Tag: Michael Billington

Harper Regan by Simon Stephens, Cottesloe Theatre, 19 April 2008

So there’s more to Uxbridge than the cricket ground.

Seriously, Janie and I both really liked this play. Simon Stephens is one of our favourite playwrights these days and this one worked really well in the Cottesloe for us.

The eponymous lead is a big part; Lesley Sharp is a correspondingly big part actress who was able to deliver big time on this play/production.

Very shocking in parts and also very moving.

Small Change by Peter Gill, Donmar Warehouse, 12 April 2008

I’m not too sure why we booked this. to be honest.

We had not enjoyed Cardiff East at the National 10+ years earlier, despite the presence of the wonderful (ex NewsRevue) Di Botcher in that play/production.

Small Change is a revival of one of Peter Gill’s earlier plays around similar subject matter. So why we thought we might like another of Peter Gill’s working class Welsh drab-fests I cannot imagine.

Here is a link to the Donmar’s excellent downloadable Study Guide on the production.

Anyway, we didn’t much like it, although it was a less bleak and more lyrical piece than the relentlessly miserable Cardiff East.

…you get the drift. Wonderfully well acted and produced. It was just one of those minimalist pieces that didn’t really float Janie’s or my boat.

 

 

The Last Days of Judas Iscariot by Stephen Adly Guirgis, Almeida Theatre, 29 March 2008

We had such high hopes for this one. We love the Almeida. We loved Jesus Hopped The ‘A’ Train by the same author at the Donmar a few years ago…

…but this one didn’t really work for either of us. The acting was good, but the play left us cold and disappointed. Perhaps we were expecting too much.

The Almeida provides a superb stub that explains the conceit of the play and sets out the cast and creatives – here.

There’s a good Wikipedia entry for this play and production too. It states that the original off-Broadway production was reasonably well received, whereas the Almeida production was almost universally well received. I’m not so sure about more-or-less universal:

The Man Who Had All the Luck by Arthur Miller, Donmar Warehouse, 1 March 2008

We are both very keen on Arthur Miller and thought we would probably enjoy one of his rarely performed early works.

We went to the second preview of this production, so possibly didn’t get it at its absolute best.

While we enjoyed the play and production, with some of its parable qualities reminding us of great Miller plays, I would suggest that the play is not a great Miller play and the production was not one of the Donmar’s greatest productions. The acting was superb, as we pretty much expect at the Donmar, the cast mostly unfamiliar folk to us.

Here is a link to the excellent Donmar downloadable “Study Guide” resource for this production.

The critics were somewhat divided in their opinions, even individually in some cases:

There’s a good Wikipedia piece about the play – here – which mentions the Donmar revival and others besides. It also provides a bit more analysis about the play.

We’re very fussy when it comes to the Donmar these days, as we find that Covent Garden location so awkward, but on balance we certainly felt that this was a worthwhile trip.

 

Baby Girl by Roy Williams, DNA by Dennis Kelly and The Miracle by Lin Coghlan, Cottesloe Theatre, 23 February 2008

A mixed bag evening, mostly good stuff in the mix, with three short plays all with a “yoof” theme, at the Cottesloe.

We weren’t going to miss this one. Roy Williams we liked a lot when we first came across him at the Royal Court a few years before. Ditto Dennis Kelly, whose work we’d very much enjoyed at the Hampstead. Lin Coghlan was new to us.

We weren’t overly familiar with Paul Miller’s name as director then, although we had seen his work before and now (writing in 2016) know his work well at the Orange Tree.

Apparently this production emerged from the National Theatre’s Connections programme, getting young people involved in performing, although this production was picked up by and delivered by professionals, albeit some of them very young professionals.

There is an excellent, free RNT education workpack for these plays, which includes synopses and other educational materials to accompany the pieces – click here to download.

LondonTheatre.co.uk provides a useful cast & crew list and a short synopsis of each play.

Interesting reviews:

I think we liked the first two plays a fair bit more than the last, but two out of three really ain’t bad for this sort of evening, so we were thoroughly satisfied.

3 Sisters On Hope Street by Diane Samuels and Tracy-Ann Oberman after Anton Chekov, Hampstead Theatre, 22 February 2008

This one didn’t really work for us, despite the good reviews it mostly received.

It was one of those plays/productions that we thought we ought to have really liked, but didn’t much. We like Chekhov. We like Tracy-Ann Oberman (formerly of NewsRevue in our world, Eastenders in most other people’s). It was a superb-looking cast. Lindsay Posner is a terrific director.

The idea of transferring the Three Sisters to the large home of a relatively wealthy Jewish family in austere post-war Liverpool seemed to be up our street. But Hope Street is not our street; not three hours of it anyhow:

Hampstead Theatre stubs don’t go back this far…yet…but Liverpool Everyman one’s do – so there – click here for cast and crew details.

We no doubt ate at Harry Morgan’s before seeing this production, which would at least have got our bellies into the right mode for the three hour “Chekhov meets Wesker Fest” that followed.

Happy Now? by Lucinda Coxon, Cottesloe Theatre, 9 February 2008

Unusually, we took Phillie to the theatre with us on this occasion. It must have been a long prearranged thing; I think Tony was doing one of his long business trips in the far east, so we had Phillie to stay for the weekend and it was planned far enough in advance for us to book a good Cottesloe production for us all to see.

This was a very good play/production. Funny, thought-provoking and very well acted. Great cast; not least Stanley Townsend, Olivia Williams and Dominic Rowan. Thea Sharrock, who had impressed us so much directing at the Gate, was starting to get higher profile gigs; this being an early example of one of those.

This award-winning play and production has a comprehensive Wikipedia entry – click here, which includes links to some of the better reviews.

Phillie, bless her, unaccustomed as she was to the theatre, was a bit “west-end theatre-ish” at first, talking as if she was in her living room watching TV, until Janie gave her “the look” a couple of times. I think Phillie enjoyed that theatre trip very much.

I’m pretty sure this was the occasion that, afterwards, we went on to Zinc Bar and Grill in Heddon Street.  Now gone, I believe, a couple of reviews of that Conran place survive:

Anyway, Phillie really enjoyed herself that evening – she got quite tipsy at Zinc, as was her wont by then, but the important thing was that she had a good time.

Land of the Dead and Helter Skelter by Neil LaBute, Bush Theatre, 18 January 2008

Neil LaBute is good at short, punchy plays. These two, Land of the Dead and Helter Skelter – see Bush Theatre stub here,  are companion pieces.

It was a Friday evening, so it was stronger meat than we would normally choose for the end of the working week. Still, we were really taken by these plays and this production of them. The reviews we can still find tend to agree with us:

 

Statement of Regret by Kwame Kwei-Armah, Cottesloe Theatre, 22 December 2007

We really loved Elmina’s Kitchen and also enjoyed Fix Up, both by Kwame Kwei-Armah when we saw them at the Cottesloe, so we thought this one would be a “must see”.

In truth, Statement of Regret was nowhere near as strong as the other plays, although it was worth the trip. This one was about a black think-tank on the brink of folding. Interesting subject matter but the play was a bit all over the place.

Even Michael Billington struggled to like it, even though he wanted to, here.

Philip Fisher in British Theatre Guide agrees – lots of interesting stuff but not a coherent play, here.

Still, Ricky in NYC really enjoyed it, here, and who are we to disagree?

Chains by Elizabeth Baker, Orange Tree Theatre, 24 November 2007

Truthfully, I recall very little about this one. No doubt Sam Walters was wandering around like an expectant father on the night we went; a production directed by his wife, Auriol Smith and starring their daughter, Octavia Walters. Although we were past the preview stage, so perhaps Sam wasn’t there that night.

Anyway, here’s the helpful Orange Tree stub about it.

Michael Billington in the Guardian, as usual with Orange Tree stuff, loved it, here.

Philip Fisher in British Theatre Guide is reasonably impressed but observes that there is a lot of dull chit chat, here.

The Standard suggests that it is interesting as social history but lumpen as drama, here.

I have a feeling that we found it a bit lumpen too. We tended to with Orange Tree pieces from that period, often observing that Sam’s reluctance to use an editing pencil on Edwardian revivals is a bit of a disadvantage. A shame really. Especially as so many of my great aunts and uncles made that trip to Australia 100 or so years ago, the subject really is of interest to me.

Still, we no doubt still enjoyed our evening and no doubt rounded it off with Spanish food at Don Fernando, as most often we do after the Orange Tree.