Category: Theatre

The Arsonists by Max Frisch, Royal Court Theatre, 3 November 2007

After an aborted evening at the Hampstead Theatre the night before, this was a much better theatre experience for us.

I have liked this play ever since I read it, hundreds of years ago…well, soon after doing Andorra by Max Frisch at school. This production at the Royal Court Theatre, performed in rep alongside Rhinoceros which we saw a few weeks earlier, promised a fresh translation and another chance to see up and coming young star Benedict Cumberbatch before he became too famous to watch.

We both really enjoyed this production. It isn’t one of Janie’s favourite plays, but the translation and production were indeed fresh. Will Keen was excellent as Biedermann.

Most of the major reviews were highly favourable and are reproduced faithfully on the Royal Court stub for this production – here.

Charles Spencer in the Telegraph thought it tailed off – here. Sarah Hemming in the FT was also less than sure – here. Philip Fisher in British theatre Guide missed the epilogue – here – (I thought its omission was a good thing, on balance).

 

The Giant by Antony Sher, Hampstead Theatre, 2 November 2007

On paper, this appeared to be a seriously hot ticket. So seriously hot we booked to see the first Friday preview. Antony Sher wrote it, Greg Doran directed it, Roger Allam starred in it…

…what’s not to like?

Well, in truth we didn’t like it at all. The plot revolves around the Florentine story of Leonardo Da Vinci and Michelangelo competing for the same sculpture commission. The play might have been fine art’s equivalent of Amadeus – I suspect that’s what Sher had in mind, but we found the piece laboured, pretentious and dull.

We didn’t stick around after the interval for the second half of the play.

The reviews were not so special:

Kebab by Gianina Cărbunariu, Royal Court Theatre Upstairs, 20 October 2007

I recall this being a very powerful play/production – archived in all its detail by the Royal Court here. This resource includes plenty of reviews, from the play’s original outing in Dublin and also from the Royal Court.

With Rhinoceros on downstairs at the same time, I suppose this was Romanian month at the Royal Court.

I remember we left feeling uncomfortable; sexual exploitation is that sort of subject on the stage – you feel a little complicit in the exploitation even though you know you’ve been watching a play. In this play that exploitation is as raw as a symbolic uncooked kebab.

Lots of good reviews shown in the Royal Court link above, but Michael Billington in the Guardian absolutely hated it – see here. He felt he’d seen it all before. So did Charles Spencer in the Telegraph – see here.

It certainly wasn’t a fun play, but it was very well acted – we were more with the good reviews than the haters.

My diary is silent on what we had for dinner after the play, but it might easily, ironically, have been some form of kebabs, as we would often as not go to Ranoush or Mohsen after the Royal Court. But perhaps we went to May’s for Chinese food on this occasion, even if that choice was a change of tack after seeing the play.

 

Once We Were Mothers by Lisa Evans, Orange Tree Theatre, 13 October 2007

My recall of this one is extremely sketchy. I vaguely recall the scenarios, as set out in the Orange Tree Archive – click here. I remember the cast being a collection of Orange Tree regulars and a few new faces. I remember the play not really fitting together – it was basically three separate stories, merely linked by being essentially mother and daughter scenarios.

Michael Billington wasn’t too sure about it – see here.

John Thaxter in British Theatre Guide quite liked it – here.

We’ll have dined at Don Fernando afterwards, that I can say for sure.

Rhinoceros by Eugène Ionesco, Royal Court Theatre, 6 October 2007

I’ve liked this play for almost as long as I can remember; certainly since school. Janie and I saw a quirky production of this at the Lyric Hammersmith years ago, but I thought this version at the Royal Court, translated by playwright Martin Crimp might have a bit extra. It did.

Benedict Cumberbatch was a young actor on the “one to watch” list in those days; now (writing in 2016) one might pay good money to avoid him – simply because of extreme overexposure to his manifest talent, you understand.

The above link (or click here if you prefer) takes you to the Royal Court archive, which has the who’s who and excellent reviews, saving me time and effort. But the absence of Michael Billington’s name in the Royal Court resource led me to suspect that Billi-o didn’t like it and I was right – click here for his review.

Philip Fisher in British theatre Guide (also unmentioned) did like it – click here.

 

 

Life After Scandal by Robin Soans, Hampstead Theatre, 21 September 2007

This was a very interesting and entertaining piece of verbatim theatre. Robin Soans is good at this stuff; we’d seen Talking To Terrorists at The Royal Court. It was probably this sole factor which encouraged us to book the play.

We were pretty much out of love with the Hampstead Theatre at this time; during the Anthony Clark era. Clark himself directed this one and did a decent job of it.

It was deservedly pretty well received on the whole by the critics:

 

The Years Between by Daphne Du Maurier, Orange Tree Theatre, 15 September 2007

The Years Between is a 1940s period piece by Daphne Du Maurier. Orange Tree Theatre stubs from 2007 are a bit thin on detail, but here’s a link to the stub.

I remember this play seeming a bit slow and dated, but it did hold our attention and the acting was very good.

Absurdia: A Resounding Tinkle and Gladly Otherwise by N.F. Simpson, The Crimson Hotel by Michael Frayn, Donmar Warehouse, 18 August 2007

I’m not sure we were quite in the mood for a triple-bill of British Absurdist comedies. I’m not sure we’d have been in the mood for these plays even if we had been in a more appropriate mood.

Billed as being a precursor to Pythonesque comedy, the only python-like thing in the 1960s N.F. Simpson material was talk about a neighbours snake. His plays were certainly more English whimsy than European absurdism.

The Michael Frayn was a modern piece, but lesser Frayn in my view.

Great cast; it would probably seem worthwhile watching Peter Capaldi paint the ceiling. Douglas Hodge directed this production – he seems to have a good eye and ear for this sort of stuff. It’s just not really our sort of stuff.

The critics weren’t too sure either:

The Enchantment by Victoria Benedictsson, Cottesloe Theatre, 11 August 2007

My recollection of this one is extremely limited. We saw this on the Saturday evening between my father’s death and the funeral. The programme helps my memory, as does Janie’s recall (also dredged with the help of the programme) and the reviews.

Victoria Benedictsson was a Swedish writer who had a difficult time as a modern woman in the early days of women’s liberation. She killed herself relatively young, but not before writing this loosely autobiographical play in the late 1880s. The play is now seen as a precursor to Scandinavian works such as Ibsen’s Hedda Gabler and A Doll’s House.

I note from the programme that Nancy Carroll played the lead; I subsequently discovered that she is an Alleyn’s alum; good for her. She is an excellent actress. I also spotted in the programme that Paul Miller (now taking the Orange Tree Richmond from strength to strength) directed this production. In the round too; good training for the Orange Tree.

It was clearly one of those slow build, late 19th century dramas. Probably just as well given my/our state of mind that weekend; a frantic, high octane play such as Cyprus Avenue – the piece we saw the other night as I write – would not have gone down well in the circumstances.

Clare Bayley, who wrote the version of the play which was performed in this production, has a good page on this project, including interviews and stuff, on her site – here.  She also includes some good quotes from the critics in her piece.

Indeed, it seems to have gone down well enough with the critics that matter:

The Hothouse by Harold Pinter, Lyttelton Theatre, 28 July 2007

We really enjoyed this play and production. It is a rare example of a Pinter comedy, which he wrote during his heyday in the mid 1950s but I don’t think it got produced until a fair bit later.

Being Pinter, the line between comedy and tense psychodrama is a thin one. Indeed, plays like The Caretaker, The Birthday Party and The Dumb Waiter are sinister yet have plenty of humour in them. The Hothouse has plenty of humour yet is sinister; it is set in an anonymous government run mental institution. Say no more.

This was a superb cast and production. Stephen Moore, Finbar Lynch, Leo Bill and Lia Williams the standouts. Here is a link to the Theatricalia entry. For once, the awkward depth/shape of the Lyttelton stage could be used to good effect for an institutional look.

It was pretty well received by the critics on the whole: