Fawlty Towers - The Play - Review

Apollo Theatre, London

*****

Written by John Cleese

Based on the TV series Fawlty Towers written by John Cleese & Connie Booth

Directed by Caroline Jay Ranger

The cast of Fawlty Towers - The Play

Written for television some 50 years ago and almost immediately entering the pantheon of comedy, Fawlty Towers was a work of scriptwriting genius by John Cleese and his (then) wife Connie Booth. 

Cleese himself has now adapted three of the (only 12) original TV episodes into a tightly paced show that runs for two hours including interval. The adaptation itself is a work of art, Cleese fusing those famous plotlines and gags into an ingenious confection designed to appeal to both fans and newcomers alike.

Of course the writing credentials of Fawlty Towers The Play were never in doubt. The challenge was always going to lie in the effectiveness of the on-stage resurrections of the beleaguered hotel’s iconically comic characters.

Anna-Jane Casey and Adam Jackson-Smith

Simply put, director Caroline Jay Ranger’s cast are sensational. Adam Jackson-Smith is the lugubrious hotelier Basil Fawlty, a role that many may have considered unplayable. In an immaculate combination of voice, nuance and sublime physical comedy, Jackson-Smith nails the performance with far greater skill than he manages to fix a moose’s head to a hotel wall. 

Alongside him, Anna-Jane Casey takes on the mantle of Sybil Fawlty, the other half of one of comedy’s most celebrated loveless marriages. Casey’s tone is magnificent and as the evening plays out, her portrayal of a woman who is as equally monstrous as her husband, only becomes more acid. Hemi Yeroham takes up the role of the much put-upon Manuel, the hotel’s Spanish waiter with Victoria Fox playing the maid Polly. Both recreate their characters to a tee.

But aside from those big four rocks of the Fawlty Towers series, what pushes this stage show into the stratosphere of excellence is the inspired casting of the supporting roles. It’s a breath of fresh air in these politically-correct times that Paul Nicholas’s interpretation of The Major, clearly suffering with the onset of dementia, is given such a beautifully weighted and perfectly pitched performance. Equally, Rachel Izen’s hard of hearing and cantankerous Mrs Richards (“What?”) is another comedy gem.

Paul Nicholas

Creative credits are due to Liz Ascroft’s set that cleverly captures the essence of the Torquay original, along with Kate Waters’ fight direction that has the physical slapstick honed to perfection. And Campbell Young Associates’ wig design for Sybil deserves its own Olivier Award just for looking so bloody brilliant!

This critic sat down with scepticism and left the theatre with eyes and cheeks wet from laughter. Quality comedy demands a holy trinity of first-class writing, acting genius and pinpoint timing. Fawlty Towers has all three - it’s the funniest show in town.

Runs until September 28th

Photo credit: Hugo Glendinning

Macbeth - Review

Barbican Centre, London


***


Written by William Shakespeare
Directed by Polly Findlay

Niamh Cusack and Christopher Eccleston

The ever fabulous Royal Shakespeare Company presents the ever epic Macbeth by William Shakespeare at the gorgeous Barbican Centre until January 2019, with none other than Christopher Eccleston (making his debut with the company) in the titular role. It should be an absolute blinder with such a strong and perfectly brooding lead… but unfortunately, the production falls a little flat in pivotal places.

Polly Findlay’s direction makes much use of Fly Davis’ sparse and contemporary staging (complete with a doomsday clock counting down to Macbeth’s demise) which is easily filled by quirky performances. Eccleston is obviously excellent, conniving and believably nutty, thrown into turmoil by three of the creepiest and cutest witches to ever grace the stage. This ‘The Shining’ inspired turn added a layer of shivers to the darkness with the matching and overtly ominous red dresses hard to miss. Irish actress Niamh Cusack is the overbearing and ambitious Lady Macbeth, encouraging her husband to take what has been foreseen by the witches - a crown - with blood smeared every step of the way. Raphael Sowole brings an earthy and elegant edge to Banquo, the friend turned foe turned ghostly apparition. 

RSC regular Edward Bennett’s Macduff stood out, especially with his painful and stunning moment of silence as his wife and children’s murders are unveiled: a breathtaking moment in a fast-paced performance where there is barely time to take a breath. It’s good to see Bennett playing serious so well after his charming and hilarious turn in 2016’s Christmas double dose of Shakespearean comedy at the Theatre Royal Haymarket. 

This production embraced the menacing malice of Macbeth, with the countdown clock most menacing of all, which was a shame given such a strong cast and creative team. Kate Waters’ fight direction between Macduff and Macbeth was thrilling, as was the awesome illusions by Chris Fisher, with Eccleston disappearing and appearing with ease. These moments, however, felt somewhat few and far between, even with only a two-hour duration. This left it all feeling somewhat lacklustre when compared to some of the absolutely incredible Shakespearean presentations that can grace our London stages. 

Until 18th January 2019

Reviewed by Heather Deacon

Photo by Richard Davenport (c) RSC

King Lear (at Chichester) - Review

Minerva Theatre, Chichester

*****

Written by William Shakespeare

Directed by Jonathan Munby

Ian McKellen and Tamara Lawrance

King Lear at the Minerva Theatre is the jewel in the crown of Daniel Evans’ opening season as Chichester’s Artistic Director. Ian McKellen is every inch a king in Jonathan Munby’s production that is currently playing a short, sold out season. Staged unpretentiously in modern dress, the court of this King Lear bears the accoutrements of the 21st century, yet still respects and celebrates the beauty of the mediaeval verse.

At 78, McKellen brings a credibility of age that only underscores this definitive interpretation, bringing a masterful touch to Lear’s mental decline - “Oh let me not be mad” has rarely carried so much pathos. It is however the strength of the company around McKellen that adds the lustre to this, the finest of recent King Lear productions. 

Dervla Kirwan’s Goneril flinches as her father curses her with sterility, in a performance of understated excellence. Modestly dressed (in contrast to her sister), Goneril’s murderous malevolence is masterful. Kirsty Bushell’s Regan, by contrast, is a sometimes scantily clad, Louboutin toting, femme fatale. The zest with which she accompanies Patrick Robinson’s Cornwall in ripping out Gloucester’s (Danny Webb) eyes with a butcher’s hook could be straight out of a grindhouse movie, but is never once overplayed. (Bravo to fight director Kate Waters for work that is, as ever, bloody good!) 

And that lack of overplay is the essence of this show’s class. Damien Molony’s Edmund is a role that is too often played to as a calculating pantomime villain. Here, Molony’s soft Irish brogue offers an Edmund imbued with an embellished evil that again comes with a classy credibility.

Tamara Lawrance’s Cordelia creates a particularly distinctive magic with Lear in their Act 4 reconciliation. Her talent combined with McKellen’s aged genius offers a moment of tenderness that is, again, rarely achieved.

A highlight of the production - certainly for this reviewer - is to see Phil Daniels return to the role of Fool. Daniels last played the Fool at Exeter in 1980, a production that I had the privilege of seeing. He was 20 then and fresh out of the success of Franc Roddam’s Mod movie Quadrophenia, bringing a cheekily youthful mania to his nuncle-baiting. That boy has now grown up into a bespectacled, tank-top sporting man (think Ronnie Corbett, but taller) and in this coming of age, Daniels brings a level of nuance to the Fool that is rarely (if ever) seen. Daniels still sports his coxcomb magnificently, but now his mirth belies a profound and troubling worldly wisdom and in an inspired touch, Munby has him sing his (many) songs, self-accompanied on the ukulele. It's a music hall touch, juxtaposed onto a modern interpretation of a century's old play and it works perfectly.

Phil Daniels

The Fool’s exit from the play has long been a source of debate as Shakespeare famously leaves it vague in the text. Here however, Munby has had some fun, introducing his own little kicker just before the interval ice-creams.

And again, in one of the play’s smaller roles, Michael Matus delivers a pompously priggish Oswald, making more of the obsequious functionary than is typically encountered in the play.

This is also a King Lear that having freed itself from the constraints of racial and gender specific casting loses none of the play’s impact in the process. Indeed the modernity of Munby’s staging lends itself to a bonfire of traditional casting stereotypes. Most distinctive amongst these translations is Sinead Cusack’s Countess of Kent, in place of that county’s traditional Duke. Cusack brings a steely kindliness to the role which opens up a different and rather enchanting take upon the loving devotion she shows towards Lear. 

Notwithstanding the contemporary staging, Munby spares us any heavy-handed spin on the ancient yarn, allowing us space to draw our own contemporary political comparisons. 

“See better, Lear” is how Kent admonishes his King in Act 1. I doubt there'll be a better Lear to see, and for some time. 

Runs until 28th October (sold out)

Photo credit: Manuel Harlan

Urinetown

St James Theatre, London

****

Music & lyrics by Mark Hollmann

Book & lyrics by Greg Kotis

Directed by Jamie Lloyd

Richard Fleeshman confronts Jenna Russell

More than a decade after it's acclaimed Broadway debut, Urinetown splashes down on this side of the Atlantic, premiering at London's bijou St James Theatre. Brash and brassy, the show is set in an America of the future. Water is scarce, sewerage is rationed and evil big business controls the municipal toilets, where "spending a penny" costs just that and sometimes considerably more. Packing a seriously portentous message (wise minds have long suggested that future wars will be fought over water rather than oil), the show is a satirical meta-musical, that not only takes the piss out of peeing, but also out of its own genre too.

The style throughout is of a 1960’s graphic novel. The bad guys are really bad, the cops are in the pay of the suits and the poor are down-trodden. The violence is beautifully choreographed and when the (copious) stage-blood flows it is often as a thick black goo as well as the classic scarlet, mimicking the comic-books' monochrome. Thomas Malthus is the other literary reference that streams through the show. Jonathan Slinger (who only recently was the RSC’s Hamlet at Stratford) opens proceedings as sardonic cop Officer Lockstock, sat on stage in a mise en scene, quietly reading from the 18th century philosopher as the audience take their seats. Malthus’ apocalyptic predictions drive the tale, prophesying that ultimately the world’s resources will not be able to sustain its geometrically expanding human population. 

Jamie Lloyd again lays down his marker as a creator of visionary theatre. Working with a first class company his caricatured characters are as hilarious as they are disturbing. Musical theatre's grand dame in waiting, Jenna Russell, is Penelope Pennywise the grotesquely rubber-aproned supervisor of Public Amenity 9. Her role down amongst the city's low lifes is to guard the facility, ensuring that only those who pay, can pee. With her ghostly, ghastly, white-slapped face Russell is sublime and her big number, It’s A Privilege To Pee, is a masterclass in performance.

Also starring is Richard Fleeshman as Bobby Strong, the hero who dares to challenge the system. Fleeshman does not disappoint and if his big number Look At The Sky is a touch too heavy on the ironic melodrama, he more than makes up for it in delivery. As corporate baddie, Caldwell B. Cladwell, Simon Paisley Day is everything a villain should be. With a moustache inspired by Moriarty and the sharpest satirical dialog, Day relishes the role and is a joy to watch throughout. At times the show’s structure creaks more than it leaks. Lockstock's role is also that of occasional narrator, a mechanism that too often seems to be an easy way out for the writers, checking up that the audience “geddit” just in case the show has nauseated rather than amused.

The strengths of this production however lie within the carefully crafted values that producer Julian Stoneman has evidently insisted (and spent a fortune) upon. The acting company is top drawer throughout with even supporting roles being outstanding. Karis Jack’s Little Sally is a cracker and Adam Pearce’s thuggishly rotund Officer Barrel (Lockstock’s sidekick) is another modest glimpse of excellence. After the interval the glorious ensemble number Run, Freedom, Run displays every sign of evolving into the show-stopper that the cast clearly hope it to be. Soutra Gilmour's ingeniously grim designs of sewer and slum with multi-level multiple revolves suit the steeply raked theatre perfectly, alongside Ann Yee’s choreography and Kate Water’s multiple fight designs that are delivered with pinpoint drill and perfectly timed conviction.

Urinetown is musical theatre of the highest standard. Clearly staged with a deserved transfer in mind it is the work of a cast and creative team at the top of their game and demands to be seen. You're in for a treat!

Runs until 3rd May 2014