ROSENCRANTZ AND GUILDENSTERN ARE DEAD at the Old Vic

Yes Constant Reader it's true... I really struggle with Tom Stoppard.  There, I've said it.  I feel cleansed.

It's that Smart Alec air, the over-use of wordplay and punning which wears me down; I feel I want to yell back at the stage "Yes I get it, English is your adopted language - now stop the bloody barrage!".  So you can imagine that it was with a heavy heart that I sat down to watch his first big success ROSENCRANTZ AND GUILDENSTERN ARE DEAD now revived at the Old Vic, the very theatre where it made it's London debut 50 years ago staged by Olivier's National Theatre.

My only experience with Stoppard's play was seeing his own drab 1990 screen version starring Tim Roth and Gary Oldman so at least I had a general idea of what to expect but swipe me, I really liked it!  In large part this was due to David Levaux' crisp and fast-moving direction but also impressing were Joshua McGuire as Guildenstern and - the real success of the evening - Daniel Radcliffe as Rosencrantz.

Stoppard's megamix of WAITING FOR GODOT and HAMLET muses on what happens to Rosencrantz and Guldenstern - Hamlet's university friends invited to Elsinore to spy on him by Claudius - when they are offstage.  They sit and wait for Hamlet, Claudius and Polonius to update them on what is happening - they chat, they bicker, they play question-and-answer games, they guess at what's going on but even when they are told by Claudius to actually do something - to find what Hamlet has done with Polonius' body - they don't do anything.  Finally they get to do something when they escort Hamlet to England... but as we know, this doesn't end well...

Stoppard's clever trick is to use the actual Shakespeare text for the scenes from HAMLET but uses vernacular in the scenes between the two friends as well as their scenes with The Player, the leader of the troupe of actors so beloved by Hamlet.  The Player gives David Haig the chance to be as splenetic as ever but also to investigate Stoppard's musings on the permanence of death and the pretense of performing.  Who better to muse on death than the actor who has to die convincingly?

Maguire and Radcliffe make a good double-act, the former obviously the more dominant of the two as he gets so easily exasperated at Radcliffe's sweetly naive Rosencrantz.  But under the comedy wordplay they also suggest a sadness and pathos of two lost souls caught up in a situation not of their making and although not aware of it, totally in over their heads.  As I said above, this really does showcase how good Radcliffe is now as a stage actor - EQUUS and HOW TO SUCCEED IN BUSINESS.. showed him to be a charismatic performer but those early performances had an air of trying too hard, here he seems relaxed on stage which helps the comedy.

The excellent performances of the three lead actors is matched by a fine supporting cast; it was interesting seeing this so soon after the Almeida Theatre production of HAMLET and it must be said that the performances of Luke Mullins as Hamlet, William Chubb as Polonius and Helena Wilson as Ophelia are as good as anything seen in a standard production of Shakespeare's play.

As I said David Leveaux' production has a nimbleness that only slightly becomes becalmed as the play comes to an end but overall it kept one engaged in not just the dizzying wordplay but the action both offstage and on.  The non-specific set by Anna Fleischle and lighting by Howard Harrison also contribute greatly to the overall enjoyment to be had.

It has just been announced that ROSENCRANTZ AND GUILDENSTERN ARE DEAD has been extended at the Old Vic to May 6th - this production is thoroughly recommended both for a good laugh but also for the arguments which linger in the mind after.

RAGTIME at Charing Cross Theatre - history keeps happening...

Director Thom Southerland is adept at choosing to direct musicals which might give other directors pause.  At the Southwark Playhouse, where he has worked most regularly recently, he has staged GRAND HOTEL, ALLEGRO, GREY GARDENS and TITANIC, four musicals that would never turn up in an established West End theatre; some need too big a cast or would be deemed too risky at the box-office.

His appointment to be artistic director of the previously troublesome off-West End Charing Cross Theatre this summer has given him the chance to revive his production of TITANIC (which has now won 6 off-West End theatre awards) and, after a hiccup with the cancellation of the second show - the nostalgic RADIO TIMES - Southerland has chosen another tricky musical as his next production, the Tony Award-winning RAGTIME.

Based on EL Doctorow's groundbreaking novel, which mixed fact and fiction to show the powder-keg of events in the New York of 1900, RAGTIME opened in 1998 which, although it ran for two years, did not recoup due to the blockbuster production costs.  The show has faults; Terrence McNally's book struggles at times with focus as he has to corral fourteen main and supporting characters throughout, there is certainly too much emphasis on the growing friendship of Mother and immigrant Tateh rather than the more powerful storyline involving black ragtime pianist Coalhouse Walker Jr.'s terrorist revenge attacks.

Although, as a whole, the score is a glorious explosion of turn-of-the-century pastiche numbers and tear-jerking ballads, Lynn Ahrens' lyrics sometimes overstate themselves in contrast to Stephen Flaherty's consistently excellent music.  But be that as it may, I have been a huge fan of the score since I first heard the original cast recording and again, it was fantastic to hear it 'live' on stage.

Sadly my main drawback with Southerland's otherwise hugely enjoyable production is the return of the dreaded "actor as musician" so we have the absurd directorial choice of Joanna Hickman as Evelyn Nesbitt singing her excellent solo "Crime of The Century" hidden behind a double bass and the only thing that the actor playing Harry Houdini wrestles out of is the accordion permanently strapped to his chest.  It was profoundly irritating, a hired band could easily have been stowed in one of the side balconies as the Donmar does when it stages musicals.

Among those not brandishing instruments were some very good performances: Anita Louise Combe was a wonderfully warm and sympathetic Mother and she literally rose to the occasion (while standing on a piano) to belt out the character's big belt song "Back To Before", the oddly angular Valerie Cutko, although physically wrong for the role, was very good as the communist firebrand Emma Goldman - who coincidentally said "If I can't dance to it, it's not my revolution" which really should have been a title of a song for her.  I have always wondered how the communist anarchist Goldman would react had she known that she would feature in two Broadway musicals (the other being Sondheim's ASSASSINS)?

Ako Mitchell was an imposing presence as the vengeful Coalhouse Walker Jnr. but was sometimes a bit wonky in his higher notes however Jennifer Saayeng as his beloved and doomed Sarah was vocally very strong and gave a very centred and moving performance.  I liked Jonathan Stewart's Younger Brother who finally finds a purpose in blowing things up and there was a scene/song-stealing turn from Seyi Omooba (in her professional debut) who brought some serious church to the mournful "Till We Reach That Day".

Sadly for me two lead performances failed to really connect: Gary Tushaw as the Jewish immigrant Tateh was too overwrought (why did he think he was singing in the Albert Hall?) and Earl Carpenter was a touch too anonymous as Father, a shame as there is much to be mined in this character who refuses to acknowledge that his world has changed until it is too late.  A special mention too for Howard Harrison's atmospheric lighting design.

You have until December 10th to experience the majestic sweep of the Flaherty/Ahrens score - surely one of the greatest in the last 20 years - as well as Southerland's ingenious production.

Watching the show it slowly dawns on you that in these days of urban terrorism, distrust of immigrants, tawdry celebrity, America's questioning of itself and Black Lives Matter, the concerns of 1900 and RAGTIME are not that far away.  Highly recommended.

It's the 2014 Chrissies!

Yes for the 8th year I am proud to present the apex of theatrical awards... the Chrissies!  As always, it has been hugely easy to find nominees, more difficult to sift a winner.  Be that as it may, here we go...

BEST DRAMA (Original/Revival):

 

MY NIGHT WITH REG - Kevin Elyot (Donmar)

Nominees:
BEYOND THE BEAUTIFUL FOREVERS - Hare (Olivier, NT) /

ELLEN TERRY WITH EILEEN ATKINS - Atkins (Wanamaker Playhouse) /

KING LEAR - Shakespeare (Olivier, NT) / MEDEA - Euripedes (Olivier, NT)

BEST MUSICAL (Original/Revival):

GYPSY - Arthur Laurents / Jule Styne / Stephen Sondheim (Chichester)

 Nominees:

CITY OF ANGELS - Gelbart / Coleman / Zippel (Donmar) / FINGS AIN'T WOT THEY USED T'BE - Norman / Bart (Stratford East) / HERE LIES LOVE - Byrne / Cook (Dorfman, NT) / SUNNY AFTERNOON - Penhall / Davies (Hampstead) 

BEST ACTOR (Drama):

 SIMON RUSSELL BEALE - King Lear (Olivier, NT)

 Nominees:
BRIAN COX (The Weir) / RUPERT EVERETT (Amadeus) /

BILL NIGHY (Skylight) / CLIVE WOOD (Antony and Cleopatra)

BEST ACTRESS (Drama):

HELEN McCRORY - Medea (Olivier, NT)

Nominees:
EILEEN ATKINS (Ellen Terry with Eileen Atkins) / ASHLEY McGUIRE (Henry IV) /

CAREY MULLIGAN (Skylight) / IMELDA STAUNTON (Good People) 

BEST ACTOR (Musical):

 

JAMIE PARKER - Guys and Dolls (Chichester)

 

Nominees:
ALEXANDER HANSON (Stephen Ward) / DOMINIC NORTH (Edward Scissorhands) /

PETER POLYCARPOU (Guys and Dolls) / MICHAEL XAVIER (The Pajama Game)

BEST ACTRESS (Musical):

 IMELDA STAUNTON - Gypsy (Chichester)

Nominees:
JANIE DEE (Keeping it Together) / NATALIE MENDOZA (Here Lies Love) /

SOPHIE THOMPSON (Guys and Dolls) / JESSIE WALLACE (Fings Ain't Wot They Used T'Be)

BEST SUPPORTING ACTOR (Drama):

Geoffrey Streatfeild - My Night With Reg (Donmar)

Nominees:
MATT BARDOCK (My Night With Reg) / PHIL DANIELS (Antony and Cleopatra) /

ADRIAN SCARBOROUGH (King Lear) / STANLEY TOWNSEND (King Lear)

BEST SUPPORTING ACTRESS (Drama):

 
ANGELA LANSBURY - Blithe Spirit (Gielgud)

Nominees:
ANGEL COULBY (Good People) / NOMA DUMEZWENI (Henry V) /

PATSY FERRAN (Blithe Spirit) / SHARON ROONEY (Henry IV) 

BEST SUPPORTING ACTOR (Musical):

 MIKE McSHANE - Assassins (Menier)

 Nominees:

GEORGE MAGUIRE (Sunny Afternoon) / ANDY NYMAN (Assassins) /

JAMIE PARKER (Assassins) / AARON TVEIT (Assassins)

BEST SUPPORTING ACTRESS (Musical):

REBECCA TREHEARN - City of Angels (Donmar)

Nominees:
SAMANTHA BARKS (City of Angels) / SUZIE CHARD (Fings Ain't Wot They Used T'Be) / KATHERINE KELLY (City of Angels) / LARA PULVER (Gypsy) 

BEST DIRECTOR:

ROBERT HASTIE - My Night With Reg (Donmar)

Nominees:
CARRIE CRACKNELL (Medea) / JONATHAN KENT (Gypsy) /

JOSIE ROURKE (The Weir) / ALEX TIMBERS (Here Lies Love) 

BEST DESIGNER:

LIZZIE CLACHAN - Treasure Island (Olivier, NT)

 Nominees:

BOB CROWLEY (Skylight) / WILLIAM DUDLEY (Fings Ain't Wot They Used T'Be) /

ROBERT JONES (City of Angels) / Tom Scutt (The Weir) 

BEST LIGHTING:

HOWARD HARRISON - City of Angels (Donmar)

Nominees:

NEIL AUSTIN (Henry V) / MARK HENDERSON (Gypsy) /

PAUL PYANT (My Night With Reg) / JUSTIN TOWNSEND (Here Lies Love) 

BEST CHOREOGRAPHY:

 SCOTT AMBLER - Lord of The Flies (Sadler's Wells)

Nominees:

MATTHEW BOURNE (Edward Scissorhands) / BILL DEAMER (Grand Hotel) /

STEPHEN MEAR/JEROME ROBBINS (Gypsy) / ANNIE-B PARSON (Here Lies Love)

I do enjoy doing these!  Congratulations all...

The 7 Shows of Xmas 5: CITY OF ANGELS

Finally, here it was... the one I had most been looking forward to seeing this Christmas. One of my all-time favourite shows, CITY OF ANGELS at the Donmar was bound to fall short of my high expectations - but by how much, Constant Reader?

CITY OF ANGELS, directed by Michael Blakemore, opened on Broadway in 1989 where it ran for over two years, in the process winning the Tony and Drama Desk Awards for Best Musical, Best Book for Larry Gelbart and Best Score for Cy Coleman & David Zippel.

It appeared in London in 1993 but, despite Blakemore again directing and with the great cast of the late Martin Smith, Roger Allam (perfect as the private eye Stone), Henry Goldman (also perfect as the manipulative film producer/director Buddy Fiddler) and the dazzling Film Noir siren quartet of Susannah Fellows, Haydn Gwynne, Sarah Jane Hassell and Fiona Hendley, the show managed only 8 months at the Prince of Wales.  However it still won the Olivier Award that year for Best Musical.

A loving celebration of Film Noir thrillers, Gelbart's wonderfully witty book tells of Stine, a NY crime writer who is lured to Hollywood - against his editor wife's wishes - to write the script for a film adaptation of City of Angels, the latest novel to feature his private eye hero Stone.  However once there, he finds it difficult to remain faithful to his creation with the constant meddling of his tyrannical producer/director Buddy Fiddler - to say nothing of remaining faithful to his wife.  Eventually even his hero has to make his feelings known...

Even without Coleman & Zippel's delicious score, Gelbart's book would be a joy as he switches the action constantly between Stine writing the script and the fictional world he is creating for his hard-bitten private eye alter-ego Stone amid an array of Film Noir characters: the mysterious wife of the decrepit wealthy man, the night-club singer that broke Stone's heart, the lovelorn Girl Friday, the nymphet jailbait daughter, the mysterious quack doctor etc etc.  The actors playing the film characters also double up as the actors and crew of the film Stine is working on and the fun is seeing how life imitates art and vice-versa.

I had a chance to see the show again in 2008 at the Guildhall Drama School where it was proven that you really do need actors who can sing to make the show a success.  So the news that Donmar Artistic Director Josie Rourke had chosen the show to be the first musical she would direct had me cock-a-hoop: who would be cast and how on earth could they stage this complicated show on such an intimate stage?

The answer was: quite easily actually!  Against a towering backdrop of piled up manuscripts, Robert Jones has designed a show that uses minimal set dressing to conjure the mood required and it is aided immeasurably by Howard Harrison's Noiresque lighting and the witty use of Duncan McLean's video projections.  It was a pleasure to see the show coming to life on that small stage.

The casting I have a bit more trouble with.  Countless plays of the original Broadway cast recording have spoiled me as the double act of Gregg Edelman and James Naughton (who won the Tony Award) as Stine and Stone are matchless, closely followed by the London pairing of Smith and Allam.

I am not sure whether it is symptomatic of the calibre of West End leading men at present but although Hadley Fraser could certainly belt out the last notes of DOUBLE TALK and FUNNY - and clamber like a mountain goat over the vertiginous backdrop - I felt he was too lightweight as Stine and Tam Mutu also seemed to lack the real grit needed for Stone, the tough dick hiding a bruised heart.  I was hoping for Bogart in "The Maltese Falcon" and got George Segal in "The Black Bird". 

I hasten to add that the two theatre groupies who were sitting next to me more than made up for my muted applause for Fraser as they couldn't keep still when he was on stage.  Bless.

Also disappointing was Peter Polycarpou's Buddy Fiddler.  The perfect scene-stealing role, this Fiddler growled rather than roared.  I don't know whether he was playing down to match the size of the stage but this tyrant of the sound stage came across as some guy from the front office.  Where the production did score big however was with the female cast.

Larry Gelbart wrote four excellent roles which give the actresses playing them a real opportunity to show their versatility.  There is Donna, Fiddler's secretary who helps Stine rewrite his script while seducing him over the typewriter, who also doubles as Oolie, Stone's dependable but lovelorn secretary; there is Gabby, Stine's practical editor wife, who doubles as Bobbi, a cabaret torch singer who Stone loved when he was a cop and who vanished after he took the rap for her shooting a man.  

There is Avril Raines, the dumb blonde 'protegée' starlet of Fiddler who knows plenty when it comes to advancing her career who doubles as Mallory Kingsley, a teenage heiress whose unexplained disappearance is solved when she turns up very much alive in Stone's bed; and there is Carla Haywood, Fiddler's none-too-faithful but no-nonsense actress wife who also doubles as the seductively mysterious Alaura Kingsley, wife of a sickly industrialist who might or might not know more than she lets on.

Josie Rourke has the good fortune to be blessed with Rebecca Trehearn as Donna/Oolie, Rosalie Craig as Gabby/Bobbi, Samantha Barks as Avril/Mallory and Katherine Kelly as Carla/Alaura.  Luckily my two favourite songs in the show were wonderfully performed: Samantha Barks turned up the heat as the seductive Mallory without losing Zippel's delicious lyrical double-play in "Lost and Found" and Rebecca Trehearn stopped the show with Oolie/Donna's "You Can Always Count On Me" - her good-natured but worldly-wise performance suggesting Jane Russell at her brunette best.

Cy Coleman and David Zippel's 40s jazz-style score contains so many great songs that should either bounce off the stage like bullets from a .44 or wrap around you like the smoke from a Femme Fatale's cigarette that at times it was frustrating that they were sometimes too plodding in their arrangements.  The innuendo-drenched "Tennis Song" between Stone and Alaura should feel like a bracing rally but here felt like a full 5-set match (with rain delays).

So... there you have it.  Yes there were things I was disappointed with but would I see it again?  In a hot minute.  All they have to do is whistle...

...you know how to whistle don't you Donmar?  You just put your lips together and... blow.