Nye - Review

National Theatre, London

*****

Written by Tim Price

Directed by Rufus Norris

Michael Sheen

Giving an extraordinary performance, Michael Sheen embodies Aneurin (Nye) Bevan in Tim Price’s new play. As Bevan lies dying of stomach cancer, Sheen takes us on a morphine-induced hallucination through the Welshman’s life, from his early career (following a brief stint down the mines) amidst the small town politics of Tredegar, through to his election as the MP for Ebbw Vale in 1929 and ultimately Cabinet Minister for Health and Housing and the visionary creator of the National Health Service in 1948.

In what is a fascinating analysis of both history and British socialism, Price’s narrative takes in Bevan’s unconventional yet loving marriage to Scottish MP Jennie Lee (fine work from Sharon Small) and sees him wittily spar with Tony Jayawardena’s brilliant cameo of Winston Churchill. Jon Furlong is equally brilliant, if repulsive, in his Mandelsonian take on Herbert Morrison (who was of course grandfather to the current Lord Mandelson). The other standout supporting roles are from Stephanie Jacob as Clement Attlee (driving a motorised No 10 desk around the stage), Rhodri Meilir as Bevan’s coal miner father David and Kezrena James as the starched yet supremely empathetic Nurse Ellie.

The story of the NHS’s formation is testament to Bevan’s strongly held belief in free health care for all at the point of need, forged from the iniquities of poverty and deprivation that he had seen in the Welsh mining valleys and throughout his career. Act Two’s revelation of the mercenary, self-preserving attitude of Britain’s doctors who fought tooth and nail against the privatisation of their highly lucrative profession makes for gripping drama.

The stagecraft on display is the National Theatre at its finest. Vicki Mortimer’s set sees hospital bedside curtains drawn across the stage in a variety of permutations including an ingenious suggestion of the House of Commons. Canny projections and an inspired use of laser-light to depict an underground seam of coal, only add to the evening’s theatrical magic.

The night however belongs to the pyjama-clad Michael Sheen. On stage virtually throughout and in a turn that includes a fabulous cover of Judy Garland’s Get Happy, Sheen is a tour-de-force treat in an evening of exquisite, unmissable theatre.

Runs until 11th May at the National Theatre and then at the Wales Millennium Centre from May 18th to 1st June

Photo credit: Johan Persson

Good - Review

Harold Pinter Theatre, London

***

Written by C.P.Taylor

Directed by Dominic Cooke

David Tennant

The moral narrative that underlies Good is as sound as its title. David Tennant drives the piece as Halder, CP Taylor’s German gentile protagonist, an academic, who we see from 1933 through to 1941 being slowly seduced by and drawn into the Nazi machine.

Tennant’s performance is outstanding and the glimpses of ordinary mundanity that he offers, as at first he disbelieves and then ultimately succumbs to Hitler’s horrific ideology are fine acting. Taylor’s writing however vacillates between the discombobulating psychodrama of the first act, and a second half that sensationalises horror over dramatic structure  As Halder implausibly shins the greasy pole of the Nazi machine, over the course of an hour or so Taylor takes us on a whistle-stop tour of the Holocaust that starts with book-burning, moves on to Kristallnacht and ends with a grim finality at Auschwitz. Taylor even includes some conversations between Halder and Adolf Eichmann, just in case the audience hadn’t got the message.

The noble strength of the play is its argument that all it took in Germany was for “good” people to essentially enable Hitler’s horrors and allow the fomenting of antisemitism along with a euthanising contempt for the elderly and infirm.

The flaws of the play – or possibly this specific production – are the bewildering multi-roles foisted upon Tennant’s two fellow actors Elliot Levey and Sharon Small. Levey (himself only recently out of the excellent Cabaret that charts subtly yet brilliantly the Nazis’ rise to power) plays Maurice, Halder’s Jewish doctor friend. There is sound work from Levey, but there was little on-stage credible chemistry of friendship between the pair. And whenever a strand of consistency was developed, it was instantly shattered as the penny-pinching producers swapped Levey into yet another role.

Equally Small, who has to tackle the triumvirate of Halder’s mother, wife and lover as well as a senior male official in the SS fails to suspend our disbelief with so many confusing facets to her onstage work. When late in the second half, and in the role of Halder’s lover, she complements Halder on looking so handsome in his SS uniform, the line is as expected as it is cliched.

Fans of David Tennant will not be disappointed. 

Runs until 24th December

Photo credit: Johan Persson