Diamond Dozen - My 12 Best Shows Of 2014

In Chronological Order:

Oh What A Lovely War

Terry Johnson's remarkable recreation of this show, on the stage where it all began: Theatre Royal, Stratford East. A beautifully crafted tribute to the horrific legacy of the First World War and the artistic legacy of Joan Littlewood

http://www.jonathanbaz.com/2014/02/oh-what-lovely-war.html

King Henry IV Parts 1 & 2

In Stratford upon Avon, Greg Doran fashioned tragi-comic excellence from Anthony Sher's Falstaff, supported by Alex Hassell's Hal. 2015 will see this trio re-united in Arthur Miller's Death Of A Salesman. I can't wait!

http://www.jonathanbaz.com/2014/04/henry-iv-part-1.html
http://www.jonathanbaz.com/2014/04/king-henry-iv-part-ii.html

The Man Who Shot Liberty Valance

Jethro Compton (writer and director) scaled down this iconic Western to fit the Park Theatre, without losing a drop of the story's nuances and tensions. John Wayne and Jimmy Stewart would have been proud.

http://www.jonathanbaz.com/2014/05/the-man-who-shot-liberty-valance.html

Carousel

On a shoestring budget at the Arcola, Morphic Graffiti with Lee Proud's visionary choreography, breathed a new life into this beautifully tragic classic. Gemma Sutton broke hearts as the girls and gays swooned for Tim Rogers.

http://www.jonathanbaz.com/2014/06/carousel.html

Amadeus

In the first of three nods on this list for both Chichester and for Stephen Mear, Rupert Everett's Salieri paired with Joshua McGuire's Mozart marked a gloriously styled re-opening of the Festival Theatre as this South Coast centre of excellence gave the most exciting take on Amadeus since the play's 1979 National premiere.

http://www.jonathanbaz.com/2014/07/amadeus.html

Dogfight

Producer Danielle Tarento spotted the dramatic potential for this tale of misogyny misfired, set during the Vietnam war. The best of the critics loved it, including (eventually) the Evening Standard who went on to give leading lady Laura Jane Matthewson their 2014 Emerging Talent Award.

http://www.jonathanbaz.com/2014/08/dogfight-review.html

Guys and Dolls

Chichester again, for another show that was the best since the National's version in 1982. A cracking cast led by Peter Polycarpou, Jamie Parker and Clare Foster made the Festival Theatre's first musical, memorable.

http://www.jonathanbaz.com/2014/08/guys-and-dolls-review.html

Gypsy

And again! Imelda Staunton (with Lara Pulver and Gemma Sutton) was scorching as Mama Rose, whilst Stephen Mear choreographed par excellence and Jule Styne's brassy brilliant sound filled Chichester's cavernous orchestra pit for the first time. Arriving in London in March 2015, don't miss this one.

http://www.jonathanbaz.com/2014/10/gypsy-review.html

The Scottsboro Boys

A deserved West End returning transfer for last year's sensational debut at the Young Vic. Broadway may have shunned this tragic stain on America's history, but London critics recognised Kander & Ebb's final collaboration for the work of troubling genius that it is and the Evening Standard have proclaimed it Best Musical of the Year.

http://www.jonathanbaz.com/2014/10/the-scottsboro-boys-review.html

On The Town

Broadway does what it does best in this sensational celebration of song and dance. Bernstein's classic score underpins this fairytale of New York.

http://www.jonathanbaz.com/2014/11/on-town-review.html

Assassins

Rarely seen commercially, Jamie Lloyd's directs a stellar cast (Jamie Parker included) in Sondheim's caustic commentary upon the USA. Sold out at the Menier until March '15 this show may transfer but it will never be the same anywhere else. Oh, and Soutra Gilmour's Arkham inspired design is a knockout!

http://www.jonathanbaz.com/2014/12/assassins-review.html

City Of Angels

Stephen Mear's third UK triumph, where with director Josie Rourke the pair craft a world class company into musical theatre perfection. Hadley Fraser cheats (on stage) on real life wife Rosalie Craig and Peter Polycarpou drops his trousers, again. Sold out but tickets released daily and weekly for this clever, classy comedy. Kill to get your hands on one!

http://www.jonathanbaz.com/2014/12/city-of-angels-review.html

The Man Who Shot Liberty Valance

Park Theatre, London

*****

Written and directed by Jethro Compton
Based on the short story by Dorothy M. Johnson

Paul Albertson

The Man Who Shot Liberty Valance was a classic Western, released in 1962, immediately acclaimed as a masterpiece for both its director John Ford and its legendary stars John Wayne and Henry Fonda and since then recognised by the US Library of Congress as being a film of Cultural Significance. The tale revolved around the expansion of the (to be) US territories as the pioneers headed west, encompassing the lawlessness and elementary justice of the time. It also interweaved a well crafted love story and aspects of political compromise, against a backdrop of tumbleweed, saloon bars and much whiskey. Like the fine distillation of a spirit, the ridiculously talented and at 25 young, Jethro Compton (who also directs) has taken the movie’s plot, retaining most key milestones and adding a couple of new ones. The end result is a play that condenses a cinema-scoped canvas into a compelling drama that is set entirely within a saloon bar. It’s an astounding script, tightly written, that provides a thrilling, moving and entirely credible glimpse of quite how Wild the West (and how horrifically racist the South) was.

In the town of Two Trees, where “the sun is hot but the salsa is hotter” a bruised Ransome Forest is brought in badly beaten, having been rescued by rancher Bert Barricune. Hallie Jackson, assisted by her black servant boy Jim Mosten runs the saloon and tends to Forest’s wounds. It emerges that Forest is an educated man from the North East and we see him put down roots in Two Trees, where he teaches the illiterate Jackson and Mosten. The play follows the subtly complex love that develops between the landlady and her Eastern tutor as Barricune’s jealousy smoulders.

There’s a telling line in the play: “bring in education, there follows legislation”. Many folk in the South could not abide the concept of educated black people and Forest’s education of Mosten soon attracts the attention of the racist gang-leader Liberty Valance. To say more would be to spoil, but it is to Compton’s credit that he manages the suspense as well as the morality and love interest with mature aplomb. His writing is at all times exciting, masterful and often gripping.

The performances are faultless throughout. Oliver Lansley is Foster and he nails the portrayal of a caring liberal, committed to a cause yet useless with a gun. Late in the tale, Lansley’s character is elected Governor and Lansley subtly picks out the oleaginous nature shared by all in political office. Paul Albertson’s Barricune could almost suggest the work of a man who has been playing cowboys all his life. His gun-slinging yet complex character is a masterful portrayal that is as weathered and leathered as the coat he wears. (With a nod to fabulous costume work from Jessica Knight). Bringing up the leads, Niamh Walsh is Jackson with another performance of finely observed perfection, convincing as a young woman wise beyond her years. 

Outstanding in support, Lanre Malaolu is Mosten. Capturing the honest enthusiasm of his character and later his blind terror as he recognises the inevitability of his fate, it’s a performance that mixes humour with tragedy and Malalou is unquestionably a young actor who is one to watch. James Marlowe is the bad guy Liberty Valance. Understated chilling menace permeate his scenes, with a combination of vocal work, poise and timing (all skills shared by the rest of the company, to be fair) that create a frighteningly recognisable image of the racist ugliness of America’s South. Sarah Booth’s elegantly detailed saloon bar set, complete with an upstairs landing and swing doors that are gloriously authentic and without a hint of kitsch, stylishly completes the suspension of our disbelief.

Currently this show ranks as my best of 2014. Tightly written and with electrifying performances (that include the coolest of pre-recorded narrations from screen legend Robert Vaughn) it is a work of first-class stagecraft that provides a well observed history lesson into not only how the West was won, but in how the USA was formed. Not to be missed and deserving of a transfer.

Runs to 22nd June 2014