John Van Druten’s play, here given a splendid revival, looks at a group of women working in the London offices of a law firm in the early 1930s. They are paid a pittance, have zero prospects for advancement and are viewed as ready prey for lecherous bosses. Inevitably the production invites us to consider how things have changed and what, if any, fragments of these attitudes and practices continue today. However, it is not an overtly political or campaigning play, it is simply showing us how it was in the era when it was written and entertaining us at the same time. A strong ensemble cast and smart staging deliver an absorbing drama, laced with bright comedy and touching romance. The audience, at least half of them women, were thoroughly entertained and left with smiles on their faces.
Archive for May, 2013
Centring on an American photographer who was present at the Tainanmen Square massacre of 1989, this play charts how China and America have developed from then to the present day and examines the relationship between the two countries. Lucy Kirkwood’s writing is uneven, blurring the lines between fact and fiction, and, at just over three hours, it badly needs pruning. At times the dialogue is sharp and witty, at other times it is bland and awkward. When focussing on the main theme, which illustrates the power and shortcomings of photo-journalism, the play is absorbing, but too many irrelevant narrative strands lessen the overall impact. Notwithstanding these failings, it is still an interesting piece and the production is raised to a higher level by simply superb staging.
Graham Greene’s story of Henry Pulling, a timid, retired banker and his adventures around Europe and South America pursuing his outrageous Aunt Augusta is adapted here with the twist that three actors (Jonathan Hyde, David Bamber and Iain Mitchell) alternate playing Pulling and also play most of the other parts, including the women. They are assisted by Gregory Gudgeon. At first, this is great fun, but, as the story becomes ever more far-fetched, the novelty wears very thin and the production cries out for Maggie Smith to walk on as Augusta (she is now near the right age, having been 40 years too young when she played the part in the disappointing film version). It is set in the 1950’s but has the feel of being much earlier, exhibiting all the values of traditional Englishness. Not outstanding, but, for the most part, pleasant, nostalgic entertainment.
Nothing is the End of the World (Except for the End of the World)**** (Finborough Theatre, 23 May 2013)Posted: May 24, 2013 in Theatre
This review was originally written for The Public Reviews: http://www.thepublicreviews.com
Set in the near future, the full title of this play is Nothing is the End of the World (Except for the End of the World). A New York High School is preparing for the admission of two new students. Both are androids who have been set the mission to integrate fully with the other students and watching the events unfold is an ever-present reality television crew. This sparkling new comedy is specifically futuristic, but the central theme – merging people who are judged to be different into established social groups – is timeless. Whilst the novelty of the scenario gives rise to much amusement, the play’s great strength is that it presents situations that are current and universally recognisable. The androids’ attempts to get to grips with teenage language and culture result in many hilarious moments, as one faux pas follows another, but the laughs are as much at the expense of the “normal” kids’ behaviour as at the awkwardness of the newcomers. The androids watch in curious bewilderment as their angst-ridden schoolmates display a typical range of the problems that affect youngsters everywhere, at any time. Adding the absurdities of reality television to the mix, the writer has gifted herself with a goldmine of targets for satire, perhaps too many to achieve a 100% hit rate, but she succeeds with several bulls eyes. Playing the androids, Dan Crow and Lisa Caruccio Came are outstanding, sporting vacant smiles that mask inner uncertainties and displaying robotic coldness that gradually gives way to emerging human emotions. The “normal” kids are also brought convincingly to life: Skye Lourie as the student body president confused by her boyfriend’s indifference to her; Christopher Webster as a star at sports who is coming to terms with his sexuality; Sheena May as a daughter of fervent Christians, struggling to reconcile her parents’ beliefs with her own role in the modern world; Natalie Kent as a free spirit, embarrassed to have contracted a sexually transmitted infection; Robin Couch as an aspiring actor, always over-playing to the cameras; and Amanda Hootman as a shy girl empathising with the androids’ desire to integrate into the group. Bekah Bunstetter is a Playwright in Residence at the Finborough and this play, which was originally commissioned by the Professional Performing Arts School in Manhattan, is here receiving its first fully-staged professional production. It has a vibrant energy, for which credit must go to the young cast and the Director, who is assisted by a Movement Director, Lucy Cullingford. Angus Macrae’s lively music also helps to create a futuristic, yet lightly comic atmosphere. Managing to be relevant, truly original and highly enjoyable, this production marks another feather in the cap of the Finborough, for bringing new work to the stage. Far from being the end of anything, it looks like marking the start of a number of promising careers in the theatre.
Moira Buffini’s very black comedy takes place in the 50th floor flat occupied by the architect of the block, now blind and dying, his son and two daughters; only one of the four ever ventures outside and the action begins when she brings back a doctor whom she has met at the foot of the building. Slightly surreal and embracing elements of mysticism, the play begins promisingly as a sharp and perceptive satire on modern urban lifestyles. Sadly, it gradually loses focus and purpose, as the underlying messages become muddled, and eventually it stumbles to a conclusion that is contrived and unconvincing. The five strong cast in this cramped production all do well, creating an edgy and unpredictable feel that holds the interest even when the text is failing to do so. They deserve applause; the only thing wrong with the evening is the play.
Set in rural Russia, Maxim Gorky’s 1905 play features a privileged middle class set, preoccupied with their own relationships and oblivious to the swelling revolutionary forces at their door. This is Chekhov, more direct and , therefore, less subtle, yet more welcome because it is not so familiar. However, some aspects of the translation are jarring, particularly the inclusion of very modern expressions, and the direction is uneven, moving uncertainly between comedy and tragedy. The set is lavish for a production that is otherwise too small for the Lyttelton’s huge stage and the climax is quite literally explosive.
After 40+ years in London, a first venture inside the Hippodrome. Peter Stringfellow is long gone and the place is now a miniature Las Vegas style casino with a cabaret lounge and, arguably, the best men’s room in town. Velma Celli is the alter ego of musical theatre performer Ian Stroughair, who, decked in a flowing red wig, conjured up images of John Malkovich playing the lead in a live action re-make of “The Fantastic Mr Fox”. The first half consisted of a fairly predictable choice of numbers – four by Kander & Ebb, two associated with Shirley Bassey – performed with appropriate pzazz. The second half was mostly contemporary pop and Ms Celli gave way more often to other performers who were, to be quite frank, a lot better. Pretty average overall, but average entertainment becomes a lot more palatable when sipping cocktails, so who’s complaining? A fun evening.