The Duchess [of Malfi] - Review

Trafalgar Theatre, London

****

Written and directed by Zinnie Harris

After John Webster

Jodie Whittaker

Zinnie Harris offers up an imaginative swipe at John Webster’s The Duchess of Malfi, taking the Jacobean tragedy and thrusting its 17th-century themes into a modern-day staging.

Making her return to the London stage, Jodie Whittaker is the recently-widowed Duchess who, against the wishes of her brothers, wishes to rebuild a life of emancipated sexual independence, much to their controlling shame. Harris follows Webster’s broad plotline, with her dialogue reflecting a modern parlance – and notwithstanding the play’s centuries-old roots, its message remains timely.

Harris places the story's misogyny of the story centre-stage. While her women may be the tragic victims of their controlling menfolk, they are all bestowed with a divine afterlife that offers a display of their strengths not often seen in this tale’s retelling. That being said, the violence meted out to them is cruel, graphic and deliberate, while most of Harris’ menfolk die through Tarantino-esque bungled shootings.

It’s not just misogyny that Harris puts in the spotlight. Paul Ready’s Cardinal makes an excellent display of the promiscuous hypocrisy of the Catholic church and if one then considers the  honour-killing that sits at the very heart of this story, one has to reflect on the prevalence of such murders that are sadly all too prevalent amongst some UK communities today.

Harris’ narrative is exciting and her violence graphic. Whittaker plays a sympathetic victim, far more sinned against than sinning ably supported, in particular, by Jude Owusu’s deeply flawed Bosola and Elizabeth Ayodele’s naively trusting Julia. Tom Piper’s staging is brutally simple, with Jamie Macdonald’s jarring videos adding to the evening’s horrors.

The Duchess is an intelligent revision of a classic that forces us to recognise the timelessness of evil.

Runs until 20th December

Photo credit: Marc Brenner

The 39 Steps - Review

Trafalgar Theatre, London

****

Adapted by Patrick Barlow

From an original concept by Simon Corble and Nobby Dimond

Directed by Maria Aitken

Tour directed by Nicola Samer

Tom Byrne

Returning to the West End after nine years, Maria Aitken’s affectionate tribute to Alfred Hitchcock’s 1935 movie remains a fabulous fusion of stagecraft, wit and British interwar history.

The 39 Steps famously sees Englishman Richard Hannay caught up in a web of intrigue and espionage as he unwittingly stumbles across a fiendish spy-ring and finds himself the prime suspect for a murder he did not commit. The ripping yarn has him fleeing London aboard the night train to Scotland, pursued by both the police and the villains, with scenes of high drama and derring-do on the train, the Forth Bridge and amidst the remote villages and misty moors of the Highlands.

What makes Aitken’s piece (her work recreated in this production by Nicola Samer) quite so delightful is how she achieves such spectacular thrills and spills with just a cast of four. Using the simplest of suggestive props and lighting and the ingenious conceit of laughing fondly at the stiff upper lip of a time gone by, a re-creation emerges of so many of the wonderful cameos and caricatures that Hitchcock so painstakingly wove into his film.

Tom Byrne is Hannay, on-stage throughout and the only member of the quartet to play just one character from start to finish. Playing the three women with whom Hannay interacts is Safeena Ladha, while picking up the multitude of other roles from Scotland Yard detectives, to shady criminals, to enchanting Highland crofters (to name but a few of their roles) are Eugene McCoy and Maddie Rice in a breathtaking whirl of interchanging characters. The thrills and spills are cleverly played out along with a generous measure of nods to other Hitchcock classics written into the script.

A familiarity with the 1935 film, while not essential, is useful if only to recognise just how ingenious and true to the original, Aitken’s staging proves to be.

The 39 Steps is gorgeous theatre, brilliantly performed. To quote the story’s Mr Memory: “Am I right?” Definitely!

Runs until 28th September

Photo credit: Mark Senior

People, Places & Things - Review

Trafalgar Theatre, London

*****

Written by Duncan Macmillan

Directed by Jeremy Herrin

Denise Gough

The titular people, places and things are those that a recovering addict should steer clear of on their post-rehab journey if they are to maximise their chances of avoiding relapse. Duncan Macmillan’s play for the most part explores the journey in rehab as Emma, an actress, played by Denise Gough first has to acknowledge her addiction to alcohol and substances, before undergoing the clinical process of breaking her addictions.

Gough’s performance is stellar, her 2016 Olivier Award clearly justified in a brilliant interpretation of agony and human dereliction. On stage throughout and aided by Bunny Christie’s ingenious set designs and a talented company we witness the hallucinogenic nightmares and pain of Emma’s addiction, before a nirvana-esque second act that sees her receptive to group therapy and her ultimate return to her parents’ home. 

The production is as uncomfortable to watch as it is brilliant. There is a macabre credibility to Jeremy Herrin’s direction of this revived production that chills in its depiction of Emma’s agonies during her therapy followed by a tragic endgame that explores the impact of her addiction on her parents, who with Emma grieve their son and her brother. This nutshell glimpse of the impact of bereavement and familial resentments is acutely perceptive, recognisable and heartbreaking.

Sinead Cusack offers a masterclass in supporting acting, delivering a memorable double-act over the course of the evening, firstly as the clinician/therapist leading Emma’s recovery and then later as her deeply damaged mother.

Gough has taken her Emma from the National Theatre, to the West End, to Broadway and now returned to London. She is magnificent - and for those that can handle her interpretation of human suffering, People, Places & Things is unmissable.

Runs until 10th August

Photo credit: Marc Brenner

Jersey Boys - Review

Trafalgar Theatre, London

**** 

Music by Bob Gaudio

Lyrics by Bob Crewe

Book by Marshall Brickman and Rick Elice

Directed by Des McAnuff

The cast of Jersey Boys

A cast - each stars in their own right - perform a riveting, but also humble take on the lives of Frankie Valli and The Four Seasons. Jersey Boys is a story about growing up, the sacrifices that we make along the way and the heartbreak of those left behind, with phenomenal songs to tie it all together.

Ben Joyce leads the cast in his West-End debut as Frankie Valli, with an uncanny musical resemblance to that of the man himself. His voice is distinctive and powerful and manages to capture Frankie’s uniquely powerful falsetto. You won’t leave the show forgetting about his voice any time soon. The audience were in uproar at his solo performances, in particular, the very famous “I can’t take my eyes off of you”, which is without a doubt one of the best renditions of the song. Joyce plays a star, but his authenticity and emotional depth that he brings to Valli is what makes the character truly come alive.

 

Supporting Joyce to make up The Four Seasons are Adam Bailey as Bob Gaudio, Karl James Wilson as Nick Masel and Benjamin Yates as Tommy De Vito. All three give sublime performances in their roles and are just as much stars of the show as Joyce.

Indeed, when the four perform together it is a truly fantastical experience. From Sergio Trujillo's brilliantly choreographed dance moves (Joyce does the splits!) to their 1960s costumes, this show does everything to make you feel like you’ve been transported back in time. A live, black and white video is even displayed at the back of the theatre screen while they are performing the timeless hits. 

Special mention must be given to Yates who encapsulates everything De Vito was about. Being the first character story that the show begins with, Benjamin’s cocky, confident and downright smooth performance firmly thrusts the audience into the golden era of doo-wop quartets performing under the late night street lamps of New Jersey. De Vito is the progenitor of the group, bringing ‘green’ Frankie in and taking him under his wing, despite all his floors, if it wasn’t for De Vito we wouldn’t have the Frankie as we know it. And Yates' portrayal stays cool from beginning to end, eyes are often drawn to his background dancing which just oozes 1960s style.

The set with mics emerging from the stage and street lamps descending from the rafters is the fifth member of the ensemble, truly transporting the audience to the time and period. A fantastic show that the whole family will enjoy.

Booking until 2 January 2022 and also on tour

Photo credit: Mark Senior