Category: Theatre

Wastwater by Simon Stephens, Royal Court Theatre, 2 April 2011

We do both like a bit of Simon Stephens. We’re also partial to Linda Basset’s acting. This piece reminded us why on both counts.

We actually thought it was brilliantly acted and produced throughout.

Here is a link to the Royal Court resource on this play/production.

Three seemingly different stories that sort-of overlap and sort-of don’t. It’s hard to explain why, but Simon Stephens has a way with drama that simply keeps you gripped and thinking throughout.

Here is a very interesting behind the scenes short film from Sky Arts, including interviews with Simon Stephens, Linda Basset and several of the other cast and creatives, about Wastwater:

Royal Court – Wastwater from daniel bougourd on Vimeo.

Here is a link to a search term for reviews and other resources. The reviews are not universally great – some rated it very good, some rated it poor and cold-hearted.

We rated it very highly.

The Heretic by Richard Bean, Royal Court Theatre, 19 March 2011

After the previous evening’s debacle at Hampstead…

Ecstasy by Mike Leigh, Hampstead Theatre, 18 March 2011

…it was a very pleasant surprise that Janie felt better and confident enough to try the theatre the very next day.

A very interesting play about climate change, questioning orthodoxies and asking awkward questions about the links between the politics, science and personal beliefs around climate change.

A search term that finds the mostly good reviews and more besides can be found by clicking here.

Not sure what we did afterwards – probably got Janie home to bed pdq.

Ecstasy by Mike Leigh, Hampstead Theatre, 18 March 2011

Oh dear.

Janie said she didn’t feel 100% when she turned up at the flat, but I didn’t think too much of it, not even when she ate little at Harry Morgan’s before the show.

But about 40 minutes into the first half, she said to me, “I don’t feel well, I have to go to the cloakroom…you stay here”.  So I sat out the first half, not really able to concentrate and dashed out as soon as I could, to find Janie sipping water and attentive staff letting me know that she seemed OK.

It was early in the run and Mike Leigh was there that evening. He kindly came up to us to ask if Janie was OK; I think he was relieved when he learned that she was merely poorly rather than someone who had walked out in shock or horror.

The play is strong stuff and it was a full-on production, but Janie is not the “fit of vapours at the sound of expletives” type.

The staff said we could of course go back in during scene breaks in Act Two if we wished, and/or watch the second act on the screen they use to monitor the show from outside, but frankly we simply wanted to wait until Janie felt well enough to go home and then go home.

I bought a copy of the play text so I could read and find out what happened afterwards.

Here is a link to a search term that finds the almost universally excellent reviews.

It is a real shame that we more or less missed out on it. Still, it could have been much worse. Janie’s indisposition turned out to be slight and temporary – we were back to the theatre the next night.

The Holy Rosenbergs by Ryan Craig, Cottesloe Theatre, 12 March 2011

We saw this play/production in preview and I clearly remember both of us saying  immediately afterwards how much it reminded us of Arthur Miller’s style. Unsurprisingly, that was also the verdict of the bulk of the critics.

We also thought it was a very good play and an excellent production…the critics were largely still with us on that aspect too.

Here is a search term that should find you all the reviews and other on-line resources you might want for this one.

Here is the trailer and interesting chat about the play/production:

Reading Hebron by Jason Sherman, Orange Tree Theatre, 5 March 2011

I wanted to enjoy this play more than I did. It was written soon after the Baruch Goldstein atrocity in Hebron in the mid 1990s.

Here is a link to the Orange Tree resource on the play & production.

It was an excellent production and a fast moving play to be sure. David Antrobus, one of the Orange Tree regulars, was excellent as the central character Nathan.

But while the play was interesting throughout and covered many pertinent issues, it didn’t quite work for me; nor for Janie. The play is primarily about a young Canadian’s sense of collective guilt for the atrocity; for my part, I found hard to buy into the collective guilt idea.

Somewhat mixed, but most of the reviews are very good for this production – the search term linked here will find them for you.

Did we have a Spanish meal at Don Fernando’s after seeing this play? You bet.

Becky Shaw by Gina Gionfriddo, Almeida Theatre, 22 January 2011

Janie and I both really enjoyed this play and production. It is an American comedy about disastrous blind dating, with enough issues in it to keep it interesting as well as amusing.

Superbly acted and beautifully directed and produced.

Here is a link to the Almeida resource on the play/production.

Here is the trailer:

Here is a link to a search term that should bring up reviews and other resources on this play/production. The reviews are a bit mixed – everyone seems to praise the production but not all of the reviewers liked the play as much as we did.

Twelfth Night by William Shakespeare, Cottesloe Theatre, 15 January 2011

Janie really isn’t into Shakespeare, but Twelfth Night is a play close to my heart, having “done it” at Alleyn’s for the Dramatic Society in 1978.

Twelfth Night, Alleyn’s School, 12, 14, 15 & 16 December 1978

Ever since, I had been keen to see productions of Twelfth Night when they came around. Further, this production with Rebecca Hall as Viola and possibly a last chance to see a by then 80 year old Peter Hall directing…Janie said yes.

In truth, I don’t think this was the best Twelfth Night I have ever seen. It was of course very well acted, directed and produced, but it was a little old-fashioned in style for my taste; it felt like the sort of Shakespeare production I might have seen at the National 20-25 years earlier. I guess I should have expected.

It certainly didn’t do anything to improve Janie’s view on Shakespeare. I explained how much better it was done in the hands of Alleyn’s schoolkids in 1978 and Janie said she could understand exactly what I must mean.

She wasn’t humouring me, was she?

“After all,” said Janie, “you are practically a reincarnation of The Bard, are you not?”

Anyway, here is a link to a search term that finds reviews and other resources on this production. The reviews are a little mixed; mostly suggesting that it was a good, but not great production, which I think sums it up pretty well.

Fela! by Jim Lewis & Bill T Jones, Olivier Theatre, 11 December 2010

We don’t normally do musicals. But this one sounded interesting and different so we booked it.

Set in Nigeria in the late 1970s, it is basically a tribute to the life, music and politics of Fela Kuti.

It was at the National, so of course no on-line resource to help navigate all the whys and wherefores of the show. This search term – click here – should find the (mostly rave) reviews and other resources you might want.

I’m not sure we need a subsidised National Theatre to import this sort of hit show from Broadway and make a hit of it in London, but anyway I’m glad it was on there and I’m very glad we saw it. This was just the sort of boost we needed so soon after Phillie’s passing. A life-affirming show, but with real grit too.

Here’s the trailer vid:

The Master Builder by Henrik Ibsen, Almeida Theatre, 13 November 2010

We don’t book many classic revivals, but we tend to make an exception for Ibsen if it is a play one or both of us hasn’t seen before. Plus, if it is the Almeida, we tend to trust the place to deliver a classic well and with a modern enough feel.

As was the case with this superb production.

We were a little concerned that it might be a luvvie-fest for Gemma Arterton. But she proved well up to her task and the universally high-quality cast worked extremely well as an ensemble.

It was a well-pacey production; an-hour-and–three-quarters straight through, the extra pace worked well with this play. An object lesson for some of the ponderously long, drawn-out productions of early 20th century plays.

Here is a link to the Almeida resource for The Master Builder.

The reviews were pretty much universally good and most are linked through the above resource, but this search term – click here – should find reviews independently for you.

The Company Man by Torben Betts, Orange Tree Theatre, 9 October 2010

I don’t remember a great deal about this one.

Here is the Orange Tree stub on the play/production.

I think it might have been a bit much for us at that time, with Phillie so poorly by then, so perhaps we didn’t even stick it out to the second half.

This search term suggests that the few reviews it got were quite good ones.