Coriolanus - Review

Barbican Theatre, London


***

Written by William Shakespeare
Directed by Angus Jackson

Haydn Gwynne and Sope Dirisu

Set in a time of modern day civil/class  warfare, Angus Jackson’s take on Coriolanus offers up glimpses of masterful performance. With design and costume by Robert Innes Hopkins, the production sets out to contrast the similarities between ancient, strife-torn Rome and today’s United Kingdom, polarised over Brexit. As the plebeian citizens revolt, clad in hoodies and torn denim and brandishing barbed wire donned bats, the patrician elite surrounded by glowing marble and cascading canopies have discarded their weapons in favour of carefully nursed champagne flutes.

It’s an intelligent concept, and there is some real beauty on stage, but the piece (much like Blanche McIntyre’s Titus Andronicus in this current RSC Rome season) lacks a weight in its argument. The cast are fairly young (too young?) and in the title role Sope Dirisu who while clearly a strong and intelligent actor, does not yet possess the gravitas or age to make his Coriolanus credible. Granted, his agility lends itself brilliantly to Terry King’s fight scenes; bloody, exciting and believable as they are, but the depiction of a boy playing at war does not stir the audience.

The saving grace of this piece lies with the women. As the more socially present of the two tribunes, the voices of the poor among the socialites, Jackie Morrison’s Sicinius Veletus is a feisty and undeterred figure. Her performance is almost Nicola Sturgeon-esque in her political battle to banish Coriolanus from Rome, with again a relevance to Britain’s current political standing being cleverly played. Not from this play, but referencing Morrison, Shakespeare’s words “Though she be but little, she is fierce”, are apt.

The evening’s star performance comes from Haydn Gwynne who brings a strength and elegance to Volumnia. Playing the ever loving yet overbearing mother of Coriolanus, she dreams of success and glory for her son, successfully moulding him into the figure of state that she longs to be but is just out of her grasp. Gwynne’s presence is magnetic, owning every inch of the stage from the moment she arrives. Her second-half speech, begging her son for peace toward Rome after his banishment and unity with their enemy is an unmissable masterclass in Shakespeare.

Runs until 18th November

Reviewed by Charlotte Darcy

Photo credit: Helen Maybanks (c) RSC

Hey Old Friends: An 85th Birthday Tribute to Stephen Sondheim

Theatre Royal Drury Lane, London

****

The Company

A concert of this sort – large numbers of quite well known people along with full backstage back-up giving their services for charity (Esther Rantzen’s Silver Line) on a Sunday evening usually succeeds on adrenaline and goodwill and this one was no exception. With people such as Julia McKenzie, Nicholas Parsons, Sally Ann Triplett and Michael Xavier on stage you can’t really go too far wrong.

High spots included an entertaining and very clever top speed medley number by the astonishingly talented Martin Milnes and Dominic Ferris who say they pack 33 songs into less than five minutes although I didn’t actually count. Then there was the ageless, still elegantly outrageous Millicent Martin with the hilarious and impeccably articulated and timed “I never do anything twice”. Astonishing Bonnie Langford, now 51 – yes, 51 – can still sing perfectly while simultaneously dropping into the splits and later being suspended upside down by Anton Du Beke with whom she flirts outrageously in “Can that boy Foxtrot!” Also good fun is the pretend anti-Sondheim pastiche at the beginning by Kit and McConnel who kept it going as an intermittent running gag throughout the show. Haydn Gwynne did well with “Send in the Clowns” too – a different rendering from the more familiar Judi Dench one but moving with Daniel Evans as the recipient. Evans sings “Pretty Lady” nicely too with Simon Green and Michael Peavoy - how many canons are there in musical theatre? One of the things which stuck me forcibly at this concert is Sondheim’s remarkable range, versatility and ongoing originality. He’s still going strong at 85 and steering clear of all stylistic ruts.

At the centre of all this – and it’s literally centre stage with many exits and entrances taking place from behind and alongside it – is a full and very fine orchestra conducted by MD, Gareth Valentine and that makes a real difference. The show is also enhanced by the fine ensemble backing of students from Arts Educational Schools London who sing magnificently as they gather first class experience on stage with the pros.

Of course a concert of this sort is assembled and rehearsed in a very short time so it is never going to be perfect. There were too many mics around the orchestra so that sometimes the sound balance was wrong and singers were struggling to be heard. And the celebratory excitement of the event notwithstanding, at three full hours the show was too long and would have been better with at least one item cut from each half. We all know how lighting designers love stage smoke because they can beam pretty colours through it and get spectacular effects easily. Here it was overdone to the point of irritation.

Also puzzling, given the number of participants is that there weren’t more Very Big Names in the cast. Maria Friedman, Imelda Staunton and Michael Ball, for example, were conspicuous by their absence.

Guest reviewer: Susan Elkins

Women On The Verge Of A Nervous Breakdown - Review

Playhouse Theatre, London

***

Book by Jeffrey Lane

Music and lyrics by David Yazbeck

Directed by Bartlett Sher

Ricardo Afonso and Tamsin Greig

Pedro Almodovar's seminal film Women On The Verge Of A Nervous Breakdown famously captured the liberated spirit of post-Franco Madrid in a story that celebrated not just the women of the movie’s title but also the Spanish capital itself. The glory of Almodovar's vision however does not translate to the stage. Whilst some of the musical’s acting may be top-notch, its plot creaks and the mania of Madrid's scenic and atmospheric spice that so imbued the movie, is much missed on the Playhouse's cramped stage.

Billed on the posters as equals, Tamsin Greig and Haydn Gwynne are Pepa and Lucia, respectively the lover and long-estranged wife of Ivan and although both actresses are sensational, this is Greig's show. Mastering the comic subtlety of anger, in a potentially Olivier winning turn, Greig alone merits the (discounted) price of a ticket. Lucia meanwhile really has suffered a breakdown since Ivan abandoned her and Gwynne captures the desperate essence of this woman’s manic fragility. Lucia’s number Invisible, a sad self appraisal of the best years of life having passed her by, is exquisite in its heart rending poignancy.

Ricardo Afonso delights as a guitar strumming taxi driver. This coolest of cabbies, (and jonathanbaz.com has consistently raved about Afonso’s genius) commands our gaze and it’s only a shame that the show does not afford his character more airtime. Willemijn Verkaik, surely the eurostar of modern musical theatre, turns in a gamely supporting role as a lawyer with a surprise up her sleeve.

Aside from the ever talented Michael Matus’ many minor roles in the ensemble, that’s it for the excellence. Jerome Pradon fails to convince that his Ivan is the irresistible swordsman the writers intend, whilst Anna Skellern’s Candela struggles to be even a two-dimensional representation of a dumb, panic-stricken model. The desired level of farce does not come easily to this show and its ridiculous sub-plot about a terrorist at large, that would have been a lame thread even before last week’s tragedies in Paris, now just seems awkwardly embarrassing.

There are other pockets of talent to be found. Ellen Kane’s flamenco-flavoured dance work (enhanced by Holly James’ outstanding movement as the Matador) is always a treat to watch and much of Yazbek’s music (including a lovely motif that offers a nod to Carmen’s Habanera) is a delight. But much like Afonso’s taxi driving, the show's lyrics career and lurch alarmingly from wittily tight to utterly trite. Fans of the uber-talented Tamsin Greig and Haydn Gwynne won't be disappointed. Fans of the movie will be.

Now booking until 9th May 2015