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

Just For One Day - Review

Old Vic, London

****

Book by John O'Farrell

Directed by Luke Sheppard

Craige Els

In a fabulous musical tribute to the 80s, Just For One Day takes David Bowie’s lyric as a link back to the global phenomenon that was the Live Aid concert of July 1985 and the Band Aid single that had preceded it in Christmas 1984. For the over-45s in the audience it is an evening of unashamed nostalgia as hit after hit is pumped out from the outstanding onstage band and sung by a cast who are all at the top of their musical theatre game.

Disbeliefs need to be seriously suspended though, for while Craige Els offers up a decent Bob (Geldof) and Jack Shallo (vocally at least) a passable Midge Ure (younger readers please Google) the other characterisations don’t quite hit the spot. 

John O’Farrell’s book crafts a corny tale that follows composite fictional character, Suzanne, from her teens in the 20th century to a middle-aged woman today, looking back at the excitement of the concert in her youth. There’s also Amara, a relief worker working at the famine’s coalface in Africa who takes us through the horrors and the challenges of what the epic fundraiser was all about.

On the night of this review, understudy Kerry Enright stepped up to the role of Prime Minister Margaret Thatcher, bringing just the right of comedy to counter the gravitas and delivering the show’s one original number written for the theatre, a rap duet with her and Els’ Bob: Mrs T/Mr G.

Soutra Gilmour’s striking set is driven by gig lights encased in a floor-to-ceiling 3-sided video box. It’s a stark concept that works well, conveying the rushed and improvised aura that actually belied the brilliant execution of both Band Aid and Live Aid.  

The stars of the show however are unquestionably Patrick Hurley’s 6-piece band, with standout guitar work from Matt Isaac and Kobi Pham. These musicians have the unenviable task of recreating many of the greatest rock songs ever recorded and they do so sensationally. Their work alone is worth the ticket price.

Runs until 30th March

Pygmalion - Review

Old Vic, London

*****

Written by George Bernard Shaw

Directed by Richard Jones

Patsy Ferran and Bertie Carvel

George Bernard Shaw may have written Pygmalion for the England of 1913, but in Richard Jones’ production that fuses Shaw’s original script along with his 1938 screenplay, this classic tale proves timeless. Bertie Carvel and Patsy Ferran are Henry Higgins and Eliza Doolittle in what has to be one of the finest pairings to be found on stage.

Carvel’s ability to capture Higgins’ absolute genius in the world of phonetics,yet a bumbling, stifled fool when it comes to expressing his passion is sublime. It’s not just his pathos though, for, much like Higgins himself, Carvel exudes excellence in every word he annunciates - and look closely in act one, for there’s the occasional hint of his Miss Trunchbull on show too.

Ferran’s Eliza is more than a match for Carvel. Her transformation from a ‘deliciously low guttersnipe’ to a refined young woman is a masterclass of both talent and assured femininity, defining strength and independence in a world where the odds were (are?) so heavily weighted against her sex. 

The curious chemistry between Eliza and Higgins is one of theatre’s most delicate relationships, requiring actors of profound talent to capture Shaw’s delicately nuanced interplay. To witness these two performers at work is to capture a rare moment of on-stage excellence.

The supporting cast are top-notch too. Michael Gould as Colonel Pickering and Sylvestra Le Touzel as an inspired, wise and withering Mrs Higgins, are both wonderful.  John Marquez as the play’s other inspired creation Alfred Doolittle, a man who “can’t afford morals, guvnor” deftly mixes humour with satirical social comment in his outstanding cameo. A neat touch sees the play’s background music taken from the 1938 movie.

Pygmalion is drama at its finest. Perfect writing, perfectly performed.

Runs until 28th October

Photo credit: Manuel Harlan