13 was directed by Thea Sharrock, also responsible for the Old Vic’s Cause Celebré earlier this year, which by my reckoning was one of the best pieces of theatre I have seen. Bartlett plays are often very abstract and 13 was no different. It was impressive, not least because it was on the Nationals epic Olivier stage, which by the way, it made full use of. Complete with revolving 2 story high building block that morphed into whatever the scene required; 10 downing street; a lawyers office; a magistrates; an airport terminal…
The script really does wrap itself around the meatier issues of life. There is no shying away by Mike Bartlett as he tackles issues of war, God, democracy, militancy, interventionism, leadership, politics, murder, grief, the basic justification of actions, jus ad bellum and the meaning of life. The story bases itself around 3 central characters; a PM, an atheist academic, and a boy called John who leads a protest to prevent war with Iran, which is refusing to concede to nuclear disarmament. The play seems to be saying there are no wholly right or wrong decisions. That life is not black and white, it is grey and we need to remember that.
Snapshots of the characters lives begin to come together throughout the play and their interlinking purposes become apparent towards the end, something which I always find very satisfying in a play; that curiosity of trying to work out why people are relevant and how they relate to the overall plot. Lovely writing.
The cast were a mixed bunch, there were some especially strong performances from the leads. Danny Webb playing the atheist and Geraldine James the PM, both did a good job. Trystan Gravelle was excellent playing John, pied pipering a following against military intervention; very Marx opium of the masses. You don’t have to be a genius to draw parallels from recent events in Britain, he gains momentum via the use of social networking sites, that recent rather unpleasant phenomenon of modern technology used in the London riots a few weeks ago.
The other sterling performance was from Helen Ryan, playing what everyone wishes they had for a Gran (cannot explain how excellent this woman’s acting was). Her performance was flawless, natural to a T, with impeccable comic timing. At one point the side wall of the stage lights up from within, to reveal a grand piano and Ryan, who went on to play the piano and sing one of Rhianna’s rather lusty songs “Only Girl” in the acoustic style of Radio 1’s Live Lounge. The lyrics went something like “I want you to love me, like I’m a hot ride…” -Hilarious. It was pure genius on Bartlett’s part too.
The questions the play raised were deep. There was a lot of very thought provoking material in there, an awful lot that wouldn’t have gone a miss in a Philosophy and Ethics degree. However, I would suggest children under the age of 16 might find the topics difficult to deal with and would not recommend taking them. Post discussion of the play with those I attended, did reveal a rather depressing tone and left me feeling rather deflated, like someone who has had their purpose of life bubble (you know the one that you carefully erect around yourself, in order to stop those pesky “big” questions encroaching) burst. But it was a good production, good direction, good writing. So i’ll give it it’s dues and call it:
★★★★
Ralph Fiennes, Nicholas Lyndhurst, Michael Benz, Elisabeth Hopper in Trevor Nunns production of The Tempest by William Shakespeare @ The Theatre Royal Haymarket, London.
Starring Ralph Fiennes and directed by Trevor Nunn, this was bound to be one of the better Shakespeare productions I have seen. However, after a few fairly dreary reviews, I started to wonder if perhaps it would be a slight let down. It is a sad fact that all too often nowadays, the hype of a big name (or in this case 3 very big names; alongside Fiennes and Nunn, the cast includes Only Fools and Horses legend Nicholas Lyndhurst) can be all that a West End production relies on to tempt audiences. However, expecting the worst, I went along and was pleasantly surprised. The production was not ground breaking, but what it lacked in originality it more than made up for with charm.
For those that don’t know it well, The Tempest is set on an Island where Prospero, the rightful duke of Milan (played by Fiennes) and his daughter Miranda were left exhiled for some 12 years after his brother deposed him (with the help of the King of Naples). One day, a ship containing the very same councilors and brother that had ejected him, sails by. Prospero, who has been learning magic ever since he became stranded, uses his forces to cause a storm that destroys the ship, leading it’s passengers to drift ashore. Once there, the party is separated. Two members of the group find Caliban (the son of a witch who once owned the Island. Monster like, he begrudgingly serves Prospero), the other group battles with mutinous impulses and falls prey to the mind games of Prospero’s spirit Ariel while the King of Naples son Ferdinand, fears all are dead, finds Miranda (who other than her father, has never seen another man) and declares his love for her. Eventually all parties are reunited and apologies made, they agree to let bygones be bygones and get on in harmony while Miranda and Ferdinand marry. Thus ends the play.
So getting back to Nunns production. The key to a good Shakespeare is for a cast to get their head around the language but not to over dramatise it. Without the dreaded “Shakespeare voice” Shakespeare actually becomes very easy to understand. In this production the cast were spot on. I found it easy to engage and slipped straight into the language without noticing (something which doesn’t often happen). This made the gags stand out and all the nuances of the play come alive. This was the 5th time I have seen The Tempest and having read it in previous years, I found myself finding out new information- previous snippets I have obviously missed in the whirlwind of Shakespearean speak. This is a credit to the cast and Nunn.
The ambiance of the whole play was very traditional, unlike Kevin Spacey’s Richard III it did not try to be anything other than a classic Shakespeare. The set and clothing was the usual period garb, but what perhaps other reviewers have failed to touch on is the fact that it was all extremely well done. The musical score was beautiful, as was the singing (mainly administered by Ariel who was played by 3 different actors as a “divided self”) The performances were excellent. Fiennes made a strong and powerful Prospero. There were some extremely funny moments while he played mind games with the young Ferdinand (Michael Benz) desperate to impress naive Miranda (Elisabeth Hopper). Also, some side splitting scenes between Caliban (acted extremely well by Giles Terera), Trinculo (Lyndhurst in full comedic swing) and Stephano (Clive Wood).
All in all the whole production was extremely satisfying. It left me with a smile on my face and a lovely sense of well-being. Which is all one can really ask of a trip to the theatre! So I’d say it’s a yes. Perfect for the whole family.
★★★★
Noel Coward’s “Private Lives” @ Nottingham Playhouse
(Janie Dee; playing Amanda) (Rupert Wickham; playing Elyot)
Following a year of glowing Noel Coward productions; including the likes of the Kingston Rose’s “Hay Fever”, the hysterical rendition of “Design for Living” at the Old Vic, “Blithe Spirit” gracing the West End & the spirited version of “A Young Idea” performed by RADAs finest, this production had some fairly big shoes to fill. And it did so wonderfully. Fast paced & full of passion, it was apparent from the start that this was going to be good. The story is about long term loves and divorcees, Amanda and Elyot who turn up to a hotel in France on the first night of their honeymoons (unknown to each other) only to find they are sharing a balcony. Having not seen each other for several years what ensues is a set of hilarious circumstances leading the two to run off together, leaving their newly wed partners behind. They end up in a flat in gay Paris and begin arguing just as passionately as they did years ago, which had in the first instance, led them to divorce. The whole cast is brought together in the final act, as the two angry marriage partners track them down. The rage and over dramatics of the entire script are hilarious and the cast brings it alive brilliantly.
The main characters Amanda & Elyot were played by real life husband & wife Janie Dee & Rupert Wickham; to great effect. A slap or two during the second act drew gasps from the crowd in shock & then trumphant laughter as she walloped him back. Coward’s play is once again an excellent way for the audience to forget themselves & enjoy the hilarity of actually quite a serious situation. There is a dark side to this play & he has managed to create an environment that makes light of what can only be described as domestic abuse. The writing is witty as ever & the cast carried it off brilliantly, never missing a laugh. RADA graduate Victoria Yeates (playing the irritating Sibyl) was the plays only weak point, with her acting slightly over done. There is often a tendency with Coward’s larger than life characters to fall into the trap of play acting, unfortunately Yeates has fallen fowl of this mistake. What the audience wants to see is a realistic portrayal of a person they can relate too, actually expressing all those things most of us feel like saying & doing, but refrain because we know how completely over dramatic and childish they are! That is funny. Unfortunately, I did not believe in Yeates’ character and her voice could have been several octaves lower- that was defiantly not her real voice. Irritating characterisation comes from the text, it does not need to be “played”. This however, did not detract from the overall production, which was immensely enjoyable. The other 3 main actors were glorious. Real tears stained the cheeks of Dee as she remembered her deep love & later as they argued; throwing herself across the couch in a distraught tantrum at the use of their safe word “Soluks” (abbreviated from “Solemn and Isaacs”) which prevented her from finishing her argument.
As the audience, we were often reminded of the genuine chemistry of the real life marriage that we were being permitted to see. It was actually rather wonderful at the end, once the actors had taken their bows, the two shared a cuddle & a kiss as they left the stage, as if to comfort the audience & say “look, it’s alright, we didn’t mean it, we love each other”. Endearing.
★★★★
