Bitter Wheat - Review

Garrick Theatre, London


****

Written and directed by David Mamet

John Malkovich

Bitter Wheat introduces us to Barney Fein, an obesely mysogynist movie mogul who, drunk on money and power, views women as little more than his playthings. It is no coincidence that post autumn 2017 and in the #MeToo era, the assonance of the name and the description of the man sound troublingly familiar. 

Fein is an ugly man - inside and out, with an ugliness that is matched only by Mamet’s writing. For this is a play of two halves - a first act that builds towards an explosive exploitation of sexual violation, and a second half that rapidly disintegrates into implausibility. And yet - for all of Mamet’s madness, the chaos of his writing still holds a withering mirror to Hollywood’s vile, vacuous and timelessly rapacious culture. While recent scandals may have rightly pushed Tinseltown’s casting couch into the spotlight - that toxic masculinity and mindset has riven the movie industry for as long as cameras have been turning. 

John Malkovich is a fine Fein. Padded up he is as massive the role that sees him onstage throughout the two hour piece. There is satire here but without the slapstick - Malkovich marvels in a role that, like Pravda's Lambert Le Roux in Pravda or The Producers' Max Bialystock, takes recognisable caricatures, magnifying them into a driving force. Mamet takes no prisoners in his writing, with Fein’s Jewish ancestry proving an uncomfortable butt for some of the venom he receives. However, Mamet is to be applauded in recognising the close and long-established ties between his anti-hero and America’s Democrat Party - a recognition that will not sit easily amongst the liberal literati on either side of the Atlantic.

Malkovich is well served by his fellow ensemble who, to differing degrees, are there merely as foils to his monstrous nature. Doon Mackichan is his much put-upon assistant Sondra, a woman of questionable ethics and evident complicity and who, rat-like, flees Fein's sinking ship. Making her West End debut, Ioanna Kimbook plays the South Korean movie star Yung Kim Li who finds herself the subject of Fein's abusive lust. The writer has allowed little room for nuance in the part, but Kimbook turns in a neatly measured performance.

There may be a whiff of sensationalised cliché to this world premiere, but no matter. Mamet's subject is timely and relevant and Malkovich's performance is electrifying.

Booking until 21st September

Photo credit: Manuel Harlan

Great Britain - Review - National Theatre

National Theatre, London

****

Written by Richard Bean
Directed by Nicholas Hytner

Billie Piper

One suspects that the biggest item on the production budget of the National Theatre’s Great Britain, opening last night on the South Bank, will have been the fees of the libel lawyers hired to meticulously scrutinise Richard Bean’s work. Barely was the ink dry on the Old Bailey phone hacking verdicts last week, when the National unveiled the production, the development of which has been kept under the tightest of wraps, lest it influence said trials. The play examines the incestuous relationship between government, press and police and although Bean may well be the nations's latest favourite funny man, as he rides the success of his One Man, Two Guvnors, fans of that blockbuster (also Hytner directed) be warned, there is no eye-watering comeddia dell’arte slapstick to be found here. Rather, Great Britain reminds one of TV's long lost Spitting Image, with gloriously recognisable lampoons of some deeply uncomfortable truths.

Bean's text offers nothing that is revelatory. Billie Piper puts in a cracking turn as Paige Britain, News Editor of The Free Press, the country's biggest selling red-top tabloid paper. Where many of the play's characters are blindingly obvious caricatures of the famous, hers is perhaps the best dramatic creation of the night, a manipulative Chorus at times speaking directly to the audience, elsewhere to be found fellating her way up the greasy poles of male-dominated legislature and law enforcement.

Some of Bean's gags are en pointe, others crash to earth in moments of blinding obviousness, yet amongst this witty yet ultimately depressing slice of modern life, there are some standout performances alongside Piper. Robert Glenister is a monstrously monstering Editor, ultimately promoted to spin doctor at No 10, Andrew Woodall is a chillingly beliveable Head of PR for the Metropolitan Police whilst Aaron Neil’s cop, Commissioner Kassam is a cracking performance though only of a thinly sketched out bumbling stereotype. The media-mogul who owns The Free Press is Paschal O’Leary a self-made Irish billionaire and whilst Dermot Crowley delivers am entertaining performance, neither he nor the play are a patch on Anthony Hopkins’ grotesque Lambert Le Roux that bestrode the Olivier stage in David Hare’s Pravda, some 30 years ago.

Bean's writing takes aim at nearly all of the fourth estate. Paige Britain makes no bones in admitting her rag is an “end of the pier” show for the nation, whilst other recognisable broadsheets include a sniggeringly titled The Dependent and best of all, The Guardener (sic) whose strapline is "We think, so you don’t have to". We laugh at the buffoonery and manipulative chicanery, whilst Neil’s performance as the first man ever to be tazered on stage is a cracker.

The dark side of this abused democracy is here too. We learn of an innocent man lynched because of a misleading story in The Free Press, we see a story about Jimmy Savile spiked by the newsroom, and a good cop kills himself as the corruption of his moral fibre sees blind justice led astray. That the (fictional) abducted young twins however, whose phones are hacked by Britain’s team, are called “Mills” is crass. Don’t the Dowlers deserve any respect? This name should be changed forthwith.

Great Britain deserves plaudits for its immediacy, relevance and outstanding stagecraft, that sees the nation’s leading theatre assemble a fine company amidst stunning sets and technical wizardry and challenge head on three of the country’s most powerful institutions. It might not be the National’s best, but it’s a damn good play nonetheless. Catch it if you can. 

Now booking until August 23rd

National Histories - Imelda Staunton and Jim Carter

As a part of the NT50 celebrations, The Shed at the National Theatre was nicely filled to warmly welcome Imelda Staunton and husband Jim Carter to a platform performance Q&A as part of the "National Histories" series. No audience participation, rather the discussion was their responses to10 questions that the NT are posing to all participants / performers in this season.

Cranford, Carson and Vera Drake were off-limits for this chat, it was strictly the actors' reminiscences of time spent working in, or simply watching, NT productions. Not surprisingly Richard Eyre's1982 production of Guys & Dolls featured heavily in the discussion. The couple first met at the show's first read-through and were married two years later. Staunton who had previously played lead roles in provincial reps. spoke of the humbling awe she experienced, joining a company led by Bob Hoskins, Ian Charleston, Julie Covington and above all, Julia McKenzie. Staunton has gone on to achieve greatness on stage and screen, yet her and her husband look back on that show with particular fondness. As an actress not usually cast for a glamorous look, Staunton took delight in the fur stole, sequinned bodice and lacy gloves that she then had to strip out of in Take Back Your Mink, describing it as her favourite costume ever, with Carter concurring that his favourite dressing-up role was the glamorous transvestite outfit from the show's Cuba routine. (Who knew that all through Act One, menacing mobster Big Julie was sporting fishnets underneath his double-breasted suit?)

Imelda Staunton gives back her mink

Both spoke warmly too of the people values that the National inculcates amongst its staff, describing the backstage, technical and stage management crews as the finest in the world. They spoke of the longevity of employment that exists amongst the National's team that has fostered a culture of care and concern in looking after it's performers, whilst at all times striving towards excellence. (That culture has evidently been maintained, with 2013's newcomers to the National’s Light Princess company privately expressing astonishment to me at quite how well they are cared for.)

Staunton and Carter both expressed their admiration for the quality of acting that permeates a typical National company and not just amongst the star names. Whilst Anthony Hopkins' Lambert Le Roux in Howard Brenton's Pravda earned their plaudits, they were both spoke of their admiration and respect for NT stalwarts that included the likes of the late Michael Bryant and who consistently delivered excellence in supporting roles.

Jim Carter threatens Bob Hoskins in rehearsal for Guys and Dolls

The 45 minute chat was but a tiny peek into the recollections of a talented couple whose personal lives owe so much to the NT and who have also given so much to the NT canon of work. The National Histories series continues through October. The guest list is mouthwatering. Not to be missed!