King Lear, National Theatre Live

Fancy Shakespeare at the cinema, with all the goodness of a live performance? I recently enjoyed King Lear down at my local Vue, all thanks to National Theatre Live.

Lear is one of Shakespeare’s greatest tragedies, and tells the story of the King and his daughters. At the height of his powerful reign, Lear asks all three girls to tell him how much they love him, and that whoever can prove their love is the greatest will be rewarded the highest. Goneril and Regan battle to outdo each other but when he turns to his youngest and favourite daughter Cordelia she refuses to take part, saying her love cannot be measured and described in such a way. Lear is outraged and Cordelia is disowned and banished. In the years that follow loyalties will be tested as Lear ages and his dominance begins to crumble.

Directed by Sam Mendes, King Lear was performed by some great talent. Simon Russell Beale took the title role with support from a cast that included Anna Maxwell Martin, Adrian Scarborough and Stanley Townsend - all familiar faces of British stages and screens. On the 1^st May, whilst they were performing live at the National Theatre, the production was being streamed and shown in cinemas nationwide. Sadly we didn’t make it on the night, but caught it a few weeks later when it was re-broadcast. It was an amazing experience, as you’re witnessing the prop changes and staging of the theatre, with the close-ups and camera angles of film. Also during the interval, we sat watching the live theatre audience in real-time, getting their ice creams and popping to the loo, but then after our break, we had a short series of interviews from Mendes and the cast.

It goes without saying that the cast were superb, all completely capable of taking on a Shakespearean classic, but Simon Russell Beale was simply mesmerising, in a role that has you loathing him one second and full of sympathy the next. In the emotional rollercoaster that is King Lear, it’s no wonder that he is a two-time Olivier Award winner and has been described as the greatest stage actor of his generation. A play with such dark themes and a truly gruesome end hugely suited Mendes’ modern, industrial staging, and it also made it that bit easier to follow (which I have to say, I welcome!).

Sadly, Lear is now longer on at cinemas but you can see it live at the National until 2^nd July. However I’d highly recommend NT Live performances for a fun night out, as well as a more affordable alternative.

Let The Right One In, Royal Court Theatre

Twilight, Schmilight. If it’s vampires you’re after, they’re to be found at The Royal Court in Jack Thorne’s adaptation of Let The Right One In. Better take your garlic and crosses – this could get messy.

If the title is ringing a bell, that’s probably because you’ve either seen the 2008 movie, or read the novel by John Ajvide Lindqvist. Well, I haven’t done either, but after years of hearing about it, I was excited to finally go see what all the fuss was about.

Oskar is the epitome of lonely a teenage boy. From a dysfunctional broken home, he has no friends and no girlfriend… but that might be about to change. Oskar meets his new neighbour Eli, and despite her being little, weird, and a bit smelly, the two hit it off. But outside of the Oskar-Eli bubble, brutal killings are taking place in the woods nearby, with innocent people being butchered for their blood. Coincidence, or are Oskar’s growing suspicions of Eli correct?

Although originally Scandinavian (was the author’s name enough of a hint?), Thorne has set the play in Scotland, and though it may sound surprising, it absolutely works. The names work, the costumes work, the environment works - in fact it was the colloquial and lively accents and dialect that helped lift the story from horror into only slightly disturbing. It’s got the great cult feel. It’s not a great epic tale, but in those few hours there was no lack of interest or action. At times it did just happily plod along – then of course, there was that moment when we all jumped about a foot in the air.

I adored the staging and choreography. Props effortlessly morphed from one scene into another, as did the script, which gave the sense of dreamlike fantasy that the play needed. In its most gory scene, the cello and violin soundtrack made the bloodshed into something beautiful, without holding anything back.

Let The Right One In was not only Jack Thorne’s Royal Court debut, but a stage debut for Martin Quinn who played Oskar. He’s an absolute natural, and actually seemed the most relaxed and at home of all the cast. A special mention has to be made for Rebecca Benson too. The role of Eli not only requires your usual acting talents, but there’s a great physical demand too. From exorcist fits to violent brawls with a stocky six-foot man, her performance was incredible.

Now that I’ve hopefully done a good job of convincing you to go, I’m sorry to announce that Let The Right One In is sold out! However, I would definitely suggest keeping in the know about what’s on at The Royal Court; if this performance is anything to judge the new directorship by, there’ll be great things to come, and with £10 Monday tickets available, there’s no excuse not to go. I’ll also be keeping an eye out for Jack Thorne. Apparently he’ll be releasing a screen adaptation of Nick Hornby’s A Long Way Down, one of my favourite authors, next year.

Coriolanus, Donmar Warehouse

Blood, guts, and a bit of hunky sword fighting - if you want gritty Shakespeare, get yourself down to the Donmar to see Tom Hiddleston star as Coriolanus.

Before last night I only knew Tom Hiddleston as Thor's evil brother Loki - pale, a bit weedy, and with a fierce streak of sibling rivalry. I also knew nothing about Coriolanus, except that it was a Shakespearean play about war and generals, and there had recently been a film adaptation starring Ralph Fiennes.

As whenever I go to the Donmar though, I was pretty sure I'd enjoy myself. The productions are usually of the highest standard, and we even had a bit of Hollywood glitz thrown in (a very welcome treat when you've been there as many times as I have!)

The play is based on the life of Roman general Caius Marcius Coriolanus. When Rome is threatened by war and famine, their hero is forced to step up and save the day. But after success, a power overdose, and some malicious manipulation from his rivals in government, his people rise against him, and he is forced to turn his back on those who hold him highest.

I'd built up an image of what to expect from Hiddleston's performance, but was instantly knocked back with his first steps on stage. He carried himself like a fighter and leader, and was much taller, broader and, um, "fitter" than I had previously realised. He spoke with such strength that, as a member of the audience, I was in awe and a little frightened all at the same time. As the lead character, he's really put through his paces in this role, both emotionally and physically. He did an incredible job, and deserves all those screaming girls outside the stage door (I saw this amusing meme online, but after witnessing the crowds last night, I don't disagree!)

I know I sound like a broken record, but every member of the cast was exceptional (maybe I'm just easily pleased, but I like to think I just have good taste in productions). Reading through their bios afterwards, I see there is a real mix of experienced and relatively unknown actors, but aside from recognisable faces, you wouldn't have known. They made an incredible acting body, with about half the cast even taking on multiple roles. Really, really impressive.

What also made Coriolanus so great was the staging. There are many routes that the costume department could have gone down, but apparently Roman story + Shakespearean play + 21st Century production = very nearly Steam Punk. No complaints from me! The props were simple but incredibly effective; in the main battle scene I felt all the Les-Mis-style drama and excitement with just a row of metal chairs, a ladder and the odd flare.

Well I won't spoil the ending, but by the time he was taking his final bow, Tom Hiddleston had a face full of blood, tears in his eyes, and a massive grin slapped across his face. We all leapt to our feet for him and his co-actors. What a performance! It may be tricky to get tickets for the Donmar performance, which ends on 8th February, but luckily for you, Coriolanus will also be broadcast on screen on 30th January by National Theatre Live. See their website for participating cinemas.

Keeler, Charing Cross Theatre

I don't think that many of my generation, myself included, really know who Christine Keeler is. Despite Lewis Morley's notes on the contact sheet above, the top left photograph taken in 1963 would become the defining image of her. The photographer's mark reads "Do not use - too much public exposure", but in fact, it was her exposure to the British public that made her.

Christine Keeler was a model and showgirl, living in London the early 1960s. She got to know osteopath Stephen Ward in her late teens, who introduced her to many of his high-powered friends, as he also did with her friend, Mandy Rice Davies. In 1963, she started an affair with Jack Profumo, Britain's Secretary of State for War.

When they were found out, and it was revealed that Keeler was also having a relationship with Russian spy Yevgeni Ivanov and drug dealer Johnny Edgecombe, not only was Profumo's career destroyed but Prime Minister Harold MacMillan was also forced to step down. Keeler's fame however, only increased. Still living, aged 71, Keeler is no longer a figure in the public eye, despite the drama and disruption caused at the time.

The Charing Cross Theatre is quiet and tucked away, underneath the arches at Charing Cross station. Their current play is Keeler, the story of the model's early life, based on her autobiography, The Truth At Last. The play stars Sarah Armstrong in the title role and Paul Nicholas (or Cousin Kevin, as I know him!) as Stephen Ward.

I thought the play was very good, and certainly taught me a lot about the event which I hadn't previously known. By the end, I didn't exactly feel sympathetic towards for any of the "characters"; the whole situation leaves you feeling a little cold towards everyone involved. For me, it was more telling of a time where political sex scandals and selling stories to papers just didn't happen. It’s sexy and stylish, despite being on a more amateur stage.

Sarah Armstrong made a good Christine Keeler, despite her costume and hairstyle making her look like Kate Middleton throughout! Very distracting. Paul Nicholas was also great in his role. He oozed charm, but with a creepy, darker side.

In five days time, Andrew Lloyd Webber’s musical "Stephen Ward" will be opening at the Aldwych Theatre. Although it’s bound to have more hype (and will LITERALLY be all singing, all dancing…), I’d still suggest going to see the Charing Cross production. Keeler will be running until 14^th December.

The Commitments, Palace Theatre

So off to the theatre we went, the Palace Theatre, to be more precise, to see a world preview performance of Roddy Doyle’s The Commitments.

I love everything about The Commitments movie - the music, the story, the humour – and was so excited when we booked our tickets. However, I have to admit, as the date came nearer, I was a bit sceptical. The movie is real, dirty and gritty, not to mention the rainbow of language used throughout… Were they really going to bring all of that to the West End stage?

But when the spotlights blasted into action, the curtain lifted, and the first spoken words were “F*** OFF!”, I knew we’d be alright! For those who haven’t read the book or see the movie (what have you been doing with yourself?!), The Commitments is set in Dublin in the late 1960s, where a young lad called Jimmy Rabbitte has dreams of forming and managing a soul band. After roping in a few friends and holding some hideous auditions, Jimmy gets his 10-piece together, complete with a Soul “legend”, Joey, a powerhouse vocalist, Deco, and three pretty back-up singers. But with a clash of personalities, ideas and talents, will they even make it to their first gig?

The cast were incredible. All Irish (which is funny, because I had thought some accents had been a bit dodgy!), the stand out for me had to be Killian Donnelly. He was everything you wanted him to be as Deco. When he was singing, you couldn’t take your eyes off him, but when he wasn’t, he was so repulsive that you had to look away! What a voice though. Although Andrew Strong (who plays Deco in the film) will always be one of my favourite male vocalists, Killian Donnelly does it absolutely in his own way. In fact, all of the members of the cast did; it was like we might have met them all before somewhere, without knowing them too well. All had great voices and, although I think only drummers, trumpeter and saxophonist were playing live, I’m going to pretend everyone else was too (!).

I was also really impressed by the staging of the musical. Pieces of set effortlessly moved across the stage to take you from one location to the other and, in the early scenes when there are flashbacks, one neon sign coming momentarily down from the ceiling was enough. Sitting in Row G of the stalls, when someone lit up a cigarette we could smell it, and when Joey brings in a bag of chips for everyone, warm vinegar filled the air. We were all rolling with laughter throughout, in between clapping and singing, and when you think it’s all coming to an end too quickly, don’t worry, because you get your own little concert at the end - and it’s the two songs you’ve been waiting for all night. The soundtrack included some Commitments classics (though not all), and some new ones too, like “Satisfaction”, "Heard It Through The Grapevine" and “Knock On Wood”.

The Commitments is absolutely timeless, and this musical has done nothing to alter that. If anything, it adds to its history, and I hope it brings Roddy Doyle’s wonderful story to more and more people. 

Matilda the Musical, Cambridge Theatre

It was a girls’ night out on Tuesday as myself, my mother and my grandmother all went to the theatre! 

As an 82^nd birthday present we spent the evening at Matilda the Musical, which had been recommended to me by so many that I was now itching to see it.

Before the performance even began, I was blown away by the set design. Either side and above the stage were waves of scrabble-like tiles, which look random at first, but as you wait in your seat, you start to pick out words amongst them, which all have profound importance to the storyline.

A member of the crew came out on to the stage and announced why this particular night was so special. Not only was it the first night of the season with a brand new adult and child cast, but it was the debut West End performance for the new Matilda, Miss Lollie McKenzie. In the first scene, set at a birthday party, a chorus of children sang “My Mummy says I’m a miracle”, whilst performing a complex choreography routine. Suddenly the lights dimmed, the birthday table split in two and out of it emerged the cutest and possibly smallest actress I have ever seen. Not only was she adorable but unbelievably professional throughout, right up to the last bow. All of those songs and all of those lines – even some in Russian! She is certainly a star of the future. In fact, all of the children in the cast were exceptional. They worked just as hard as the adults, if not harder!

For me, Tim Minchin’s music made Matilda. Full of his signature energy and wordplay, I love the School Song, where he wrote the alphabet into the lyrics (see them here).

A wonderful production, and it was so lovely to see something that could be enjoyed by all three generations. Make sure you see it too :)

Fences, Duchess Theatre

Yesterday lunchtime I made my way up to the Duchess Theatre to see August Wilson’s play Fences. Written in 1983 but set in 1950s Pittsburgh, Fences’ plot revolves around central character Troy Maxson, played superbly by Lenny Henry. Although humorous at times, allowing Henry to take on his more natural comedic persona, the play tells the real and bitter story of a struggling family, and having not seen him act before I was very impressed at how easily he adapted in the more serious scenes.

A failed baseball player in his youth, Troy Maxson is now in his mid-fifties and a rubbish collector, trying his best to improve his career, support his family, and guide his two sons to better themselves. But when his youngest, Cory, wants to follow in his footsteps and become a famous sportsman, Troy’s roles as a father, husband, brother and friend are all tested. Learning more about his past and the secrets of his present as the play progresses, will any of the Maxson family be able to lead a happy future?

All of the seven actors in the production gave incredible performances, and the only let down for me were the theatrical traits (monologues, explanatory dialogue and Henry’s one very small line slip-up) that reminded me I was sitting in a theatre watching a play with a script. Fences definitely deserves all the stars it has been given. On until 14th September.

The Same Deep Water As Me, Donmar Warehouse

While others were enjoying the warm summer's evening on Thursday, I was stuck in the office… Well, sort of…

I went to the Donmar Warehouse to see Nick Payne’s new play The Same Deep Water As Me. The play is set in a personal injury law firm in Luton, run by Barry (Nigel Lindsay) and Andrew (Daniel Mays). One day, Andrew’s school friend Kevin approaches the firm with his claim. It is soon revealed that Kevin is running a business of his own, scamming big corporations through small “No win, no fee” claims, and he wants Andrew to join him. Although simple at first, the plot starts to thicken when others are brought into the mix, and soon relationships, friendships and businesses all hang in the balance. Will they all come out of it unharmed?

It’s true, on first glance the storyline doesn’t seem that riveting, but it’s more Payne’s real but witty script and some wonderful acting that made The Same Deep Water As Me such a good play. Like everything I see at the Donmar, there are a heap of recognisable faces like Marc Wootton (Nativity 1 & 2, Arthur Christmas), Niky Wardley (Catherine Tate, Coronation Street), and I wracked my brain through the first half trying to place Nigel Lindsay before realizing – of course! Shrek! Daniel Mays is one of my favourite British TV actors, and although he always plays a similar role (good guy with a dark side!), I’d watch him in anything. Keep a look out for what’s on at the Donmar; the tickets are cheap, the theatre is small and intimate, and there are always great actors and plays to see there!

The Hothouse, Trafalgar Studios

Last night I went to see The Hothouse at Trafalgar Studios. Being aware of Harold Pinter as one of England’s great modern playwrights, I was surprised to find that this was the first of his plays I’d actually seen. Written in 1958, The Hothouse is set within an institution on Christmas Day (which already hints that the play is a tragicomedy). Reading the programme retrospectively, I’ve learned that it was written from Pinter’s personal experience; he signed up to take part in a psychological experiment at Maudsley Hospital when strapped for cash in 1954.

During the play you are introduced to five main characters, all employees of the institution. You also hear constantly of the patients, especially two (known as 6457 and 6459), without ever seeing them.

The play opens with the institution’s director, Mr Roote (Simon Russell Beale), and his next-in line, Mr Gibb (John Simm), having their usual morning update. With Beale’s over-exaggerated mannerisms and Simm’s subtle twitches and gestures, the two actors complement each other perfectly, and make for a great double act. You’re laughing within the first few seconds when Roote asks “How is 6457 getting on?” and Gibb replies “Not very well sir, he’s dead”.

The humour is all terribly English, quite dark and dry, with elements of farce. But there’s a fine line between comfort and unease and later, when you’re witnessing Mr Lamb (Harry Melling) undergoing electroshock therapy, half the audience are silenced in shock and the other half are still laughing. Usually you can tell a good playwright by how much feeling you have for a character but in this case, when you are constantly in denial about whether you love them or detest them, that’s good writing in my opinion. It’s a rollercoaster of emotions, but by the end you’re oddly at ease again.

It’s a hard one to sum up. I’d definitely recommend going to see The Hothouse, without being able to tell you I enjoyed it (that just doesn’t seem to be the right phrase)! An incredible cast acting out an incredibly clever play.

The Hothouse is only on at Trafalgar Studios until Saturday, so be quick if you want to catch it! When booking your tickets, don’t be put off by some seating being on the stage – no audience participation, I promise!

The Things I Fancy...

My posts will be split into :

                                    

                                               Theatre and Film                            Art and Exhibitions

                                   

                                                  Restaurants                                         Bars

                                   

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Do feel free to comment or make suggestions, and I'll reply when I can. Hope you enjoy!