2013 Theatre Schedule

January

5- Old Money (Hampstead) ****

5- The Dark Earth and the Light Sky (Almeida) ****

8- Goodnight Mister Tom (Phoenix) ****

8- Hymn (NT Lyttelton) ***

31- Quartermaine’s Terms (Wyndham’s)

31- Old Times (Harold Pinter)

February

7- No Quarter (Royal Court)

7-Feast (Young Vic)

9- Di and Viv and Rose (Hampstead)

9- Great Expectations (Vaudeville)

19- Stomp (Marlowe, Canterbury)

23- The Audience (Gielgud)

23- The Turn of the Screw (Almeida)

March

2- Macbeth (Trafalgar Studios)

2- Longing (Hampstead)

6- The Captain of Kopenick (NT Olivier)

6- Port (NT Lyttelton)

11- The Full Monty (Marlowe, Canterbury)

14- Trelawny of the Wells (Donmar Warehouse)

19- High Society (Marlowe, Canterbury)

23- Peter and Alice (Noel Coward)

27- Boris Godunov (Swan)

27- A Life of Galileo (Swan)

28- Hamlet (Royal Shakespeare Theatre)

30- The Book of Mormon (Prince of Wales)

April

20- The Low Road (Royal Court)

20- Before the Party (Almeida)

24- The Weir (Donmar Warehouse)

May

14- Matthew Bourne’s Sleeping Beauty (Marlowe, Canterbury)

20- Passion Play (Duke of York’s)

June

8- Chimerica (Almeida)

15- The Cripple of Inishmann (Noel Coward)

25- The Taming of the Shrew (Marlowe, Canterbury)

26- Twelfth Night (Marlowe, Canterbury)

July

8- 9 to 5 (Marlowe, Canterbury)

24- A Season in the Congo (Young Vic)

August

September

14- A Midsummer Night’s Dream (Noel Coward)

October

November

December

7- Henry V (Noel Coward)

Old Money, Hampstead ***

The baby-boom generation is really quite a hot subject in theatre at the moment, and Sarah Wooley's new play follows on in the same vein as Stephen Beresford's The Last of the Haussmans  and Mike Bartlett's Love Love Love. In terms of its impact, I am inclined to say that Old Money tackles the subject the best, though it is not without its faults. What is often a very comic work grows into something darker and incredibly hard-hitting, for the questions that Wooley poses should resonate with everyone. Should parents bail out their children, who are struggling to make ends meet, and let alone get on the housing ladder? Is it a grandparents' duty to look after their grandchildren? Should the older generation take responsibility for the financial crisis we are now in? These, on the grand scheme of things, might seem superficial, but there's something deeper there. They are a shell to the main point which is, I think, the delusion a child has of their parents' relationship. 

Joyce, a recent widow, had an unhappy marriage. Her husband was controlling, to the extent that he even chose her wedding dress. But Joyce had a facade - as she says, she wore a mask - and so her yearn for freedom, escape and change, is almost bewildering to her daughter, Fiona. Where Wooley falls down is the first act, which takes far too long to get going, partly because of the number of locations she takes us to. The whole things comes in at under two hours, and whilst the interval may be deemed necessary for dramatic tension, the scene from which the tension should arise leads nowhere thereafter. 

As Joyce, Maureen Lipman gives a performance remarkably different to anything else I've seen her too. It's delicate and nuanced, quiet and understated, though her trademark dry-wit occasionally creeps in. And yet she grows, as the possibilities for the last part of her life become increasingly open.  There is strong support, too, from Tracy Ann Oberman as Fiona, and Helen Ryan as Joyce's deteriorating mother.

Terry Johnson's production, aided by Tim Shorthall's design, deals with the multiple locations which Wooley presents us with efficiently enough, even if the constant shifting of furniture and ever-changing backdrops does at times fell a bit too much, too laboured. But there is little doubt that the core of Wooley's play is a superb observation of a situation which is no doubt all too common in families up and down the UK, though I wished the powers that be at Hampstead had asked for one more draft.

2012 in review: "The Gappies" Awards, Best Musical Production

Best Musical Production

1- Mack and Mabel
Music and lyrics by Jerry Herman,  book by Michael Stewart
directed by Thom Southerland at the Southwark Playhouse

Jerry Herman's musical is packed to the rafters with great songs. It's a piece about silent movies, and the tempestuous relationship of director Mack and rising star Mabel. For a fringe production, the production values were remarkably high. Lee Proud choreography burst with energy, with some fabulous set-piece routines including a tap number leaving the audience - let alone the cast - feeling breathless. Played out in the Southwark Playhouse's Vault space, Thom Southerland's production also achieved a dark, film-noire atmosphere, hauntingly lit by Howard Hudson. Some of the performances were very special indeed: Laura Pitt-Pulford's Mabel was mesmerising from the off, her energetic buzz slowly decaying to this quivering, husky drug-addicted wreck. Similarly as Mack, Norman Bowman brought some heart to this cold, shouty and unlikeable character- a reason why this musical is often deemed problematic, despite various attempts to rework it. But Southerland and Bowman managed to overcome this problem, meaning we felt for Mack too, and this production was as strong-a-case as there could be for why this musical should not be just laid to rest.  

2- Merrily We Roll Along
Music and lyrics by Stephen Sondheim, book by George Furth
directed by Maria Friedman at the Menier Chocolate Factory

Also considered problematic is Sondheim's Merrily We Roll Along, which, like Harold Pinter's Betrayal, plays out in reverse chronological order. Whilst it does feel somewhat schematic and a bit clunky - it struggles to flow smoothly - it does allow for one of the most heartbreaking endings in all musical theatre: Our Time.  Dramatic irony turns the final moment of these young people embarking on their lives - an image of hope - around. It is deeply moving, because you know where they'll end up. Maria Friedman, because of her great knowledge of Sondheim, digs deep with her cast, who give some sterling performances. The lead trio of Mark Umbers, Damien Humbley and Jenna Russell are superb, Umbers especially, and there is strong support from Clare Foster, heart-wrenching in her rendition of Not a Day Goes By.

3- Kiss Me, Kate
Music and lyrics by Cole Porter, book by Samuel and Bella Spewack
directed by Trevor Nunn at the Chichester Festival Theatre

Chichester has become synonymous with first-class musical revivals, and whilst Trevor Nunn's revival of Kiss Me, Kate isn't quite up there with 2011's stunning trio of She Loves Me, Singin' in the Rain and Sweeney Todd, it is still a highly accomplished revival, with some cracking performances. The premise is that of a travelling theatre company, staging a musical version of Shakespeare's Taming of the Shrew. The musical is book heavy, and Nunn dwells too much on scenes from Shrew, leading to several longeurs. However the opening number sent shivers down my spine: Wendy Mae Brown leading the company in the classic Another Op'nin', Another Show, building from her solo voice into a choreographic burst of joie-de-vivre. Hannah Waddingham as diva Lilli Vanessi was a tour-de-force, and Clive Rowe and David Burt's dead-pan rendition of Brush Up Your Shakespeare made for one of the most enjoyable few minutes I've spent in a theatre all year.

2012 in review: "The Gappies" Awards, Best New Play

Best New Play

1- The River by Jez Butterworth
at the Jerwood Theatre Upstairs, Royal Court

A new play by the writer of Jerusalem was bound to be popular, so much so the Royal Court introduced an annoying ticket policy of day tickets only. Thankfully, The River lived up to the hype, and the effort I put in to get a seat, and proved to be one of the most delicately formed pieces of writing I've seen in a theatre. Memory, reflection and desire are big themes; a man is in an isolated cabin by a river, teaching his girlfriend to fish. Or is he? We are never sure what is real and what isn't. What is now, and what is past.  The writing was Pinteresque, and highly poetic. In a stunning scene, Butterworth had two different time periods happening on stage simultaneously. One character left, and another entered, but the piece continued seemlessly, as if nothing had changed. It made us doubt the man, asking questions about his integrity. Director Ian Rickson juxtaposed the mystery of the piece with an ultra-realistic production, superbly designed by Ultz. The acting, too, was first class with finely-detailed performances by Dominic West, Laura Donnelly, Miranda Raison and Gillian Saker.

2- People by Alan Bennett
at the NT Lyttelton

How dare you attack such a treasured institution like the National Trust. This was the response of many to Alan Bennett's new play, People, where he takes issue with the Trust prettifying and marketing  the past, creating a "pretend England". It contains Bennett's trademark wit and mischief, with plenty of one-liners and brilliant set-up leading to a hilarious scene at the opening of the second act. The ageing property in question is restored to its formal glory, in a transformation sequence staged with great elan by Nicholas Hytner. But there is an underlying poignancy, and it strikes me as an important play, engaging in a rich debate of what happens to this country's heritage.


3- Fred's Diner by Penelope Skinner
at the Theatre on the Fly, Chichester

Penelope Skinner has the admirable skill of writing dialogue which makes characters seem vividly real. Her words enrich character, without feeling feeling contrived. And this talent is key for a play such as Fred's Diner, where the plotting would feel overblown if it were not written, or indeed acted, with such conviction. It was a play of youth and aspirations, focusing on a father and daughter relationship. It was raw, gritty, and unbearably honest.

4- Constellations by Nick Payne
at the Duke of York's

A hit at the Royal Court and subsequently in the West End, Nick Payne's 70 minute drama plays with the concept of multi-verse. Roland and Marianne meet at a barbeque, and start a relationship. Yet in an alternate universe, is that also the case? Scenes are constantly repeated, albeit with a minor alteration- either a line, a way of delivery, a gesture. It sounds like it could get wearing, but the dialogue is so fresh and funny that it doesn't become tiresome. Freewill and chance are examined; life is an infinite of possibilities. But a constant in all these universes is the fact that we, at some point, will die. But the genius of Payne's play is that death even, to some degree, becomes a choice. Sally Hawkins and Rafe Spall are sensationally good, bringing to life two character who we instantly warm to, and Michael Longhurst's direction is snappy and pulsing with life, yet at exactly the right moments he slows to pace right down to something graceful and haunting.

5- South Downs by David Hare
at the Harold Pinter

Written as a companion piece to Terence Rattigan's The Browning Version, South Downs shared many similar themes: the cruelties of public school life, self-doubt and, crucially, an act of kindness. A boy, Blakemore, is isolated from his peers, both by class and intelligence. He is exceptionally bright, and always inquisitive, but is estranged from his classmates because he is different- a sad reality at almost every school. To me, it was a highly personal play, not least because I am only a few years older than Blakemore. I too went to an all-boys school (grammar, not public), and existentialism and Camus, both ideas Blakemore is keen to explore - contrary to the other boys' interests - are subjects I studied in some depth in my sixth form years.  Jeremy Herrin's lucid production, atmospherically lit by Neil Austin, resonated with hymns of school chapel. It could not have been better performed, either. As I have mentioned elsewhere, Alex Lawther gave one of the performances of the year as Blakemore, and there was strong support from Jonathan Bailey, Anna Chancellor and Nicholas Farrell, in particular.

2012 in review: "The Gappies" Awards, Best Revival

Best Revival

1- Private Lives by Noel Coward
directed by Jonathan Kent at the Minerva

The casting of Toby Stephens and Anna Chancellor as Elyot and Amanda was a match made in heaven. There was a sizzingly chemistry between them, as the couple who clearly love and lust for each other, yet also drive each other mad. There were fine supporting performances from Anthony Calf, Anna-Louise Plowman and Maggie Mccarthy, and the fight scene in the final act was wonderfully over the top. If I see a better production of Private Lives  than this one, I will count myself very lucky indeed.

2- Uncle Vanya by Anton Chekhov, in a version by Michael Frayn
directed by Jeremy Herrin at the Minerva

Of the three Uncle Vanyas I saw this year, this was the best. It was also my first encounter with the play - one which I have grown to love - and so this production was rather special to me. Roger Allam's Vanya was childlike in his behaviour; a despairing buffoon.  Jeremy Herrin, with his designer Peter McKintosh, made the Minerva feel bigger than ever. One really got a sense of the estate around which this play somewhat revolves, and it created a feeling of emptiness.

3- The Magistrate by Arthur Wing Pinero
directed by Timothy Sheader at the NT Olivier

In a way, I'm rather pleased The Count of Monte Cristo never took place, since otherwise I doubt I'd have seen Timothy Sheader's revival of this Victorian farce. It was a great bit bundle of joy, from start to finish. It was very well paced, with some strong performances, notably the stunning Nancy Carroll. In the title role, John Lithgow was charming, and his patter song - containing some theatrical in-jokes about the NT - sent me home with the biggest of grins on my face.

4- The Browning Version by Terence Rattigan
directed by Angus Jackson at the Harold Pinter 

The Browning Version is one of the most quietly touching plays there is, and Angus Jackson's production was beautifully understated. It's a play about the link between professional and personal life, and how one small, casual action can have such a great effect on someone. Jackson drew some first-rate performances from his cast, particularly Nicholas Farrell as Crocker-Harris, a man broken by unappreciation.


5- The Physicists by Friedrich Durrenmatt, in a version by Jack Thorne
directed by Josie Rourke at the Donmar Warehouse

The reason I include The Physicists on this list is not only for the production, but for the decision to revive the play in the first place. It's a facinating absurdist look at science, and man's relationship with it. Josie Rourke's production featured some excellent performances from the likes of John Heffernan, Sophie Thompson and Paul Bhattacharjee, and whilst I took issue with some of her blocking, it was an exciting staging, and an artistic choice which most definitely paid off.

2012 in review: "The Gappies" Awards, Best Original Music/Sound Design

Best Original Music/Sound Design

1- Music and sound design by Ben and Max Ringham
The Ladykillers at the Gielgud, and the Marlowe on UK tour

I loved the old detective film style music of this production, which fitted the story perfectly. Characters had their own distinct themes, and there was an air of Hitchcock about the whole thing.

2- Music by Richard Sisson (lyrics by Richard Stilgoe)
The Magistrate at the NT Olivier

The pastiche Gilbert and Sullivan songs by Richard Sisson and Richard Stilgoe were great fun. Yes, they tended to repeat what had just happened in the previous scene, but the music was so catchy, the lyrics very witty and performed with great panache by a group of 'Singing Dandies'.

3- Music by Michael Bruce
The Recruiting Officer at the Donmar Warehouse

This was one of the best integrations of live music in a play I've seen. There was a real community feel, with men of Shrewsbury playing Michael Bruce's catchy folk tunes. It gave a life and vitality to this town, which was slowly eroded as the military presence grew, resulting in a deeply moving ending of 'Over the Hills' as the men, one by one, left their instruments and marched to war.

4- Sound design by Fergus O'Hare
Uncle Vanya at the Minerva

Fergus O'Hare provided a realistic soundscape to Jeremy Herrin's superlative revival. There was such attention to detail, with little added touches - undemanded by the text - evoking a rurality and calmness which grew and got increasingly unsettled as the play progressed.  

5- Sound design by David McSeveney
Constellations at the Duke of York's

Like Lee Curran's lighting, David McSeveney's sound design pulsed, burst and buzzed between universes. It was fragmentary and ethereal, yet during the scenes the background noise was highly realistic- people chatting at parties, a ballroom class.

2012 in review: "The Gappies" Awards, Best Lighting Design

Best Lighting Design

1- Charles Balfour
The River at the Jerwood Theatre Upstairs, Royal Court

Ultz's ultra-realistic log cabin set was lit to perfection by Charles Balfour, where the light sources were, seemingly, a few candles and a couple of tilly lamps. It made everything feel remote and alone; primitive, almost. And the next morning, sunlight flooded in, celebrating the beauty of the outdoors.

2- Peter Mumford
Scenes from an Execution at the NT Lyttelton

What I loved about Peter Mumford's design was that it was daringly bold. With strong colour and a wide palette, it brought to mind modern, conceptual art; a nice echo of the daring nature of the artist Galactia, around whom the play revolves.

3- Paule Constable
This House at the NT Cottesloe

Given the nature of Rae Smith's design, it was left to the lighting to evoke the many other locations in the play. It was all very precise, allowing for rooms to be etched out in light alone meaning the scenes, and the mood, could change very quickly.





4- Paul Pyant
Antony and Cleopatra at the Chichester Festival Theatre

There was a thrilling theatricality to Paul Pyant's lighting. It was antimated, conjuring up battle scenes and stormy scenes with minimal effort. Egypt was rich and almost dreamlike, with an aura surrounding Cleopatra.

5- Lee Curran
Constellations at the Duke of York's

Sudden bursts of light distinguished between the different universes of  Nick Payne's play. Lee Curran's lighting sculpted Tom Scutt's set of white balloons, shifting emotions with ease. At times it was lit with deep colour - rich blues and pinks, creating something rather magical - yet in an instant, everything would look flat, cold and eery.