Ballet Shoes - Review

National Theatre, London

****

Written by Noel Streatfeild

In a new version by Kendall Feaver

Daisy Sequerra and Justin Salinger

Noel Streatfeild’s Ballet Shoes is given an enchanting makeover by the National Theatre. In Kendall Feaver’s adaptation, Streatfeild’s tale of the three orphaned/foundling Fossil sisters, who are fused into a family by Malcolm an eccentric but gifted paeleontologjst who places them in the care of his adopted great niece Sylvia becomes a vivid drama.

The themes of self-belief and familial love run strong through the classic yarn and under Katy Rudd’s direction and Frankie Bradshaw’s impressive designs that fill the Olivier stage, the play makes for classy modern theatre.

On the night of this review understudy Katie Singh stepped effortlessly into the role of Sylvia. Playing (Great Uncle) Malcolm together with a host of other inspirational roles throughout the evening is Justin Salinger - who provides just enough quirky unconventionality to hint at something divine in his on stage presence.

The show however belongs to the three performers playing the adolescent sisters Yanexi Enriquez, Grace Saif and Daisy Sequerra, with all three carrying the story magnificently. Their supporting company are equally strong.

In a show that has dance in its veins, Ellen Kane’s choreography displays her usual creative excellence.

The play goes at a pace through the novel, at times perhaps for younger audience members, a little too fast in show that lasts more than two and a half hours. But this is a thoughtful family show, beautifully acted and imaginatively staged.

Runs until 22nd February

Photo credit: Manuel Harlan

Dear Octopus - Review

National Theatre, London

*****

Written by Dodie Smith

Directed by Emily Burns

Lindsay Duncan, Billy Howle, Bessie Carter and Malcolm Sinclair

Dodie Smith’s 1938 play is given a glorious revival at the Lyttleton. Dora and Charles Randolph (spectacularly played by Lindsay Duncan and Malcolm Sinclair) are celebrating their golden wedding in their country home that has been the family base for generations as relatives including children, grandchildren and one great-grandchild join them for the weekend’s festivities.

The sensitive genius of Smith’s writing is to observe the dynamics between the couple’s four daughters and a son - and to extract from all of these relationships the tender complexities of love, embarrassment, shame and even loss with a language that while of its time and dated, remains just as poignant for the 21st century and which never once descends into mawkish sentimentality. A lengthy first act slightly drags - but the second half soars through moments of the sweetest reconciliations amongst the assembled clan.

The cast are all magnificent. Of the adult children Bethan Cullinane’s Cynthia stands out for the remarkable interplay between her and her mother, while Billy Howle as gauche son Nicholas is another performance of remarkable sensitivity. Outside of the family, the role of the housemaid Fenny is a part of acute emotional complexity, skilfully delivered by Bessie Carter. A nod too to Kate Fahy’s Belle, Dora’s sister and a woman who has aged disgracefully yet wonderfully.

Duncan and Sinclair head their family with a perfect combination of warmth, understanding and gravitas. Duncan in particular delivers her role in a spectacular display of understated excellence. Rarely is such a loving matriarch to be found on stage.

The time and place of Dear Octopus (the plays title is drawn from a reference to the tentacular grasp of the family) is reflected both in Smith’s text - the losses of the Great War still smart, as the radio tells of a need to prepare for war as Chamberlain appeases Hitler - and in Frankie Bradshaw’s glorious set design that makes full use of the Lyttleton’s lofty fly tower and impressive revolve

Emily Burns has directed with a sure but nuanced hand, coaxing and crafting an evening of the finest talent from her company. Exquisite drama. 

Runs until 27th March

Photo credit: Marc Brenner

Macbeth - Review

The Depot, Liverpool

*****

Written by William Shakespeare

Directed by Simon Godwin

Indira Varma and Ralph Fiennes

In a dynamic touring production Simon Godwin’s Macbeth offers a delicious take on one of Shakespeare’s most popular and bloody classics. Ralph Fiennes steps up to play the doomed Thane, bringing a refreshing degree of perception and vigour to Scotland’s legendary warrior. 

Godwin’s stage is mostly left uncluttered with an ingenious immersive style to the drama, allowing the audience to walk amongst a battle-ravaged set as a mise-en-scene. This minimalism works well, adding particular impact to the moment when on seeing Banquo’s ghost (fine work from Steffan Rhodri), real soup is spilled by Macbeth in his shock.

Indira Varma is Lady Macbeth and while she could perhaps have explored her wicked ambition with a hint more depth, she proved the perfect foil to her husband’s hesitation on contemplating regicide.

Among the witches Danielle Fiamanya stands out, with Ben Turner’s Macduff another powerful and heartbreaking performance. Turner’s grief on learning of the murder of Macduff’s wife and children is palpable, leading to a passionate and convincing sword fight with machetes as he and Macbeth battle to the story’s tragic conclusion. Credit too to designer Frankie Bradshaw, the blood and gore factor of this production is refreshingly high.

One of the nation’s most frequently performed tragedies, it has been easy in recent years for productions of Macbeth to lack emotional heft. This one delivers. If you’re lucky enough to have secured a ticket for its tour to Edinburgh, London and Washington DC in the new year you’re in for a treat.

Runs to 20 December and then on tour

Photo credit: Matt Humphrey

Local Hero - Review

Minerva Theatre, Chichester

****

Music & Lyrics by Mark Knopfler

Book by David Greig

Based on the Bill Forsyth film

Hilton McRae

The twentieth century gave us few finer rock musicians than Mark Knopfler, whose talent both as a writer and guitarist place him as one of the UK's greats. In 1983 Knopfler wrote the score for Bill Forsyth’s BAFTA-winning film Local Hero and he has now now taken those themes penned some fourty years ago, weaving them into a musical based upon the movie.

Local Hero is a whimsical tale of humanity and the cosmos set amidst the Scottish Highlands. Offshore oil was big business for Scotland in the 70s and 80s and Forsyth’s story focussed on a Houston based oil corporation sending out Mac, a high-powered executive, to acquire the coastal village of Ferness together with its beach for the purposes of constructing a refinery. Mac arrives amongst the canny villagers who are quick to sense the fortune that may be coming their way, and in an era that long pre-dated the internet or even mobile phones, one of the story’s most cosily comforting images is the village's old red telephone box on the beach that proves Mac’s only way of privately communicating with his USA Head Office. Of course the plans do not proceed as anticipated – love, charm and a respect for nature and the stars combine to chart a course that leads to an unexpected but decisively happy and inspiring ending.

Broadway's Tony-winner Gabriel Ebert makes his UK debut in the role of Mac. His is a performance of charm and assured voice, completely believable as the Texan city-slicker who falls for the beauty of Ferness' remote idyll. Opposite Mac is Paul Higgins as Gordon, the village’s pub-landlord cum accountant cum lawyer, who is appointed to negotiate with the oilman and strike the best deal possible. The musical’s triangular love interest comes from Lillie Flynn’s Stella who forges an emotional connection with both men. Arguably stealing the show however is Hilton McRae’s beachcomber Ben, whose encyclopaedic knowledge of the stars in the Scottish skies serves to bring together the narrative’s various strands.

Daniel Evans directs a sensitive ensemble piece from his company which is only enhanced by Frankie Bradshaw’s set design that ingeniously transforms into a sandy, pebble-strewn beach. Ash J Woodward offers up video projections that strive to create the aurora borealis in deepest West Sussex – an effect that relies heavily upon the audience’s ability to imagine the Northern Lights.  

The production's star of course is unquestionably Mark Knopfler’s rich score. His original movie soundtrack offered up a raft of melodies, most of which have been fused into the stage show and it is a mark of the man’s talent that he has been able to create so many songs from these gaelic and celtic themes. The music is powerful, stirring and fresh, containing a heady mix of beautiful balladry and rousing numbers written for guitars and violin. That musical director Richard John’s seven piece band contains no less than three guitarists speaks to Knopfler’s love affair with strings.

This is a show built around Knopfler’s love for Local Hero, itself one of the finest British movies. It makes for an evening of charming, gorgeous theatre.

Runs until 19th November

Photo credit: Manuel Harlan