Springwood - Review

Hampstead Theatre, London

***

Written and directed by Richard Nelson

Andrew Havill and Robert Lindsay

There’s a great premise underlying Richard Nelson’s Springwood. The title comes from the country estate in upstate New York that President Franklin D. Roosevelt would retire to when he wanted to escape Washington DC, with the play’s fictionalised action revolving around the actual visit of King George VI and Queen Elizabeth to the estate during the summer of 1939.

As war in Europe looms, Nelson picks out the birth of the Special Relationship between the USA and the UK in some delightfully nuanced conversations between FDR and Bertie (the King) as well as some deft interchanges between the two men’s wives.

The first half plods, weighed down with caricature and clumsily crafted exposition. The second act however sees the drama come alive from the perspectives of not only international statesmanship, but also the unconventionalities of the Roosevelt’s living arrangements

The overarching strengths of the evening lie in a handful of the performances on stage. Robert Lindsay as the polio-stricken President captures not only FDR’s sardonic strengths, but also his vulnerabilities too. As the two heads of state compare their respective afflictions (the King suffered from a distinct stammer)  the evening hits a rare note of profound pathos. There is equally fine work from Rebecca Night as Queen Elizabeth. 

Andrew Havill plays the King in a role that, albeit carefully crafted and faultlessly performed, has been epically mis-cast. The King was 44 in 1939, Havill is in his sixties and looks it. The effect on seeing him therefore is to associate him with more of a grey-haired elderly man (think perhaps of King Charles III) rather than the more youthful monarch that he was (for visual comparison, reference today’s Prince of Wales, also aged 44). Jemma Redgrave’s Eleanor Roosevelt is an incredibly complex woman given the strains and falsehoods of her marriage, and Redgrave does not dig deep enough to address her character’s emotional challenges.

Springwood is unquestionably entertaining theatre. But a play about the Special Relationship demands a special company. This isn’t it.

Runs until 25th July

Photo credit: Manuel Harlan

Suzie Kennedy - Review

Crazy Coqs, London

*****

Suzie Kennedy

So much more than just a tribute act, Suzie Kennedy, when she assumes the persona of Marilyn Monroe, breathes a brilliantly vivacious life into one of the 20th century’s most inconic and enigmatic women. And in this year that marks the centenary of Monroe’s birth, Kennedy’s act takes on even greater significance.

From the moment she stepped into the spotlight in London’s intimate Crazy Coqs venue, Kennedy not only sang those numbers most associated with Monroe, she inhabited the star’s style – her script and audience interactions never letting the character drop, not for one second.

Kennedy’s hour-long setlist was a celebration of songs that defined not just Marilyn’s life but possibly and even more importantly, the impact that she made not only in her short lifetime but in the decades since then. Of course the classics were there and as Kennedy wrapped her mellifluous vocals around I Wanna Be Loved By You, My Heart Belongs to Daddy and (later in the act) Happy Birthday, she became that immortalised Hollywood idol.

I Was Born This Way (in a neat touch, duetted with Lady GaGa tribute artiste, the excellent Lallie Burns) along with a soulful solo (by Kennedy) of I Am What I Am defined the day’s Pride credentials, as Kennedy spoke (as Marilyn) sincerely and above all knowledgably, about Monroe’s troubled life.

Kennedy brings a sincerity to her act that transcends her sublime performance skills, showing a profound respect to Monroe that only imbues her otherwise stellar performance. An eclectic choice of songs supports this deep understanding. The Leslie Gore classic You Don’t Own Me (delivered complete with its sublime key change) brings a charged profundity to the evening, while Charlene’s I’ve Never Been To Me comes across as though it could almost have been inspired by Marilyn Monroe. 

In 1962 and aged just 36, Marilyn Monroe’s life was tragically cut short. The tragedy of her death is  reflected in Kennedy's final act, where following Over The Rainbow a song steeped in heartbreak for so many reasons, she silently slipped away from the stage. Paul Rahme her talented musical director then took over the mic with a powerfully poignant delivery of Elton John’s song from 53(!) years ago, Goodbye Norma Jean.

Notwithstanding the sadness, Kennedy makes sure the show ends with a bang, returning from the wings, costumed-changed and shimmering in sparkles to deliver another of Monroe’s signature tunes, from the movie Gentlemen Prefer Blondes, Diamonds Are A Girl’s Best Friend.

Sparkling entertainment – Suzie Kennedy defines the legacy of Marilyn Monroe.

Arcadia - Review

Duke of York's Theatre, London

*****

Written by Tom Stoppard

Directed by Carrie Cracknell

Isis Hainsworth

Arguably the zenith of Tom Stoppard’s all encompassing genius, Arcadia is a play that bends time to explore the intriguing complexities of maths, physics and art.

We meet the Coverly family on their country estate, firstly in the 19th century and latterly, some generations later, in the present day. Thomasina Cloverly is from the 1800s a gifted thinker who Stoppard aligns with the mathematical geniuses of her time. Aged just 16, her character is combination of precocious intellect fused with sexual curiosity. Played by Isis Hainsworth, hers is a masterful performance. Also striking from that era is Seamus Dillane’s take on Septimus Hodge, tutor to Thomasina. As the unseen Lord Byron drifts in and out of the narrative, Stoppard crafts a richly woven tapestry.

Fast forwarding to the modern era where the latter-day Coverlys are visited at their still-standing country pile by warring academics Bernard Nightingale (Oliver Chris) and Hannah Jarvis (Nikki Amuka-Bird). As the pair clash over the finer points of Lord Byron’s life and romances, Nightingale is ultimately and deliciously exposed as a pompously self-opinionated arse, all making for great theatre and as the 21st century family, aided by computer, uncover the genius of Thomasina’s mathematical theorems, the drama becomes electrifying. A further mark of Stoppard’s craft is that throughout both the story and the centuries that it spans, there is a beautifully penned undercurrent of lustful desires, both consummated and frustrated.

Carrie Cracknell has helmed her production, that hails from the Old Vic magnificently. Stoppard created the piece to let the historical timelines segue seamlessly and Cracknell directs her cast with a perfectly placed accuracy. Alex Eales's set design of concentric revolves beneath suspended spheres emphasises the metaphysicality of Stoppard’s creation.

Three hours (including interval) makes for a long haul, but it’s worth it. Rarely is such brilliant writing so beautifully performed.

Runs until 12th September

Photo credit: Manuel Harlan

The Ladyboys of Bangkok - Review

 The Sabai Pavilion, London

**

Beneath a pink, pulsating, (and when the bass is turned up, throbbing) big top erected on Shepherds Bush Green, The Ladyboys of Bangkok are strutting their stuff nightly during the show's London residency. 

In an evening that always promised more than was to meet the eye, perhaps if the tent had even been half-full (it was at far, far less than 25% capacity on the night of this review) then maybe all those mimed disco classics, pyro effects and laser beams that sliced through the haze might have complemented a party vibe. As it turned out, the evening felt more like an end-of-the-pier show on a rainy bank-holiday afternoon, rather than the tittilatingThai-themed treat of a cabaret and floor show that the marketing material had suggested.

The cast were troupers - playing to a virtually empty marquee while sporting immaculate make up and (occasionally) sparkling costumes they kept their smiles throughout. It was only a wonder that Queen’s Show Must Go On was not included in their pre-recorded backing set.

The two stars are for the Ladyboys’ sheer bravado and balls.

Runs until 12th July - then on tour and in Edinburgh

To Kill A Mockingbird - Review

Wyndham's Theatre, London

****

Written by Aaron Sorkin

From the novel by Harper Lee

Directed by Bartlett Sher

Richard Coyle

Bartlett Sher’s stunning revival of Harper Lee’s classic fable returns to the West End for a 12-week residency at the Wyndham’s.

Set in Alabama in the 1930s, in America’s segregated and highly prejudiced Deep South, Lee’s tale is one of oppression, racism and resentment, contrasted with a heroic stance on enlightened and principled legal thinking fused with compassion and the finest family values.

This site rarely seeks to draw comparisons but Richard Coyle’s performance as Atticus Finch demands one. Gregory Peck’s Oscar-winning take on the role (in Robert Mulligan’s 1952 movie) has been defined as one of the greatest performances in the history of cinema. In a performance of breathtaking resonance and character, Richard Coyle redefines Finch, more than matching Peck’s genius. Returning to the role that he created in the production’s original London iteration, Coyle captures Finch’s complex morality and kindness in a performance that is perfectly weighted and nuanced, delivering arguably the greatest transition of an iconic character from screen to stage. For Coyle’s performance alone, one should buy a ticket. 

Sher's work on a London stage has never been so assured or perfectly pitched, where he has assembled a formidably flawless company. As the narrator / Greek chorus of the piece, Anna Munden is Finch’s adolescent daughter Scout. Together with her brother Jim (Gabriel Scott) and their friend Dill  (Dylan Malyn in an extraordinarily brilliant stage debut), the three teenagers serve to advance the evening's litany of cruel injustices, be they social as well as racial.

The cast boasts other supporting gems. Aaron Shosanya is magnificent as Tom Robinson, a black cotton-worker falsely accused of raping the white Mayella Ewell (Evie Hargeaves). Hargreaves similarly masters her challenging role, capturing the impact of the abuse and neglect that she has been subject to by her father Bob (Oscar Pearce playing a despicably ignorant redneck, in a performance that is as brilliant as his character is evil). Richard Dempsey is terrific as prosecuting counsel Horace Gilmer, while Stephen Boxer’s Judge Taylor is another modest role, perfectly performed. Andrea Davy is terrific as Calpurnia, Finch's black housekeeper who frequently holds up a mirror to his frailties.

Aaron Sorkin’s adaptation is masterfully penned – but is too long, especially in the first act. Where the visual impact of a movie scene can describe a story’s canvas in a second, dramatic narrative is a more laboured process. Lee’s original is a rich narrative, the details of which are not easily condensed into the confines of a theatre and there are moments when the story’s otherwise beautiful momentum, flags. At just over three hours, the play is a long-haul. Kander & Ebb’s The Scottsboro Boys, a musical also centred on racial injustice in the 1930s American South together with the flawed legal systems of the time, made its point as powerfully in just 90 minutes

Long maybe, but this is powerful theatre and a display of the finest acting in town.

Runs until 12th September

Photo credit: Johan Persson

Jazz Cabaret in Hampstead

Come along on Sunday 5th July at to The Marigold Session, a jazz-infused cabaret hosted by Anoushka Cowan and Elijah Lifton, with special guests, actor Christopher Biggins, and writer Richard Bean (One Man, Two Guvnors).

Jazz, songs, duologues, comedy, discussion.

Two shows at the Circle & Star Theatre, Hampstead, NW3

Cyrano - Review

Noel Coward Theatre, London

*****

Written by Edmond Rostand

Adapted by Simon Evans and Debris Stevenson

Directed by Simon Evans

Adrian Lester

Anyone who has ever been in love knows the impossible rollercoaster of feelings it brings: from the silly, adorable goofiness of sweet beginnings, to the nuanced hesitation of self-reflection and the gushing warmth of love — and sometimes, the salty taste of a tragic end. The Royal Shakespeare Company’s new adaptation of the classic French play Cyrano de Bergerac, originally written by Edmond Rostand in 1897, offers all that and more: a wild combination of Greek comedy and tragedy.

At the centre of the story is the iconic Cyrano de Bergerac, played by Adrian Lester. A poet, soldier and philosopher whose words are as sharp as his sword, but despite his charm and wit, Cyrano carries a paralysing insecurity about his appearance, feeling unworthy of the woman he secretly loves: Roxane (Susannah Fielding). As a long-standing friend of Cyrano’s, charming and sharp-tongued herself and recently widowed from her old husband who she had been forced to marry, Roxane longs to be dazzled by raw, breathtaking love.

As Cyrano finds himself watching Roxane fall for the dashingly handsome Christian de Neuvillette (Levi Brown), a man with the looks if not the brains that Roxane demands, he becomes the voice behind another man’s wooing, ghostwriting his rival’s terms of endearment, desperately hoping to provide the love that he believes Roxane deserves.

Simon Evans and Debris Stevenson’s adaptation — Evans’ second encounter with the play, having directed it around 20 years ago — provides a thrilling tale, crafted not only by an outstanding cast of actors, but also by a thoughtful balance between modern and classical language. The hilarious dialogue made the whole theatre laugh uncontrollably, while the emotionally moving monologues were full of romantic, rhythmic pathos.

The immersive staging, using the whole theatre with actors suddenly appearing among the audience adds to the evening’s effective comedy. Grace Smart’s stage designs are also remarkable, moving the audience smoothly through time and places, from Cyrano’s theatre to the battlefield.

In the original play, Cyrano says he has won, on a bet, a private orchestra for a day. Quite wittily, in Evans’ version, the band has apparently decided to stick with Cyrano for much longer. The gloomy yet obedient musicians quietly appear and disappear on the theatre’s balconies, on the stage and behind him, providing a heartwarming mixture of comic moments and a subtle echo of Cyrano’s feelings, sometimes before the character himself is able to acknowledge them. Outstanding amazing work from the band of actor-musicians and the composer Alex Baranowski.

There are no weak performances in the large cast of this big-hearted, bittersweet play. Lester is mesmerising and convincing as Cyrano, moving virtuously from impressive action fighting scenes to upbeat comedy and then to raw emotion. Brown, as Christian, reveals a great comic gift too. Fielding crafts Roxane as a believable character, goofy and vulnerable, allowing us to see her through Cyrano’s loving eyes and to care for her deeply too. 

This is a masterful production that tells of insecurities overshadowing even the greatest of loves — a familiar pain that makes this story so timeless.

Reviewed by Florit Shoihet

Runs until 5th September

Photo credit: Marc Brenner