“Julie” at the National Theatre

Polly Stenham’s new play, described as “after” August Strindberg’s Miss Julie, has just enough going for it. A bold authorial voice and strong performance from Vanessa Kirby in the title role compensate for flaws in a stylish script full of contemporary touches.

Strindberg’s play, about a love affair that defies class, has been adapted before, but this updating is particularly bold. The 1888 text has been stripped bare: it’s all about the money, as a poor little rich girl starts an affair with her daddy’s chauffeur, with tragic results.

Stenham’s skill is with dialogue, and the way Julie speaks is exemplary, instantly recognisable and witty. We’ve all heard Julie around town or worked with her (one summer I served her in Selfridges). We see how smart she is, how superficially appealing her “technicolour” personality might be, and the tragedy of her “shapeless” life.

Julie makes for an in-depth character study that Kirby embraces – her performance will keep you watching. But sympathy with the character isn’t allowed – any self-pity is a luxury. You may agree with Stenham, or wonder why she is so tough, or speculate on how her decisions relate to Strindberg’s infamous preface to his play. But the sentiment slims the play down and director Carrie Cracknell ends up padding it out with party scenes that look expensive but add little. Robbed of credibility, Julie’s relationships with her servants, fiancés whose romance she destroys, are too crass; there’s little drama and no sexual tension.

Both Eric Kofi Abrefa and Thalissa Teixeira do well in the roles of Julie’s employees, taking advantage of the depth Stenham gives their roles. But the characters are a little too noble, lacking edge or danger. Likewise, Kirby depicts Julie’s mental instability with intensity, but the character is a mess from the start, her end too predictable. The problem is a lack of nuance that makes the show, like Tom Scutt’s stylish set, rather too monochrome.

Until 8 September 2018

www.nationaltheatre.org.uk

Photo by Richard H Smith

“Sancho” at Wilton’s Music Hall

As an introduction to his first play, the respected actor Paterson Joseph says hello as himself and sets an amiable tone. Explaining he wanted to appear in a costume drama, but wasn’t cast because of his race, he has taken the admirable step of making his own. Transforming into the 18th-century gentleman Charles Ignatius Sancho – he seems to put on weight for the corpulent character as you watch – the author, actor and subject are combined to cast a suitably charismatic spell.

Sancho is not unknown. His portrait by Thomas Gainsborough is in the National Gallery of Canada and art historians have paid it considerable attention. The play includes Sancho sitting for the portrait, an intelligent device to display his personality and kick off a recounting of his fascinating life. He was an actor, a musician, a valet, a man of letters and, finally, a grocer. And getting to know the man becomes a real treat: he’s an epicurean and wit, full of idiosyncrasies and a dash of camp that make you want to share a syllabub with him… although he would probably want one to himself.

A lightness of touch belies the play’s testimony of racism and the fact that it is a great history lesson. Taking us from Sancho’s childhood through to his old age the show is, somewhat self-consciously, a tour de force for an actor. But having already extensively toured, Joseph is in relaxed control of his one-man show and reveals himself to be a great entertainer, appealing and encouraging the crowd. Joseph’s skill as a writer is to combine, with clarity, the casual cruelties his subject faced with the systemic prejudice of his times. It’s also fascinating to see, before we start feeling too superior, an 18th-century ideal of masculinity; to note how being a true man was associated with education and refinement. This close study culminates in a moving finale that elevates the piece to a play you feel everyone should see: as Sancho secures his place in history, in 1780, in Westminster – as the first Afro-British person to vote. It’s a fact worth remembering, and one that Joseph makes feel alive and important.

Until 16 June 2018

www.wiltons.org.uk

“The Two Noble Kinsmen” at Shakespeare’s Globe

This is Michelle Terry’s first season as artistic director on Bankside. And good luck to her. While she takes on Hamlet, and has programmed other big beasts, it’s notable and reassuring that there is new writing to come later in the summer, and the chance to see this less performed work, penned later in life by Shakespeare working with John Fletcher. Colourful and crowd pleasing, this production is an accessible and entertaining introduction to the piece.

Following the adventures and love rivalry between the titular cousins, Arcite and Palamon, as they battle for marriage to Emilia, is quite the tale, crazily combining courtly manners, ancient gods and plenty of characters who are literally mad for love. Director Barrie Rutter, of Northern Broadsides fame, has only worked at the Globe once before but shows a clear command of the space. There are strong costumes from Jessica Worrall and lots of music from Eliza Carthy. Any incongruous notes go to show how much Rutter wants to reach out and grab the audience’s attention, hence the story is clearly presented, the staging swift and the action exciting.

This is an actors’ production. Rutter makes a focal point of the performances, rather than any kind of concept or argument, and the result is relaxed and enjoyable. Right from the start there’s the stylish Jude Akuwudike as Theseus and Moyo Akandé as Hippoltya to impress, while Ellora Torchia plays their sister Emilia and excels with the plot’s incredulous moments – of which there are many. The play rests with the leading men, and Bryan Dick and Paul Stocker deservedly steal the show. They can both cut a dash as heroic figures making us (almost) believe in their desire to die to for love, while also enjoying their sudden rivalry.

It can be tricky to have fun with Shakespeare – some people get upset if you try. But here the jibes at valour and exaggerated love are so convincing there’s a case that Bard’s efforts with Fletcher have their own knowing irony. There’s still the suspicion that the piece wouldn’t be performed without Shakespeare’s name attached as the concerns and references are too arcane. But the production makes a strong case for the play, undaunted by its oddity and rooting itself in heady emotions that remain recognisable.

Until 30 June 2018

www.shakespearesglobe.com

“The Rink” at the Southwark Playhouse

While any show from John Kander and Fred Ebb should earn a crowd, the draw for Adam Lenson’s revival of their 1984 musical is the casting of Caroline O’Connor. ‘Direct from Broadway’, as they say, Anglo-Aussie O’Connor is the real deal: a powerful voice, great acting skills and incredible stage presence. Trust me, don’t miss her.

Both music and lyrics for the show hold their own against more famous works such as Chicago or Cabaret. The plot is simpler – a mother and daughter, Anna and Angel, fighting over the family business of a boardwalk roller-skating hall – wonderfully condensed in Terrence McNally’s book. As the action goes back and forth in time, the estranged women catch up on each other’s lives and revisit their shared history, seeing events from each other’s perspective. The skill in song-writing is astounding: take Angel’s All The Children In A Row, which narrates the search for her father, a death, a birth and hippiedom in one number. Big themes and psychological insight are present and satisfying throughout, covering love, loss and even economics.

Lenson shows admirable confidence in the show’s strengths, never overstating its melancholy overtones and allowing the drama to unfold with a careful eye on nostalgia. The production deserves a bigger home, but the staging and Fabian Aloise’s choreography impress… especially when the roller-skates arrive!

O’Connor is more than capable of carrying the show – she could probably hoist a great deal more. But it should be stressed that she doesn’t have to as a capable team backs her up at every moment. There’s strong work from Stewart Clarke as her husband and Ben Redfern as the childhood sweetheart who waits around to marry her. Co-star Gemma Sutton makes the most of some wonderful numbers and never shies away from her role’s less loveable characteristics. She convinces as a young child, rebellious teenage and angry adult, retaining an equal vulnerability throughout. The Rink is a show full of thrills, emotional and intellectual, and the chance to see a double act this good means you should really get your skates on to see it.

Until 23 June 2018

www.southwarkplayhouse.co.uk

Photo by Darren Bell

“The Daughter-in-Law” at the Arcola Theatre

For fans of DH Lawrence the chance to see one of his seldom performed plays is unmissable. So everyone should fight for a ticket to this fascinating family drama of an overbearing mother and a marital breakdown. The work dates from 1913, but didn’t receive a premiere until Peter Gill’s season dedicated to the author at the Royal Court in 1967. The gap in time might be understandable, as Lawrence’s naturalism would have alienated audiences for a long time, but that this strong play isn’t a rep regular is great shame.

The script’s dialogue might daunt some companies and audience members. Faithfully replicating the speech of Lawrence’s home town of Eastwood, Nottinghamshire, these are – literally – voices from another time. Expertly coached by Penny Dyer, it is to director Jack Gamble and his cast’s credit that, despite the number of colloquialisms, the action is intelligible. The accents and archaic constructions fix us firmly in a different time and place. As an act of linguistic archaeology, it’s a remarkable achievement. Oh, and the sound is also intoxicatingly beautiful.

The dialogue itself is also stunning. The sentiments may be far removed from our own time, but not a line spoken is incongruous and the piece flows marvellously, ensuring the play works as engrossing drama. The Gascoyne boys, one living at home and the other battled over by wife and mother, cut sorry figures. This is toxic masculinity from the turn of the century. It’s testament to a charismatic Matthew Biddulph, as Joe, and an impressively understated Harry Hepple, as Luther, that they hold our interest. But it’s the women – the boys’ mother, and Luther’s wife Minnie – who captivate. The men are just children, their petulance a fantastic source of tension.

Matthew Biddulph and Veronica Roberts
Matthew Biddulph and Veronica Roberts

Arguing for Lawrence as any kind of feminist is beyond my ability. His views on sexuality were too, let’s say, idiosyncratic. Gamble presents the author in all his occasionally bizarre complexity, including suggestions of domestic violence and odd views on keeping house. But there’s no doubting the power of the women as he has written them here. Veronica Roberts gives a stunning performance as mother Gascoyne, as formidable a matriarch as you could wish for. Ever sensitive to class, Lawrence writes former governess Minnie, who has married into the close family, as a shrew at first, before evolving her into a demanding, sensual character, fully realised by Ellie Nunn. A series of electric confrontations with Minnie as catalyst are written with such authenticity, and produced here with such care and attention, that the play transports us back in time.

Until 23 June 2018

www.arcolatheatre.com

Photos by Idil Sukan

“Into the Woods” at the Cockpit Theatre

Stephen Sondheim’s grown-up musical about fairy tales is an undisputed modern classic. Any chance to see this marvellous piece, with its super smart book from James Lapine, crammed with Sondheim’s wit and wisdom, as well as some of his best music, is worth a punt.

Tim McArthur’s version of the show has “updated” touches that rethink the story-book characters with an eye on reality television. So the wicked step-sisters could be on The Only Way is Essex– fair enough, given that the show’s premise mixes and matches stories so blissfully. But the idea adds less than presumably intended, since the sensibility of the piece already suggests modernity. And some of the performers seem trapped by the idea of contemporary characterisations and need to relax; especially Jack and his mother (Jamie O’Donnell and Madeleine MacMahon), said to come from the Jeremy Kyle show. But beneath this veneer lies strong direction: McArthur knows what he is doing, showing a clear understanding of every scene, indeed each line, making the show swift and coherent, as well as suiting this in-the-round venue. When the whole cast comes together, the production is impressive.

There are some uneven individual performances, with less than first-class voices unaided by problems with the sound system. But there are good turns from Abigail Carter-Simpson as Cinderella and Louise Olley as Rapunzel. Director McArthur takes the role he identifies as central – that of the Baker. His performance is surprisingly flat, his stage wife, played by Jo Wickham, more enjoyable. The production is not as funny as you would expect – and I’ve a suspicion this is deliberate. When it comes to the loss of loved ones and fears for the future, McArthur comes into his own (alongside Michele Moran as the Witch). It is the sombre elements of the fairy tales that become the focus in this sensitive production. It makes the show less magical than it should be, but a trip into these woods is still well worth it.

Until 24 June 2018

www.thecockpit.org.uk

Photo by David Ovenden

“The Grönholm Method” at the Menier Chocolate Factory

It’s a good idea to splash out on this venue’s excellent meal deal for this one. While this blog doesn’t recommend food and drink, this play, from Jordi Galceran, is perfect after-dinner theatre. With some wine helping you to swallow the improbable antics that four candidates for a job are put through, and a digestif over shared stories afterwards, an evening should go well enough. If a little smugly.

It’s no surprise that the play has been a global success (since its Spanish premiere in 2003 there have been productions in 60 countries). The job interview is a nice enough universal scenario, even if are watching executives here. Does Galceran tap into truths about the modern work place? Inevitably, if exaggerated for comedy, but not profoundly. The production itself goes down smoothly, with efficient direction from BT NcNicholl and a suitably sleek office design from Tim Hatley. There is humour in the bizarre interview situation, the cruel and pointless challenges posed, and lots of surprising twists that are set up well.

The characters themselves are simply devices to play with. It’s a bit of a shock to see one transgendered character bullied, partly because even bigoted interviewees would surely be more guarded, but more because this leaves a nasty taste in what is predominantly easy fare. But Jonathan Cake does well as a ruthless salesman we can all enjoy hating, Greg McHugh and John Gordon Sinclair have a firm grasp of the comedy, and Laura Pitt-Pulford is her usual good value as the predictably-tough-but-still-more-sensitive-than-the-men Melanie. All the cast make it look easy – which it isn’t – and without these strong performances the show would stink. But, as things stand, this play is an entertaining, if forgettable, diversion.

Until 7 July 2018

www.menierchocolatefactory.com

Photo by Manuel Harlan

“Nightfall” at the Bridge Theatre

This is only the third show at the South Bank’s newest venue and the stage itself continues to impress. Transformed again – thrusting out into the audience and with glorious backdrops courtesy of Rae Smith – it’s a clever design for Barney Norris’ intimate new play. But, despite the addition of strong work from director Laurie Sansom, there’s a suspicion that this intergenerational family drama would benefit from a smaller home. And while Nightfallis well-crafted and well-performed it is also, unfortunately, a little bit dull.

Norris is a young writer of exciting promise. Credit to the venue for giving him such a break. As a mother and her adult children struggle as farmers, and fight to shape new lives after a bereavement, there is a lot of potential for emotion. There are secrets and lies aplenty and strong dialogue, although both are a touch predictable. The play’s quality feel makes criticism sound harsh, but this is very much a talking heads affair that combines a streak of sentimentality with a studiousness that is uninspired.

A look at rural life makes a welcome change in a London theatre. So it is frustrating that the setting gets lost, with surprisingly little sense of what a working farm is like and what living on one might entail. Brother and sister, Ryan and Lou, along with their best friend and her fiancé Pete, are well-rounded character studies and Ophelia Lovibond, Sion Daniel Young and Ukweli Roach all acquit themselves well. But there seems too little to distinguish them from their urban contemporaries. The play’s focus is really the theme of grief, which Norris tackles movingly. This is where the real meat lies, with Claire Skinner as the matriarch Jenny putting in a fine performance – although, for my money, Lovibond steals the show. And yet, while the characters are developed they aren’t fascinating. And the plot is involving, but too slim. As the stakes are raised to compensate we arrive at a drama of over-powering mother love too quickly, leaving Skinner lost and the play unconvincing.

Until 26 May 2018

www.bridgetheatre.co.uk

Photo by Manuel Harlan

“H.R.Haitch” at the Union Theatre

This ridiculously silly new musical presents an alternative history for London in 2012 while at the same time taking a dig at present day problems. Crammed with jokes and a generous spirit, it is a great deal of fun.

There’s a catalogue of fears and wish-fulfilment: a Populist political party, formed only six months before the election, has promised a referendum on the monarchy – a Rexit – while a secret prince’s identity and mixed-race fiancée are about to be revealed to the public. A lot of crazy stuff… that’s not entirely crazy: writer and lyricist Maz Evans revels in all the potential parallels and absurdities.

There are too many jokes based on hindsight: recurring gags about the Olympics and Uber try too hard. But enough laughs land and it’s clear that, as the run beds down, the piece will get funnier. It’s great that there’s so much going – an imagined but recognisable royal group, including machinations for the throne, and a salt-of-the-earth family whose pub is in danger from gentrification – but director Daniel Winder needs to escalate the pace for a true farce. It’s a shame so much exposition (and time wasted) comes from fake news reports played on the pub TV. So the piece is far from polished to perfection. Luke Bateman’s music is overwhelmed by Evans’ imagination and the staging has ambitions beyond the cast. But the show is sound and has some characters that rightly rule over it.

Doubling roles as the family who run the Dog and Duck and the far more dysfunctional one that runs the country, Christopher Lyne, Andrea Miller and Prince Plockey acquit themselves well, despite some tentative moments. Emily Jane Kerr is consistently strong as the villainous Princess Victoria. But the crown jewels of the show are the Prince who has been slumming it and his modern-day Eliza Doolittle, born in Dagenham but called Chelsea. Here’s a sweet love affair for winning characters. Christian James makes his nice but dim heir to the throne truly likeable. Tori Allen-Martin’s working-class heroine sounds and looks great and is simply adorable, with a laugh so infectious it’s easy to believe this ‘pleb’ would win a plebiscite. Their love affair is aided by Bateman’s music and provides heart for the show, making this crazy fantasia deserve your vote.

Until 2 June 2018

www.uniontheatre.biz

Photo by Nick Rutter

“Chess” at the English National Opera

Nobody can say that Benny Andersson and Björn Ulvaeus of Abba can’t write a song and their 1984 concept album-turned-musical is full of good numbers, a couple of which were big chart hits. Directed by Laurence Connor, this major revival boasts some wonderful performances. Tim Howar brings a powerful rock sound as the maverick chess master Freddie Trumper, Cassidy Janson and Alexandra Burke are both fantastic as the female leads, and there’s impressive work from Phillip Browne and Cedric Neal as the men behind the scenes at a chess tournament that pits the USA against the USSR. The star of the show, as the Russian player, Anatoly Sergievksy, who defects to the West, is undoubtedly Michael Ball. Giving an impressively understated performance while belting out the numbers shows a performer of upmost confidence and technical skill. Ball is the master here, even if this chess game isn’t quite worth playing.

With music for the orchestra, the main theme, played during matches, is beautiful but adds little tension to an already wafer-thin story. There just isn’t enough in Richard Nelson’s book to hold attention, despite the backdrop of the Cold War and machinations of the Russian delegation. Connor tries hard with a barrage of video screens that ultimately only prove distracting. But the biggest problem is the writing for many voices. The ENO’s own chorus adds prestige to the event, but they seem lost – underused and with Tim Rice’s lyrics barely audible. As chess travels the world (well, Merano and Bangkok), attempts to add local colour end up pretty risible and Stephen Mear’s choreography surprisingly lacklustre. It all has to rest on the love triangle between Anatoly and the women in his life. There are moments when the cast, especially Ball, make this work, but the whole piece feels so slim that it’s more like a game of draughts.

Until 2 June 2018

www.eno.org