Since lockdown, we’ve not been going to the theatre anything like as much as we did before. Partly, I suppose, because we got out of the habit. Partly, we think, because there is not so much to our taste on offer, as theatres tend to play it safe, with many more revivals and musicals on offer than we remember in the past.
Indeed this was our first visit to the Hampstead Theatre since lockdown, although we have kept our membership going throughout. Our previous visit to Hampstead theatre was to see The Haystack, just before lockdown.
In these difficult times, Janie and I wanted to see something light-hearted and yet with some serious aspects to it. This looked like it would fit that bill and indeed it did.
Janie and I tend to enjoy Richard Bean’s plays – we have seen several. To Have And To Hold was an enjoyable evening at the theatre.
The play avoided the worst excesses of drama about elderly parents, which can easily fall victim to tired cliché and, in our case, a sense that “we can get all that at home”!
In the event, I read a bit more into the play than Janie did, until we discussed it afterwards. Janie sensed that she had gone with the comedic flow of the play without reading as much into it as I had. In particular, I thought there was interesting irony and pathos in a nonagenarian, sharp-sensed former policeman being scammed, at least in part because of his digital exclusion as well as his physical frailty.
Great cast for this one: Alun Armstrong, Marion Bailey, Rachel Dale, Hermione Gulliford, Christopher Fulford and Adrian Hood. All played their parts well, under the joint directorship of Richard Wilson and Terry Johnson.
Here is a vid of the two Richards (Wilson & Bean) discussing this play/production:
Word-Play was definitely not a miss for us, far from it, although Janie did find the short scenes with the actors playing different characters in different times and places more than a little disconcerting.
But we both agreed that the acting by all five cast members; Issam Al Ghussain, Kosar Ali, Simon Manyonda, Sirine Saba, and Yusra Warsama, was superb. Many of the scenes worked terrifically well, especially the more intimate ones. Word-Play is a very ambitious piece of writing and we shall certainly look out for Rabiah Hussain’s work again.
Janie and I really enjoyed this play/production, which we saw in preview. The acting was superb. The direction and design very high quality, as we have come to expect at The Royal Court over the decades.
This play was seemingly superficial, yet beneath its slight surface are some fascinating issues of our times. The “joke” that this family is spending its together time with each individual surfing their own virtual world quickly became tiresome – especially as some of audience members nearby were finding it hilarious. But that humorous conceit was soon revealed as a foreshadowing of some darker elements of the characters’ inner/virtual worlds.
Yes, as some of the critics have said, not a lot happens, but this particular “not a lot” is both amusing and highly thought-provoking.
OK, I have a confession to make.
When I booked this, my main criterion for booking it was a recollection that one of Michael Wynne’s previous plays, The People Are Friendly, had pleased us both a lot.
2002, we saw this at The Royal Court (not yet Ogblogged)
Soon after the start of Cuckoo, which shares a couple of the lead actresses and Royal Court production aspects with The People Are Friendly, I realised that we had not liked The People Are Friendly; we found it soap-opera-ish and not to our taste. I was confusing The People Are Friendly with Richard Bean’s England People Very Nice:
I shall revisit the play text of The People Are Friendly before writing up our 2002 experience, as it is possible that I will read more into that play now than we did 20 years ago.
Anyway, apologies to Messrs Wynne and Bean for the confusion. The word “People” in the title shouldn’t be enough for such a muddle really. I just jumped to a conclusion…
…and talking of conclusions, Janie and I both thought the ending of Cuckoo was really rather wonderful, both as a coup de theatre and also as a piece of stage design.
NewsRevue has been running for ever. OK, not quite for ever, but since 1979. It is the world’s longest running live comedy show, as affirmed by a Guinness World Record. Some people describe it as “The Mousetrap of comedy”, except in this case it is perfectly acceptable for me to confess, “I dunnit”.
I wrote for the show from 1992 until I ran out of steam towards the end of the 1990s. But I still hang out with the self-styled Class of ’92, e.g.:
We’ve lost some great characters over the years. In the last 12 months, sadly, we lost our founder and mentor, Professor Mike Hodd.
So when Emma shouted out that the Edinburgh run this year was to be at the Pleasance Grand, was dedicated to Mike and that the show would be previewing for a short while at the Canal Cafe Theatre, I decided to make the effort. (Not much effort in my case crossing from one end of W2 to the other). I checked my diary, booked a convenient slot and shouted back that I had grabbed a seat on Table 2, suggesting that other “Ninety-Two-niks” might choose to join me.
In the event, Barry Grossman, Mark Keegan, Jonny “Two Phones” Hurst and a couple of members of Jonny’s visiting family made up our table.
The show is good, as I’d expect for an Edinburgh run.
Lots of big numbers – a long Spice Girls medley to start and similarly long Queen one to finish.
Slightly less variety of material, in my opinion, than in our day, but then the culture of a fairly large group of comedy writers gathering most weeks, sharing ideas and watching the show before scattering to the four corners of the South-East and writing stuff…is ancient history.
Some of the news stories felt very early 1990s – an exhausted, useless Tory Government unable to control its (and our) own destiny. Royal family nonsense…we even had a “Camilla Queen” section of the Queen medley which echoed interestingly the late great Debbie Barham’s “No Camilla Queen” song from the mid 1990s.
I could go on…
…actually I already have.
It was great to see fellow writers at the Canal again – we usually meet in chain restaurants these days – and it was great to see the show again – my first visit since the pandemic.
Janie loved this piece. In truth, I found it a little mawkish.
The short scenes only occasionally allowed enough space for the emotional impact to flourish.
Lights out theatre?
To be fair, the piece did “exactly what it says on the tin”, in terms of cataloguing the deaths that enter the orbit of one character, Graciela, throughout her life.
Being The Finborough, of course it was all very well acted and extremely well produced, within the limitations of one of the most pint-sized theatres above a pub anywhere.
Let us not forget that The Finborough won “Pub Theatre of the Year 2022” despite there not being an actual pub below then or indeed now.
All the cast were very good, but Vivia Font stood out in the lead role, morphing from tantrum-ready nipper to accepting oldster via all the stages of life in between.
There was a Q&A with the playwright and cast afterwards, but we didn’t stay for it, hungry for a Persian meal that we would not be able to procure after the Q&A.
On exit, we ran into one of my real tennis friends, Tony Joyce, and his good lady. I thought this was quite a coincidence, especially as they are not regular Finborough-istas – indeed they were trying the place for the first time. Tony agreed, not least because, as he said:
…we two couples made up nearly a quarter of the audience.
Slight exaggeration that – I think the place has room for 40 or so people each performance, but still.
I hate to sound smug…actually that’s not true…I delight in the smug thought that it was my idea to book this one, back in November when the Bush Theatre spring season was first announced.
Janie had of course consented to booking it but then largely forgotten all about it, as indeed had I, until the date grew near and we re-engaged with the production.
“Isn’t Lenny Henry a stand-up comedian? I don’t like stand-up comedy,” said Janie.
“He moved on from stand-up comedy a long time ago. Lenny Henry writes – this is a proper play.”
“Do you think he’ll be there on the night?”, asked Janie, who had clearly retained even less about this production than I had.
“I do hope so. It is a one-man show written and performed by Lenny Henry, so it will be more than a little bit disappointing if he doesn’t show up.
Lenny Henry did show up. His grounding in stand-up comedy was never too far away. He opens the play by endearing himself to the audience, not least by giving a few lucky punters a tot of rum. He then tells the story of his character, August Henderson, through a mixture of witty, bitter-sweet and some out-and-out funny anecdotes.
August’s life in Dudley/West Bromwich echoes that of the young Lenny Henry, although August must have been born a few years before Lenny Henry and, unlike Henry himself, the August character was born in Jamaica and brought to England by his mum as an infant. This subtle distinction is fundamentally important as the story unfolds.
Lenny Henry has superb stage presence. Not only does he still “have what it takes” to deliver anecdotes like a top-drawer stand-up comedian, he also dramatizes August’s sad story masterfully through words, expressions and movement. He tells the tale of his love for Clarice and the three children they produce. Also his love of reggae and ska music. His anecdote about skinheads especially resonated with me:
They loved reggae and ska in the beginning, but after a while they stopped loving us. I still don’t know what changed.
I’ve always wondered about that.
The nub of August’s story – or at least its denouement – is the Windrush scandal – the appalling 2012 Government policy creating a “hostile environment” for people who do not have leave to remain in the UK. While this policy was not targeted at people who had been British citizens in former Empire and Commonwealth countries, thousands of people from the Windrush generation – mostly people who came as children from the Caribbean in the 1950s and 1960s, were caught by this ill-considered change in law and policy. People lost their homes and/or their jobs – many were even deported, despite protections that had been enshrined in earlier laws specifically to prevent such injustices. I shouldn’t get on my own political high horse about this, but I’m going to anyway – the whole affair was a shambolic political sh*t-shower which made me (and many others who share my sense of justice) profoundly ashamed of my own Government.
August’s story unfolds with more subtlety than my paragraph above. Yes, really.
The ending of the play is shocking, poignant and thought-provoking. I especially liked the technique – borrowed from verbatim theatre – of getting several real people who were caught up in these injustices to tell their own stories on the screen. It brought home the reality in a way that the comedy drama – delivered by Lenny Henry’s flawed but loveable character August – could not manage alone.
Here is a link to the Bush resources on this play/production. I’d recommend this play/production highly. Unfortunately this run is sold out, but hopefully it will get a transfer as it deserves a bigger audience than five or six weeks-worth of Bush Theatre aficionados.
Our first visit back to The Finborough Theatre since the pandemic. Coincidentally, our previous visit was our last visit to any theatre before the pandemic, and that piece was also at least partly about Israel:
Since that 2020 visit, The Finborough has been awarded a coveted Pub Theatre Of the Years Award 2022, which is quite something…
…especially as The Finborough currently has no pub. But that’s not important to us, as we were always “only there for the theatre”, not “only here for the beer”.
Janie and I were both very taken with The Retreat. It is set in 1993, in the shadow of the Oslo Peace Accords, although the play is set in Canada, pitting a Hebrew School teacher/would-be script writer with a pair of seasoned but warring (with each other) film makers.
If the play errs at all, it is a bit long, running to nearly two-and-a-half hours. Ironic, really, given that the central conceit of the play is about script editing. But that space gives room for the characters to develop and for the darker recesses of their behaviours to become apparent to the audience.
Janie and I thought all four cast members performed very well but were especially taken with Jill Winternitz as the somewhat vulnerable young woman and Jonathan Tafler as her father.
We’re back at The Finborough in a few week’s time to see the next thing and can hardly wait after enjoying this production. We’d almost forgotten how much we like this type of small-scale intimate drama.
This was a fabulous play/production at the Orange Tree Theatre in Richmond.
It’s about revolting young people in Cairo – i.e. the story, over several years, of several engaging, well-crafted characters, initially caught up in the revolution which started in 2011.
No programme for this production, but there is a care pack – click here – this must be the modern way.
The playwright AHLAM is anonymous/pseudonymous, perhaps a proxy for the “always in danger blogger” character Osman, played very well by Tarrick Benham.
The play covers well the politics of those years – from hope through frustration to fear and desperation. In particular the revolutionary blogger character Osman and his gay friend Rafik, played well by Nezar Alderazi, illustrate the big picture.
But it is also a tale of interpersonal relationships. The younger characters, girls at the outset, Lina (played by Eleanor Nawal) and Maya (played by Yasemin Özdemir) getting in and out of trouble with boys and with each-other.
The whole production was very well acted and very well produced. The night we went, Hanna Khogali was indisposed, so assistant director Riwa Saab stood in for her at the last minute. Riwa is clearly a very talented young thing but not a actress – nevertheless she is a performer when not directing and carried the part astonishingly well in the circumstances, as did all the others, in particular Moe Bar-El whose character had to interact with Riwa’s character the most. Theirs was a “star-crossed lovers” story; him from a Coptic family and her from a Muslim family of cops.
It sounds a bit cheesy when described in simple sentences about the plot, but the stories dance between each other and across time to make a wonderfully engaging evening of theatre.
100 minutes without an interval, but at no point did it feel like a drag.
Janie and I have not been to the theatre much these past few months. We’ll be going a fair bit over the next few months. This one certainly started our “new season” of theatre going with a bang…and I don’t mean tear gas canisters going off in Tahrir Square.
Janie and I have seen rather a lot of Martin Crimp’s work over the years. This opportunity, to see Martin Crimp’s latest thing performed by the man himself, seemed like too good an opportunity to miss.
Which indeed it was.
Crimp can range from “weird but utterly gripping” to “so weird it is utterly impenetrable”. This piece was somewhere in the middle of that range.
We found the piece fascinating, we enjoyed many of the vignettes and it got us talking about the piece and the issues raised by the 299 characters afterwards, all of which is a good thing. But within that whirlpool of ideas, while it was interesting theatre, there wasn’t any gripping drama.
As always with Crimp, there is some superb writing in there. Janie and I will carry some of the one-liners with us for a long time…
…although the one along the lines of, “a man over the age of 40 wearing a leather jacket – alarm bells start ringing” was a bit near the mark, don’t you think?
It’s not every day that Janie and I go to the opening night of a west end run that is itself the opening night of a brand new theatre. In fact, @sohoplace is the first new build theatre to open in London’s West End in the last 50 years, making this quite possibly a “once in a lifetime opportunity” to attend such an event.
Marvellous is based on the true story of Neil Baldwin (click here for Wikipedia entry), an uncomplicated, happy soul who, in 1960, wandered through the gates of Keele University as a local teenager and found a safe space there to bring his dreams to reality. Those dreams mostly involve football and/or meeting famous people. As a result, Neil has been honoured with a British Empire Medal, freedom of the cities of Stoke-on-Trent & Newcastle-Under-Lyme, an honorary degree from Keele, plus, first (and possibly best) of all, since 1968, honorary life membership of Keele University Students’ Union.
Neil never had a formal role at Keele, neither staff nor student, whereas some of us actually did the “hard yards”…OK they weren’t all that hard…for our accolades. I arrived at Keele 20 years after Neil’s teenage adventure started and was still there five years later when we (by which I mean the Students’ Union) voted at a UGM to deem 1985 The Neil Baldwin Jubilee Year. I find myself juxtaposed with Neil in the Concourse article reporting that meeting:
Reading the above article, it seems that Mark Ellicott, who was the Speaker at that 1985 UGM, curtailed the discussion on the proposal to name 1985 “The Neil Baldwin Jubilee Year” at Keele, by suggesting that anyone who might vote against the proposal would be:
a nasty individual.
I suspect the proposal was approved by acclamation.
Mark might remember. Coincidentally, I am due to see Mark on 17 October (just two days after seeing the show) and additionally coincidentally he is now running the Outernet music venue just opposite @sohoplace.
Indeed, it is through my sustained Keele connections that Janie and I ended up @sohoplace on the opening night, having spotted on the Keele alumni FB postings that the show was transferring to the West End. I managed to grab a brace of good seats for the opening night, which felt like the right thing to do. Why wait any longer than that?
We got to @sohoplace ludicrously early. We wanted to have a look around this new theatre, which we did, but you don’t really need best part of an hour to do that.
Still, we got to chat with some of the lovely staff at this new theatre who were “beyond excited” about their opening night and some of them were even more excited than that when they learnt that I had known Neil at Keele all those years ago. I told them to expect a fair number of Keele alums during the run, because Keele alums are a bit like that.
We really were ludicrously early
We enjoyed our ludicrously earliness in the charming new space, until the theatre bell went. At that point, of course, our carefully chosen end seats (we’re seasoned theatre-in-the-round types, me and Janie, e.g. at The Orange Tree Theatre, so we know to go for those) meant that we had to make way for more or less everyone.
The place seemed pretty full, possibly completely full, as the show was about to begin. I think I spotted Malcolm Clarke himself in the audience (he’s a big fella) but other than that I didn’t recognise any Keele alums, although I’d guess there were a few others there.
What should I say about the play and production itself?
The play is, in a way, an adaptation of the BAFTA-Award-winning film Marvellous (2014), which was itself a post-modern biopic about Neil’s extraordinary life, in which Toby Jones played the part of Neil, while Neil himself also appeared in the film.
The conceit of the play is that six actors have gathered to workshop/depict Neil’s life, only to be interrupted by “the real Neil” (actor Mike Hugo, whose voice was unerringly Neil-like). Some of the actors are seeking meaning and metaphor from Neil’s story, threatening at times to declaim profound monologues, while “the real Neil” finds ways to steer the telling as a rollicking, fun-packed yarn.
Thus the Keele graduate (along with my broad-based-foundation-year-underpinned education) in me would describe the piece as a post-postmodern (or perhaps I should say metamodern) bildungsroman exploring the life and times of Neil Baldwin…
…whereas Neil would no doubt describe it as:
a funny play about me, to make people happy.
There are no shocks or unexpected plot twists in this play. Indeed the play version has straightened out the time-line of Neil’s life, whereas the film was deliberately vague about time-lines, darting back and forth in time on occasion. This “story straightening” makes the play much easier to follow but in some ways over-simplifies.
For example, the play’s timeline implies that Neil went off to the circus in 1980 and returned to North Staffordshire at the end of the 1980s. The truth of the matter is that his circus career, which the play rightly depicts as an environment in which Neil was repeatedly subjected to mistreatment, must have been a stop-start career with quite lengthy periods of return to his family home and Keele throughout the 1980s – certainly the early to mid 1980s when I was at Keele.
But that is detail.
Most importantly, the play tells its mostly heart-warming, comedic tale with verve and light-hearted spirit. The production is excellent and the performances were mostly pitch-perfect (did you see what I did there with a football pun?).
I was especially taken with Suzanne Ahmet’s depiction of Neil’s mum (Gemma Jones’s film shoes being hard ones to fill) and I commend Gareth Cassidy’s comedy timing, in particular when depicting characters with a huge variety of accents, sometimes having to change articulatory-tack at alarming speed.
Yes, some of the comedy tended towards slapstick or pantomime style, but this is the story of Neil Baldwin, a man who spent much of his career as a clown. The sillier aspects of the play were well-bounded and skilfully delivered. Oh yes they were. Oh yes they were.
Best of all, the audience was absolutely carried by Marvellous on that opening night and I sense that almost everyone left @sohoplace feeling happier than they felt on arrival. As the man himself would say,
