Harker, the London lawyer sent to Transylvania with property deeds for Dracula to sign, Erivo is required to narrate the story’s opening. Listen to Erivo's exquisite Received Pronunciation and there are hints of Richard Burton in her perfectly measured tone and cadence.

A bold move by the show’s creative minds sees Erivo draw on her Nigerian heritage to voice the bloodthirsty Count with a deeply African pronunciation - a refreshing change from the cod-Slavic accent so often deployed. And look out too for some of the projected images of Erivo’s vampires that pay homage to, amongst others, Klaus Kinski and Christopher Lee’s legendary portrayals of the classic monster.

Be in no doubt, this is a story re-worked for our times. Cynthia Erivo drives a stake through the heart of Bram Stoker’s Dracula, defining it as her own.

Runs until 30th May

Photo Credit: Daniel Boud

Jeff Wayne’s The War Of The Worlds: The Immersive Experience – Review

56 Leadenhall Street, London

****

No one would have believed in the last years of the twentieth century that H. G. Wells’ novel, The War Of The Worlds written in the 1890s would be translated into an album musical that would achieve global recognition.  Now, in a long established residence in the heart of the City of London, the immersive experience of Jeff Wayne’s musical creation allows audiences not only to listen to, but to witness the Martians’ assault on Planet Earth.

In groups of 12 (pre-booking is highly recommended) and with a minimum age of 10, visitors are taken through 24 interactive scenes tracing the narrative of Wayne’s album, played out via a few still tableaux, live actors, projections, VR (virtual reality) headsets, and the requirement for participants to get physical, clambering through windows and sliding down an escape chute when necessary!

Wayne’s iconic album provides the backdrop to the experience with the big songs presented over the course of three ingenious VR sessions – allowing Wayne’s lyrical take on Wells’ narrative to be savoured as the Martian Fighting Machines stalk the world until they are finally… (nope – no spoilers here – if you want to know how the war of the worlds ends you need to see the show!).

Nostalgia freaks will still enjoy the way the album has been trimmed to fit the requirements of the experience – but those sensational songs including Forever Autumn, Thunder Child, Brave New World remain a joy to encounter. The original recording artistes (Julie Covington, David Essex, Justin Hayward – hells bells even Richard Burton was the narrator in that 1978 opus!)  are not heard in the experience but their replacements make fine vocal work of the numbers.

There are a couple of jump-scares (so possibly not for the too faint-hearted) and very occasional moments of creaky scenery – but Jeff Wayne’s The War Of The Worlds: The Immersive Experience is a two-hour blast of brilliantly imagined fun.

Booking and information at https://thewaroftheworldsimmersive.com/

The experience is not suitable for those with significantly impaired mobility 

The Motive And The Cue - Review

Noel Coward Theatre, London

*****

Written by Jack Thorne

Directed by Sam Mendes

Mark Gatiss and Johnny Flynn

The National Theatre production has just decamped from the South Bank to the West End and on seeing this play for the third time, like a fine wine it has only improved with the passing of time.

Jack Thorne’s writing is beyond flawless. The perceptive sensitivity with which he pinpoints the passionate, complex relationship between Sir John Gielgud and his direction of Richard Burton in Broadway’s 1964 Hamlet is modern writing at its finest. A carefully curated confection of nuance, rage and pathos sees these two giants subject Shakespeare’s finest play to moments of the most intelligent analysis, with just a twist of heartbreaking humanity too.

Thorne’s words are brought to life by Mark Gatiss as Gielgud and Johnny Flynn as Burton, the same actors who created the roles. They were brilliant when the show opened 8 months ago and are even better now, the chemistry between the two men proving electric. Tuppence Middleton as Burton’s wife Elizabeth Taylor has equally grown into her pivotal role.

Es Devlin’s intriguing set design has transferred well from the Lyttleton - however its automation at the Noel Coward is a tad noisy, that at times is a small distraction.

The Motive And The Cue remains essential drama, exquisitely performed. Unmissable.

Click here to read my May 2023 review of the show's opening at the National Theatre

Runs until 23rd March 2024

Photo credit: Mark Douet

The Motive and the Cue - Review

National Theatre, London

*****

Written by Jack Thorne

Directed by Sam Mendes

Mark Gatiss and Johnny Flynn

Jack Thorne’s new play is one of those rare events, fusing the strongest of stories with an exquisite script, delivered by a riveting troupe of actors. The Motive and the Cue takes an ingenious delve into the rehearsals that underscored Richard Burton’s 1964 Hamlet on Broadway, a production that was directed by Sir John Gielgud.

Burton was at the peak of his hell-raising career, while Sir John, arguably the finest Shakespearean performer of his generation was already past his zenith. Johnny Flynn and Mark Gatiss play Burton and Gielgud respectively and their take on both of these giants is nothing short of remarkable. Vocally and physically the actors capture the instantly recognisable characteristics of both men: Gatiss bringing a balding mellifluous wisdom to the theatrical knight, while Flynn wields a louche, perfectly pitched swagger that, with just a hint of Welsh tonality, nails Burton’s distinctive presence.

Johnny Flynn

Thorne’s genius is in crafting the theatrical history of what was to become Broadway’s longest-running Hamlet ever, into a standalone dramatic gem. Tuppence Middleton plays Elizabeth Taylor - 1964 saw the Burton / Taylor marriage at its most passionate, remember that their legendary Cleopatra movie had only opened the year before  - and her take on the actress, describing Burton as “the finest actor she ever went to bed with”, is inspired. Middleton's Taylor understands the Welshman’s complex roots, his impoverished childhood, nurturing and nourishing his talent. In her final scene, clad literally in fur coat and no knickers, Middleton defines the smouldering, beautiful complexity of one of the twentieth century’s most compelling actresses.

With an acute perception Thorne brings to the fore both Burton's and Gielgud's troubled pasts. Gielgud contemplating the waning of his career at the end of act one, in which having coaxed the recalcitrant Burton in Hamlet’s “Speak the speech I pray you” speech to the Players, then, solo, and as a monologue, recites the speech himself, creating a moment that evolves into one of the most heart-rending and tender scenes penned in recent years. Gatiss defines Gielgud’s melancholy with a profound and measured depth, his gauche second-act encounter with a rent boy proving equally tender.

Mark Gatiss

Flynn too offers a glimpse into the alcohol-fuelled complexities that contributed to Burton’s gargantuan stage presence. Thorne’s script and Sam Mendes’ assured direction offer up a fascinating glimpse of both men’s vulnerabilities.

There’s excellence throughout the cast, with Janie Dee as Eileen Herlie (the production’s Gertrude) and Allan Corduner as Hume Cronyn (Polonius) both in sparkling form. Rarely has Hamlet’s closet scene been played with such credible hilarity. Es Devlin works her usual magic in the play’s scenic design, with scenes ingeniously changing behind the opening and closing aperture of the Lyttleton’s curtain. Credit too to Charmian Hoare, the production's dialect coach, for capturing such aural perfection from the leading performers.

The Motive and the Cue is new writing at its finest, built upon the most fascinating of stories. It is an unmissable night of theatre.

Runs until 15th July

Photo credit: Mark Douet