Tag Archives: Christopher Luscombe

“Nell Gwynn” at the Apollo Theatre

Historical romps are not uncommon on the British stage. And the theatre loves referencing itself. Combining the two, with the story of 17th-century actress-turned-courtier Nell Gwynn, makes sense and provides a hit for playwright Jessica Swale. There’s plenty of fun from Gwynn’s love affair with King Charles II, while John Dryden’s hastily scribed plays add a touch of behind-the-scenes Noises Off style laughs. Having started at Shakespeare’s Globe, this show retains the venue’s vibe, pleasing the crowd with great gags and catchy tunes. No time for stuffiness here – this is a terrific night out.

Gemma Arterton’s performance in the title role is a joy. She’s cheeky, chirpy and utterly charming. Easily carrying Swale’s pointed remarks on women in the theatre and making the risqué comedy look effortless, Arterton proves a queen of innuendo. There are superb cameos from Sarah Woodward and Sasha Waddell as the other women in Charles’ life – both suitably overblown and over-painted – but the glorious Michele Dotrice steals every scene as Nell’s dresser, bringing the house down with a single salutation to the King and getting more laughs out of playing a triangle than you’d have thought possible.

Michele Dotrice
Michele Dotrice

There are men in the play, too and it’s satisfying that for once they take a back seat. Greg Haiste has the best lines as the actor who used to perform women’s roles before those “actor-esses” came along. And there’s a fine turn from David Sturzaker as Charles, who gracefully allows himself to be upstaged by a dog. The chemistry between the King and his mistress is down to the performances and builds touchingly. And yet it’s only fitting that the irresistible Arterton grabs our main attention. As for demanding better parts for women, condemning Shakespeare’s Juliet as a “noodle”, the play provides its own irrefutable answer.

David Sturzaker
David Sturzaker

A lot of Swale’s script should really be too downright silly to work. The comedy is as broad as a pantomime and historical references land with a bang that I presume is designed to pop any pomposity. More seriously, attempts to give the characters depth – let’s make the merry Monarch melancholy – are ham-fisted. Subtle it ain’t, but it works. And in spectacular fashion, with direction from Christopher Luscombe powering the play along and a series of performances that rocket the piece into the comic stratosphere.

Until 30 April 2016

www.nimaxtheatres.com

Photos by Tristram Kenton

“The Madness of George III” at the Apollo Theatre

It seems we love the Royals right now. What with last year’s wedding and the forthcoming jubilee, there’s a feelgood factor about pageantry that our first family is riding high on. It’s well known that the Windors aren’t big theatregoers, which is a shame since they will probably miss this new production of The Madness of George III.

Alan Bennett’s 1991 textbook play, dealing with one of George III’s periods of mental breakdown (probably from the hereditary condition of porphyria), has aged superbly. Progressing from the Theatre Royal Bath, this production is highly polished. Against the backdrop of Janet Bird’s intelligent design, Christopher Luscombe’s direction is clear and pacey. While lacking satirical bite, the politics of the period are presented well, with fine performances from Nicholas Rowe and Gary Oliver as Parliamentary rivals William Pitt and Charles James Fox using the Royal family as pawns to gain power.

And Bennett’s gags about the parlous state of 18th-century medicine still shine. Peter Pacey plays the King’s first doctor with suitable sycophancy. Clive Francis is commendable as the radical physician Dr Willis whose techniques reveal the ridiculous dangers of court protocol (such as not being allowed to question the King directly) and who gets the play’s best line: “the state of monarchy and the state of lunacy share a frontier.”

The role of George III is a dream for any leading man. David Haig lustily rises to the challenge of bettering Nigel Hawthorne’s much loved representation in the 1994 film. Haig is best at showing us the King as a likeable character: the benevolent ‘farmer’ George whose “indirect and infinite curiosity” annoys his equerries but charms the audience.

Often, if you are rich, you aren’t mad – just eccentric. So Haig works hard to convince us that George losing his mind isn’t just quaint but something painful. His performance forces this point home. We can smile when the King says he would rather go to Japan than Kew, but portraying George as an intelligent man, aware of his own tragedy is Haig’s main achievement, making this a more moving evening than you might expect.

Until 31 March 2012

www.nimaxtheatres.com

Photo by Robert Day

Written 24 January 2012 for The London Magazine