Reviews: The Lovegirl and The Innocent @ Southwark Playhouse

Lovegirl and The Innocent

Southwark Playhouse, October 26, 2013

            With a title like ‘Lovegirl,’ I was a little surprised by how many men, and how little love there was on stage. Lovegirl and The Innocent is set in Soviet Russia in 1945 in a prison camp where the focus is more on the conditions within the camps than the lives of these prisoners who no longer have hope of ever getting out. This rarely performed play is enjoying its first revival in 30 years at Southwark Playhouse in London, hardly surprising considering the 50 characters within the script. With a cast of 16 playing 50 distinct characters, Matthew Dunster has created a vivid piece of theatre written by Russian native and prison camp veteran, Aleksandr Solzhenitsyn.

            Bombarded with harsh lighting and a stark yet imposing set in Southwark Playhouse’s larger black-box space, The Large, I was surprised by the calm of a man coming speaking to the audience – giving necessary information as a scene played out behind him. This model of storytelling is carried on throughout the play, and while usually I’d rather be shown than told, it was a good source of information for those of us unfamiliar with the inner-workings of Soviet prison camps. It is a fast moving play, and the informative narrative allowed it to move forward quickly without delay.

            On stage for the majority of the play is Cian Barry as the righteous Nemov, who works so hard at the beginning to correct all the wrong doings in the camp. Nemov is a man filled with the need to do well by doing right, unfortunately his comrades don’t seem to agree with him. Moved to another area of the camp, no longer apparently too worried about safety and not enough with productivity, he finally has the chance to talk with Lyuba, a ‘lovegirl,’ who survives the prison camps through obtaining favor from men.

            Due to illness, the original actress slated to play Lyuba had to step down, allowing Rebecca Oldfield to take on the role. Oldfield’s Lyuba stands out as strong and resilient amongst a downtrodden ensemble of prisoners, some who are still fighting the good fight, but others who have given up and given in. Together, Oldfield and Barry have a simple and honest chemistry that is heartwarming against the bitter backdrop of oppression.

            This is a long play filled with a large number of characters, while there were only sixteen actors on stage, it felt much more expansive. The differences between the characters were distinct and I never felt confused as to whom I was watching. It’s not a particularly easy play to sit through, unless you enjoy watching people getting severely beaten and harassed. It’s not easy, but it is powerful.

            This is a piece of theatre worth seeing, not simply because this is the first revival in 30 years, but also because it’s an important subject. Learn about the world, educate yourself and check out The Lovegirl and The Innocent.

           

           

            

Reviews: Edward II at The National Theatre

Edward II

The National Theatre, October 21, 2013

“Crazy” was the word I kept hearing in relation to The National Theatre’s Edward II, and so crazy was what I was expecting going in. That was my first mistake. Yes, that’s a fair word to use for certain moments of the production, but it isn’t a word I would use to sum up the production as a whole… unless we’re talking about the crazy lack of continuity present in this production.

            The production starts before you even take your seat, the stage is fully lit with no sort of curtain to conceal the exit and entrance of cast and crew as they prepared for the beginning of the play. There was a sort of Brechtian alienation effect in the obviousness of the ‘play,’ the revocation of a ‘suspended disbelief’ by putting it all out in the forefront. And then, with a sudden banging of drums, the play begins with the coronation of Edward II.

            Going onward with this alienation effect, as the coronation ends, a loud applause and screaming came from House Right, introducing us the bold and reckless Gaveston, Edward’s banished lover. Now that Edward is King, many of his father’s laws and precautions have been tossed out the window, giving the rest of the nobility just cause for worry. The plays continues onward in this fashion as director Joe Hill-Gibbs uses a film crew following the cast into an enclose area of the stage to illuminate the ‘behind closed doors’ elements of Edwards’ court. From a homosexual club scene to plans of coups take place within this space, projected onto two screens for the audience to view. While this was visually interesting, and added a depth of layering to the show – and allowed the director to draw our attention to very specific details – I honestly could not find any sort of textual support or reasoning behind this choice.

            The performance of Kyle Soller as Gaveston was a highlight of the night, as he jumped from the House onto the stage, showcasing a variety of physical capabilities while still delivering Marlowe’s words with clarity and true feeling. The character is a difficult one, he is both loving and conniving, enabling and controlling – obviously flawed but wholly unapologetic. As his significant other and complete servant, John Heffernan’s Edward II is a petty young boy: selfish, reckless and petulant. When together on stage, the power play is turned upside down as the common-born Gaveston flaunts his power over the King. Whatever Gaveston wants and more is granted to him and the nobles’ obvious disdain is understandable.

            Also shining in their hideously flawed role was Vanessa Kirby as Queen Isabella, the desperate and neglected wife of Edward. While there were times when my inner-actor was jarred by her disregard for her own vocal safety as she cried out against her mistreatment, I was touched by the truth and feeling behind her words. Her relationships with her son as well as the somewhat confusing character Mortimer the Younger, who another one of Marlowe’s confusingly good and cruel characters, are strong and understandable while still hazing in her desperation to be accepted by Edward.

            What was most confusing with this production was the constant set-up for a scene that could leave you stunned, and then the letdown as the plays backs away instead of careening forward. Act I is filled with a number of small elements that had the possibility of coming to a satisfying climax of conflict in Act II, but then Act II backs away from the intense energy of Act I and we as an audience, are left struggling to stay awake. I liked the beginning of Edward II and the introduction of different controversial elements, but was disappointed by the lack of dedication and risk.

Reviews: The Light Princess @ The National Theatre

The Light Princess

The National Theatre - October 10, 2013

            Last night I saw an amazing production. Last night I saw an amazing production of a horrible show. I like Tori Amos, don’t get me wrong, the woman has 8 Grammy nominations, she’s obviously talented, but perhaps some song-writers shouldn’t attempt to write musicals. However, the visuals were well worth the ticket prices and then some.

             Before the show even starts, from the displayed on the stage and covering the main curtain, we are aware that we are about to watch a Fairy Tale. A brightly colored set displaying the Golden Kingdom of Lagobel and the Blue Kingdom of Sealand, divided by a Green wilderness, along with an explanatory song, sets the stage for this Fairy Tale. And like many of its magical predecessors, we begin with the death of a mother (or two). The Prince of Sealand reacts with heavy grief that prevents all joy and smiling, whereas as Princess Althia of Lagobel refuses to be brought down by grief and subsequently begins to float and can take nothing seriously.

            It is a simple story, yet difficult to follow. It’s simple because the story is Romeo and Juliet with emotionally stunted teenagers, it’s difficult because the songs go nowhere and accomplish nothing. This is not uncommon in many musicals, but in most of those musicals, there is dialogue to fill in the gaps. We did not get that stroke of luck.

            The music wasn’t entirely unpleasant, though. While every song, running around 5-8 minutes, was probably 9 minutes too long, the singing was excellent. Nick Hendrix, as the somber Prince Digby, adds beautiful depth with his warm tenor vocals to an otherwise 2D character. As The Light Princess Althea, Rosalie Craig must be commended for maintaining beautiful and strong vocals in whatever position she happens to be floating in at that moment.

            In fact Rosalie Craig’s performance alone deserves great acclaim, as The Light Princess who’s feet never touch the ground, I can’t imagine how much training she had to undergo before setting foot off stage. I wont go so far as to describe the amazing ways that the creative team devised to keep her feet from the floor – but I imagine that a lot of strength training was involved. Then, on top of all that floating, she still manages to belt at every angle possible, even upside down.

            The set, the lighting, the creative twists that Marianne Elliot utilized to tell the story, as well as the puppetry element, were all-excellent. Visually, The Light Princess is a masterpiece. Now, whether or not you want to sit through 3 hours (yes, 3) of uninteresting melodies and conversations that lead nowhere in particular, that’s up to you.

            

Reviews: Farragut North @ Southwark Playhouse

Farragut North

Southwark Playhouse, October 1, 2013

The Sneeze that Brought Down Farragut North

Act 1, nearing the interval… tension is high – and in a semi-dramatic moment, the most awkward sneeze I have had the pleasure of witnessing brought Farragut North to a standstill. Well, they weren’t really standing still, both Max Irons and Aysha Kala were trying their very best to stifle their laughter. To their credit, they did an excellent job of getting back into it after they admitted their break, and the audience applauded their honesty.

           

As an American, I was skeptical to see a show performed by the English about the mechanisms of my country’s political bodies. At the end of the night, though, I walked out of Southwark Playhouse thoroughly pleased and satisfyingly entertained. It was almost strange to sit down in a theatre to watch a play about American Politics, less than 24 hours after the government shut down. In the program, it does state that the play takes place in January 2012, so this is long before this summer’s government furloughs and the recent total shut down.

            The play opens on Stephen (Irons), a startlingly young campaign press secretary for one of the runners for the Democratic Primaries for the 2012 elections. He is a star within the Democratic Party and he knows it. But no one is doing anything to temper his ego, complimented by a reporter, flirting with the hot intern– he is riding the all too powerful high of early success. But all good things must come to an end – with one phone call, that success loses all its meaning as mistakes turn to into misdeeds.

            In that first scene, when we are introduced to a majority of this small ensemble of seven actors, a very electric Irons is describing his first large campaign victory with enough energy to power the entire room. Williamson, as Paul Zara, his boss, adds to the crackling electricity in the air, feeding Irons’ energy with his own. Tucker as the reporter, Ida Horowicz, is the perfect partner to Irons in this scene, matching his energy in their dialogue with the cool calm of enlightened experience and a touch of jadedness. It’s funny, entertaining, and had me on the edge of my seat, leaning forward and pulled in by this fast-talking trio. The scenario seems impossible, the script even hints that it is, but there is an arrogant swagger and over confidence to Irons’ Stephen, that makes his success easy to believe.

As the play moves forward, we meet Molly Pearson played by the young Aysha Kole. Molly is ambitious – hell, to be an intern for a political campaign at 19, you must have something special about you. And we soon learn how special. Kala confused me at first, I wasn’t sure if I was watching someone ambitious, or love-struck, looking back, I now know I was watching both. Her relationship with Irons I found confusing, however, not because of her age like the script suggests, but I just didn’t feel the chemistry between them. There were hints here and there, but I honestly thought Irons had more chemistry with Tucker and was actually expecting that relationship to extend past the first scene.

            As the ball really starts rolling, and falling and tumbling out of control, Stephen becomes more and more desperate and one of my favorite scene changes to date occurs as a way of highlighting this. If you have not seen the play, look away now, because this is too good not to mention. The cast performs the role of stage-hand/props-run (as it was labeled at my alma mater), that’s wonderful – Director Guy Unsworth took that to new levels in Act 2 to highlight Stephen’s fall from grace. In a strobe heavy scene change, Tucker and Williamson’s characters reappear, bringing liquor to Stephen as he sits at a table while the set changes around him. It’s a moment that could have me waxing literary for days. Instead I shall just say, driving does not mix well with liquor – and that blood looked fantastic, I think my gasp was fairly audible as the lights came up.

            Someone to watch out for, both in the play and in theatre in general would definitely be Josh O’Connor as the over-eager and ambitious Ben Fowles. He starts off unassuming and hard-working but morphs quickly into an undermining and sly political devil. For my film lovers, this is definitely a All About Eve situation. One thing that really struck me, at the very end of the play, Fowles delivers a speech, I knew I was watching a young white guy, but it really felt more like I was watching President Obama speak. The pauses, the gestures and even the facial mechanics were on point, and it was more than a little chilling. O’Connor is an actor to watch out for, I feel like I can say that with a pretty safe sense of certainty.

            I really enjoyed Farragut North, I went with three of my classmates from my MA Theatre Studies at Central and we were all in agreement, evening well spent. I wouldn’t say it was five stars (or wine glasses by West End Whinger standards), but a solid four. There were times when I felt emotions were being projected rather than genuinely expressed, though from my training back in 2011, I think that’s more due to the style of drama in England. At times, my American Spidey-senses were tingling as certain words and phrases came out a tad more English than American. I would just like Mr. Irons to know that most Americans do know how to pronounce the word ‘naïve.’ I understand the American accent is not the easiest, but give us some credit. Accents aside, if you enjoy being entertained while simultaneously being educated on some of the stranger points of American Politics, this is an excellent play. At just £16 a ticket to see smart, attractive young people – this is an amazing value.