Krapp's Last Tape *****

Samuel Beckett was inspired to write Krapp’s Last Tape after hearing Northern Irish actor Patrick Magee reading excerpts from Molloy and From an Abandoned Work on radio. Originally entitled ‘Magee Monologue’ it was premiered in 1958 as a curtain opener for another of his lasting contributions to theatre, Endgame, and starred Patrick Magee. Other notable actors to take on the role before Michael Gambon include John Hurt and playwright Harold Pinter. Michael Gambon here makes a triumphant return to his roots with the Gate Theatre (it was where he made his stage debut before being picked up by Laurence Olivier).

      

Life often fails to live up the expectations and dreams of when we are young and reading an old diary or journal can often be a traumatizing experience; the disparity between what we had hoped would be and what actually has been is often so great that it makes us feel like we missed the opportunities for a better life. This is a harsh realisation and it is the challenge that Krapp, the character of Beckett’s famous monologue, faces throughout the piece.

      

He has settled into the tradition of marking his birthday every year by recording onto reels the events of the year and listening to the ones he has recorded in previous years. He has become a disheveled figure; a ghost of his former self and the production captures this image perfectly. The costume for Krapp is a worn and faded, dirty and unwashed collection of aged clothes, from the assumedly once-white shirt to the scuffed shoes and unkempt hair. He is clearly a man who has long since given up on taking care of himself, wandering off intermittently to a drinks cabinet offstage and feasting on bananas.

      

The set is developed in a minimalist style that is typical of Beckett productions. The single light hanging above the old desk casts a simple picture of the somewhat isolated life of the room’s occupant. The desk also implies a greater time past, being a good quality, large desk but worn and obviously well used.

      

Michael Gambon’s portrayal of Krapp is faultless. When the curtain comes up we see him languishing over the desk and from that moment to the very end he seems as at home in the character as Krapp is at the desk. They are one and the same person. Before too long (though not straight away, of course) he begins to explore his room (though not straying too far from the desk as he runs his thumbnail along the dents along the edges), in search of the pot of gold at the end of the rainbow: a banana. This is a masterful piece of characterisation from both Beckett and Gambon. The inclusion of this image gives Krapp a dimension of animalistic, primitive de-evolved nature and Gambon embraces it. He manages to produce a comedy with the bananas that had me on the verge of laughter that would disturb the near silence of the audience who sat utterly captivated by the power of Gambon’s natural and powerful stage presence.

      

The way he uses the lighting and the props are so comfortable that you easily understand the way the man has deteriorated over the years. Gambon delicately infuses the character with a natural believability, which is remarkable bearing in mind that it’s a script by Samuel Beckett. The subtle nuances regarding his relationship with his former self aren’t prominent but are strong and feature in what is an insightful proportion to the rest of the production. For example, the moment that he fails to remember the meaning of the word ‘viduity’ and has to go to his old and dusty dictionary to remind himself (the state of being a widower or a widow; widowhood) puts him in the very relatable situation of a writer who has lost touch with that which made him unique.

      

The direction is also put together in a very mature and conscious fashion; the simplicity of the script perfectly demonstrated. There is a danger of rushing words or overdoing pauses when you’re faced with a piece of work such as this but in every case the pace and pauses in the script and the actions in the silence weren’t laboured or hurried but kept for as long as was required to elicit a response and then moved on from. Gambon moved at a pace that allowed the full impact of the script to come through and impress on us as an audience.

      

I don’t think I’ve ever seen a piece of theatre as coherent as this and I find this remarkable bearing in mind the demanding nature of the role. Every memory is brought to vivid life, painting colourful pictures of a vibrant life that directly contrasts with the simplicity and blackness of what we can see before us. The passages about his previous girlfriends and lovers, especially the one he returns to again and again with the pair of them sitting in the boat on the lake add so much upon each visit that before long they seem like your memories and you can’t help relating to Krapp in some way or other.

      

This production offers so much in such a short space with such minimalist features that it remains a remarkable piece of work. The person behind me, upon the conclusion of the play, remarked to her partner ‘Is that it?’ There can surely be no better praise for what is a faultless production of a great work of theatre.

     

At the Duchess Theatre, written by Samuel Beckett, directed by Michael Colgan, cast includes Michael Gambon, runs from 15^th September – 20^th November 2010.

John Ord (27/10/2010)

Birdsong ****

It’s best, I think, that I begin this review by stating that I have not read the novel from which the play is adapted. I will, therefore, not be making comparisons between the novel and the play; something I think to be irrelevant in any case. The play, as it stands alone, is a wonderful example of slick and precise storytelling that draws you into the highly emotional plot.

      

Perhaps the most remarkable element of the production is the projection that is used throughout. A large screen is used as a backdrop for the show and the crew project onto it images that correlate to the action on stage. In this way, the set can change very quickly and still feel real. I find it difficult to justify the use of projection in theatre as it’s often over-used and thus detracts from the actors and the play as a whole. When I saw the screen I had my reservations but within a few minutes I was thankful it was there; Trevor Nunn manages to integrate it so beautifully with the rest of the show that I find it hard to imagine the show without the projections.

      

The set itself was simple. The stage was left largely clear, except for when a setting was needed, at which point the necessary table and chair, sofa or rose bush was brought on and once done with was just as swiftly removed with brilliant efficiency. The whole first act has the feel of a whistle-stop tour and as such it moved at a very quick pace, rushing from scene to scene. This isn’t a bad thing at all as it keeps the audience interested and attentive in the exciting storyline. The necessary points are made and you do become invested in the characters to a remarkably deep level, although you don’t realise it until the culmination of the second act.

      

The performances of the cast are a match for the superb script, with special mention having to go to Lee Ross (Jack Firebrace) and Paul Hawkyard (Arthur Shaw). Their sappers in the second act really draw you in and their stories and friendship really connects with you. Their humour makes you laugh in all the right places and they give a wonderful yin to Ben Barnes’ yang. They are, for me, the standout performers in the show.

      

It’s not just them, though. The whole cast give strong performances, including Florence Hall as the very young Lisette. She manages to capture the mannerisms and behaviour of a fifteen year-old girl in what is a very mature performance indeed. Nicholas Farrell also demonstrates his class, giving authoritative performances as both René Azaire and Captain Gray. He captures the characters of the two men and shows in the first the stubbornness of a man attached to power and in the second the helplessness of the officers in the First World War. Genevieve O’Reilly plays the conflicted Isabelle Azaire with a grace that ensures you understand the challenges that she faces in being married to her tyrannical husband and how her love for Stephen Wraysford (Ben Barnes) gives her simultaneously both solace from this turmoil and a deepening sense of guilt and fear for herself.

      

Which brings us to Ben Barnes. Expecting good things of him I can only say that I was somewhat disappointed. Although he had a firm grasp of the style of the show (that it is spoken to the audience in a way similar to that of a man recapping his memoirs) his execution seemed rather one-dimensional. When he wasn’t speaking very quickly he was on the verge of shouting, if not fully into the realm of unnecessary noise levels. Whenever he had to show desperation, fear, anger or pretty much anything else he resorted to raising his voice. It wouldn’t have been so bad if the character weren’t endlessly darting between these emotions. He had some deeply moving stories to tell of the horrors of war, of people being mown down at the Somme and the desperate situations in the trenches but all of them were tainted by his inexplicable need to raise his voice and overdo it almost every time.

      

Having said that I was disappointed with Ben Barnes’ performance, I was still captivated by his story and the stories of all the people involved, especially in the second act.

      

There was a marked difference between the two acts. The first act used a lot more projection, some powerful lighting effects and was faster, with more optimism and hope. The second act was dark, not using projection so much as a set that imitated the trenches and tunnels that made the set more claustrophobic and darker. The characters had very little optimism and no hope at all. The differences made the second act even more striking. By the end of the play the developments can’t help but move you deeply. The horrors of the war and the desperation of the people trapped in the centre of it are brought out in a fantastic script and a masterful production.

      

The thing that summed the power of the show up more so than anything else was the bow at the end. The cast lined up in front of the poppy fields and birdsong, giving a sombre bow almost without a smile before leaving us alone with the birdsong and our thoughts.

At the Comedy Theatre, written by Sebastien Faulks and Rachel Wagstaff, directed by Trevor Nunn, cast includes Ben Barnes, Nicholas Farrell, Genevieve O’Reilly and Iain Mitchell, run: 18^th September 2010 – 15^th January 2010.

http://www.birdsongtheplay.com/

John Ord (23/10/2010)

Me and Juliet ***

The small Finborough Theatre has been home to many successful shows in the past, including another Rogers and Hammerstein musical, State Fair, in 2009 which was also directed by Thom Southerland. The show was received so well it was transferred to the West End at Trafalgar Studios.  A repeat of this seems unlikely for the entertaining and innovative Me and Juliet.

      

The cast give superb performances all round with the characterization utterly convincing, which is truly remarkable for a show where some of the characters are only on stage for a short time. Stephen McGlynn succeeds in making you hate his self-obsessed character after his first scene and Jodie Jacobs characterises the ambitious Betty and bounces her off Dafydd Howells’ authoritative Mac, bringing out the nuances in both of their characters. The quality performances are almost too many to name as I could list each cast member individually but I think that a standout mention has to be given to Robert Hands’ Larry. From his first song (‘That’s the Way it Happens’) you can see that he has a talent for using the music to highlight and advance his characterisation. He captured the defining moments of struggle and strength in Larry’s journey with assured naturalism so that you never doubted the reality for a second. His relationship with Laura Main’s timid and impressionable Jeanie is delicately played and fashioned with the tenderness that you would expect of the pair if you were to meet them backstage of a real show.

      

The abilities of each individual seemed to multiply when they were on stage as a group; the show really is a masterclass in ensemble musical theatre. The ease with which the cast handles the various transitions between scenes, characters and even musical numbers is remarkable. If anyone is in any doubt about the advantages of ensemble theatre in any form I recommend keeping an eye on Thom Southerland, who seems to have a knack for it.

      

The stage was set for the action in what nobody could doubt as being an ingenious use of what little space was available. The small stage was full of surprising innovations; it seemed like every time the scene changed another part of the wall had become a table or a desk or a dressing room station. Curtains falling from the ceiling acted as neat partitions when coupled with the smart and flawless lighting setup. When I arrived to secure my booking on what was set to be the first night I was told that the opening had been postponed due to technical difficulties. Having seen the remarkable use of the space that doesn’t surprise me at all, though there was absolutely no technical difficulty on stage as the ensemble neatly maneuvered around the ever changing set with precision and confidence; testament to the skill of Thom Southerland and his design team.

      

Another remarkable use of the space was the jazzy choreography. Being someone who is easily impressed when it comes to showy dancing I must admit to having thoroughly enjoyed what was a veritable cavalcade of dance numbers, including hats and canes, maracas and even what was a delightful, if noisy, tap routine.

      

Welcomed into the auditorium to the piano already playing, the masterful Joseph Atkins at the keys, is a better way to enter a theatre than most and it was a pleasing harbinger of what was to come. The arrangements gave the actors a chance to really enjoy themselves and even though I was present on an evening where the audience were something of a lackluster giant the fun that the ensemble were having performing the numbers rubbed off on the audience. Numbers such as ‘Keep it Gay’ and ‘That’s the Way it Happens’ showcase the quirkiness of the show with bouncing rhythms and intelligent phrasing, while ‘The Big Black Giant’ speaks in a more melodious way of the passage of time and audiences in general; ‘Intermission Talk’ could have been written by Sondheim for all the more unusual rhymes and rhythms.

      

Production and music aside, however, the show lacks a certain depth. The story is too simple with very little by way of subplot and very little, even, by way of primary plot. It’s in a very matter-of-fact way that we find out that it’s been five months since Betty joined the company and that Larry and Jeanie had fallen in love and were married in the morning. There was very little build up to this at all, which was perhaps necessary.

      

The shortage of any engaging plot seems odd, especially since the second act felt very short. Development was definitely needed and I think that there was plenty of room for it to be included. It had the feeling of a script that couldn’t match up to the music quite so easily and even though there were some strong numbers in the score, there were also some weaker numbers. Richard Rogers said that in writing Me and Juliet they wanted to ‘have some fun’, and the show, as a whole, is certainly fun. Unfortunately, neither the book nor the lyrics is able to match the brilliance with which the ensemble brought them to life.

Written by Rogers and Hammerstein; directed by Thom Southerland at the Finborough Theatre; musical direction by Joseph Atkins; choreography by Sally Brooks.

http://www.finboroughtheatre.co.uk/productionsmeandjuliet.htm

John Ord  (13/10/2010)

Deathtrap ****

Deathtrap was written by Ira Levin in 1978 and still holds the record for the longest running comedy-thriller on Broadway, having run for a grand total of 1,809 performances. The play runs with more twists and turns than a dizzy ballerina and excels in both the comedic scripting and the sudden bursts into thriller, enhanced by the naturally lighthearted default of the play and seemingly effortless witticism with which Levin laces the script.

      

Sidney Bruhl (Simon Russell Beale) is a playwright in dire need of a box office smash having spent the last eighteen years living off his last success and his wife’s dwindling monies so when one of the students on his seminar course, Clifford (Jonathan Groff), sends him the manuscript of his ‘firstborn child’ he is torn between the urge to steal the play or to collaborate on it. The question is; is the play (Deathtrap) worth killing for?

      

At first glance of the set one is already inclined to answer in the affirmative. Bruhl’s living room (which acts as the sole location for the play) is elegantly designed down to even the subtlest detail, the walls and rafters adorned with antique weapons and inspirations for Bruhl’s thriller plays. It’s enough to excite the twelve-year old inside any of us.

      

The magnificence of the set is, however, rightfully overshadowed by the quality of the acting. Simon Russell Beale plays Sidney Bruhl in such an assured and familiar way that he is wholly convincing in the part, engaging the audience in the dilemma that faces him. It’s not an easy script to act by any means. The constant seesaw between comedy and thriller is difficult to gauge and coupled with the ever-present meta-theatrical elements to the play (at one point Bruhl comments on a character moving stage right, just as Clifford does so) it means that keeping abreast of the constant changes at any particular time is demanding work. Beale, however, makes it look almost second nature and captures perfectly the subtle nuances in Bruhl’s character, masterfully adapting to each new revelation and thus making it easier for the audience to understand as well. Without such a strong performance in the lead part, the play could very easily become hard to follow but Beale prevents this. He provides what is a very strong foundation indeed for his fellow actors to build on, which they do almost without fault.

      

Claire Skinner (Outnumbered), Myra Bruhl, plays her in a way that you are always expecting more from her character, adding again to the suspense and uncertainty that permeates the play. During the interval I puzzled with my companion as to whether or not there would be more to come from her or whether Levin was just writing the script in such a brilliant way that anything, including the impossible, seemed plausible.

      

Jonathan Groff (Glee) sinks his teeth into the darker side of Clifford Anderson in a fashion that becomes thoroughly enjoyable to behold as all the twists begin to materialise. His onstage relationship with Beale stands out as one that works very well, the two comfortable with each other and able to bounce off each other to deliver what the parts require them to.

      

It strikes me that one of the criteria of a good suspense-driven thriller is one that keeps the audience in the dark as long as possible over what is to happen and that the best way to do this is to keep as many options open as possible. The dedication that must have gone into the writing of a show that wholly succeeds in doing this has clearly been mirrored in almost every aspect of the show, from the meticulous detail on the set to the subtle nuances of the acting.

      

There was very little that I didn’t enjoy. The addition of birdsong at intermittent intervals has never been something I’ve been a fan of and this production was no different. It didn’t really add anything and although it wasn’t actively distracting I don’t think it was entirely justified. The same can be said for the music that was used, obviously intended to dramatise suspense and fear but in actuality did very little towards this. I think that such effects serve a better purpose on television and are very hard to work into the theatre and even the talent behind this production seemed to struggle. My only other gripe would be that the programme (which I always like to pore over) had remarkably little to do with the production, which upset me.

      

These are, however, minor quibbles with a show that was engaging on every level and thoroughly enjoyable. There may be doubters about how a thriller can be comedic but I can assure you that once you’ve seen this (and I urge you to) that it will be clear as the full moon on a dark and stormy night. At least, it was to me when my companion went from laughing to himself to leaping halfway across my seat in shock within a couple of seconds.

      

If you want to engage in something that twists and surprises you between bouts of laughter, I can think of no better show than this, especially with such a good team behind it. You’ll regret it if you don’t go.

      
In the words of Sidney Bruhl, ‘even a gifted director couldn’t hurt it.’




Written by Ira Levin; directed by Matthew Warchus; at the Noel Coward Theatre; starring Simon Russell Beale, Claire Skinner and Jonathan Groff.


http://www.deathtraptheplay.com/

John Ord  (06/10/2010)

Design for Living *****

Design for Living was originally written by Noël Coward for himself and his two good friends Alfred Lunt and Lynn Fontane to star in, which they achieved on Broadway in 1933. The show was received with record-breaking successes.

The play focuses on the ‘erotic hotch-potch’ that exists between the three main characters: Leo, Otto and Gilda. Coward is on fine form with almost every line full of witticisms and the whole show is charged with a timeless charm. From its first performance it has lost none of the brilliance that it is renowned for and it is certainly some of the best writing I have ever encountered.

The cast of this new revival builds on a marvellous foundation from eminent director Anthony Page, whose relaxed style is perfect for the material. The production itself lacks nothing at all. The costumes are stunning and all add something to the show, the sets are detailed and fashionable and allow the audience to easily tap into the ‘perfect silliness’ of the three main characters and their supporting cast.

     

The acting is also of the highest order with each character, right down to Matthew the butler in the final scenes, being perfectly characterised and all delivering standout performances. There were few faults and all of which are easily subscribed to first week creases that are yet to be ironed out by the weeks of rigorous performances that will delight every audience member that attends.

     

Admitting that there were slight flaws in no way detracts from the brilliance of a show that seems to come together so perfectly that my only complaint could be that it was so funny that at times the audience wouldn’t stop laughing.

     

All in all, I would say that this production is a near as makes no difference perfect synergy of casting (including Andrew Scott (Leo) whom people who saw Sherlock on the BBC will recognise as the infamous Moriarty), set, direction and scripting. It’s as if the actors were made for the roles and the roles for the actors.

     
Unmissable. Simply unmissable. 

Written by Noel Coward; directed by Anthony Page; at the Old Vic Theatre; starring Lisa Dillon, Angus Wright, Tom Burke and Andrew Scott.

http://www.oldvictheatre.com/whatson.php?id=68

John Ord  (08/09/2010)