Don Quixote - Review

Garrick Theatre, London


****


Adapted by James Fenton from the novel by Miguel de Cervantes
Directed by Angus Jackson

David Threlfall

In James Fenton’s adaptation of Cervantes’ 17th Century classic, the fabled antics of Knight Errant Don Quixote are given a contemporary understanding that still preserves the original’s richness. 

David Threlfall is the aged Quixote, climbing onto the Garrick stage from the stalls in the first of the show’s many “Fourth Wall” breaches and is, quite simply, magnificent. Robed and biblically bearded, there is something of the Billy Connolly in Threlfall’s appearance which only underlines the tragi-comedy that driving this curious yet also intuitive take on ageing and fantasy. Threlfall captures the essence of Quixote - driven by proud self belief, and yet slowly being deprived of his mental faculties. His is a performance of the utmost sensitivity, perfectly nuanced in both physical presence and emotional magic.

Of course the relationship between Quixote and his manservant Sancho Panza is one of the oldest double-acts in literature, a pairing that might well have inspired the latter day genius of Blackadder and Baldrick.  Rufus Hound plays Panza and his casting is perfect. Amidst scripted and (when the fire alarm sounded on press night following mismanaged onstage pyro effects) ad-libbed audience interactions, Hound provides the perfectly tipped foil to Threlfall’s straight-guy, his common touch bouncing off the elderly would-be patrician. And whilst Panza’s coarseness contrasts with Quixote’s chivalry, Hound skilfully demonstrates that both men share a resolute moral code. Cynical, corpulent and always caring even if often underpaid, Hound’s Panza remains as lovingly loyal, as he is perceptive - with his devotion proving a bittersweet background to the play’s final act.

There is lovely work all round from Jackson’s company. Richard Dempsey’s Duke captures the mildly cruel foppishness of Spain’s aristocracy, while Natasha Magigi as Sancho Panza’s wife Teresa, surrounded by a bevy of wailing (marionette) infants puts in a neatly detailed, even if caricatured, glimpse of the manservant’s background.

Robert Innes Hopkins’ design is unpretentiously clever, with state of the art stagecraft mixed in with deliciously simple, centuries old puppetry. Windmills are cleverly tilted at and sheep are brilliantly battled, and when Quixote finally ascends to the heavens, the charm of his flight lies not in the obviously visible harness - but rather in the simplicity of its gorgeous imagery. The music is delicious too, with Grant Olding’s Latin and flamenco themed compositions (under Tarek Merchant’s baton) only adding to the tapas-like spread of treats that the evening offers.

If the moments of excessive boisterousness make for minor occasional distractions, they are trifling. The RSC’s Don Quixote has well deserved its transfer to the West End - it is poignant, funny, and perfectly played. Brilliant theatre!

Runs until 2nd February 2019

Photo credit: Manuel Harlan

Dirty Rotten Scoundrels

Savoy Theatre, London

****

Music and lyrics by David Yazbek
Written by Jeffrey Lane
Directed by Jerry Mitchell

Rufus Hound and Robert Lindsay

Located in the plush basement of one of London’s grandest hotels, the Savoy Theatre could not be a more fitting venue for a show that gloriously revolves around both the real and (far more entertainingly) the illusory trappings of wealth and style. This UK premiere of David Yazbek's Dirty Rotten Scoundrels is a chic and jazzy treat, with the show's cracking overture in particular being a perfect scene setter. 

The story owes its modern-day fame to the classic movie caper starring Steve Martin and Michael Caine. The screen giants played two rival con-men plying the French Riviera and out to fleece millionaire heiress Christine Colgate, of her fortune. In the right hands the tale is comedy gold, with Yazbeck describing the movie as “ripe for adaptation”. The Tony winning show first opened in the US in 2006, directed by Jack O'Brien with Jerry Mitchell choreographing. This time round, in addition to the dance work, Mitchell returns to helm the show, describing his take on the the piece as “re-conceived and re-imagined”. Whilst the producers can be assured of a hit as this is (yet another) musical that has been safely based upon and inspired by a massive movie, it still bursts with invigorating panache and style. 

Gimmick free, there is a reliance upon the traditional values of strong tunes, clever lyrics and classy performances. The movie set a high bar for the two leading men and when it comes to delivering faux class in London, Robert Lindsay and Rufus Hound as the lovable rogues are sublime. Lindsay, surely another national treasure in waiting, plays the cool and experienced con Lawrence Jameson, with his first appearance on stage prompting an unusual (and British traditionalists may venture to suggest, unwelcome) New York style round of applause. Sliding into the piece with a suave charm, he seals the illusion of the Riviera location. Alongside Hound, very much an emergent star of the modern era, the two are an engine of pinpoint pace, delivering some of the best comic timing in town. 

Other stand out performances come from Katherine Kingsley's Colgate, whose voice gives Yazbeck’s melodies a sexiness and innocence, whilst John Marquez as Andre Thibault has a great time with some of Jeffrey Lane’s cheeky one liners. Mitchell’s direction is canny throughout, though his choreography despite being stunning and sharp, lacks a risk that may well have given some of the bigger ensemble numbers greater impact. 

Dirty Rotten Scoundrels is an example of first class musical theatre. One grins throughout and in much the same way that rascal Jameson returns to to the Riviera for each season, so are audiences likely to do the same for this dirty rotten treat of a show. 

Booking to 29th November 2014