Tag Archives: Clarke Peters

“The American Clock” at the Old Vic

Of the current and forthcoming productions of Arthur Miller plays in London, this piece from 1980 may count as the oddest and perhaps the most personal. The play gives an outline of The Great Depression, based on the work of oral historian Studs Terkel. And with much of the action focusing on a young man, similar in age and ambition to Miller in the early 1930s – whose family loses its money just as his did – it’s hard not to see it as an autobiographical fragment. Unfortunately, as a trip into the past it’s too potted. And as analysis of events it’s too pedestrian. That American optimism is relentless is rammed home, but doing so brings monotony. And while the idea of an American political left that challenges corporations might be intriguing, it has clearly been consigned to history. It all makes for a text that’s both slim and slow.

Clare Burt, Golda Rosheuvel and Amber Aga

With an episodic structure and presentation that includes song and dance An American Clock still intrigues and the work of director Rachel Chavkin is strong. Making the lack of plot a virtue, the central family is played in triplicate: there are three sets of once wealthy mothers and struggling fathers, while a trio of sons grow up and start careers. It’s a neat way of showing the universalism of the economic disaster and is staged superbly – the device works to make the large ensemble cast really stand out. Clare Burt and Amber Aga both excel as the mother Rose while Golda Rosheuvel becomes the star by also punctuating scenes with a powerful singing voice. James Garnon has most time in the role of the father, and leaves the biggest impression, while three youngsters performing as the son Lee – Fred Haig, Jyuddah Jaymes and Taheen Modak – all impress. Worried about losing track? Thankfully, Clarke Peters is on board as the show’s narrator to make everything smooth. Few actors could make a story this predictable still entertaining and Peters is, as ever, superb.

Ewan Wardrop

Miller renamed the play a Vaudeville piece after its flop on Broadway. Chavkin embraces this by ensuring her production has variety, fun and also rhythm. There are songs throughout and the choreography from Ann Yee is excellent, not least in taking into account that the cast are not dancers. It’s a good way to inject much needed energy; Ewan Wardrop’s tap-dancing CEO proves a real highlight. The music makes points – a manic lust for money and then panic with the Stock Market crash – while complementing the sketch-like quality of the play itself. With the motif of marathon dancing competitions that runs throughout the play, Chavkin’s vision is clear, akin to a live Reginald Marsh painting, but the scenes themselves amount to little, feeling anecdotal or didactic. It’s Chavkin’s skill to weave them together so skilfully – and it’s easy to see why she is one to watch. Still, this play isn’t one to give time to.

Until 30 March 2019

www.oldvictheatre.com

Photos by Manuel Harlan

“Five Guys Named Moe” at the Marble Arch Theatre

A hit musical that ran for four years in the West End and transferred to Broadway, this revival boasts its own venue – a spiegeltent courtesy of Underbelly Productions. The pop-up feel is fun but doesn’t really evoke the New Orleans setting. And while the auditorium adds to the sense of an event, the show’s creator and director Clarke Peters uses it clumsily: a racetrack style stage, complete with a walkalator, is little used and creates a sense of distance for most of the audience. The lack of intimacy is a shame, given the terrific performances here.

A quintet of talented singers and dancers perform as the titular characters: they are all consummate showmen, sounding great with impressive moves. Ian Carlyle takes the lead in terms of sheer charisma, while Idriss Kargbo, arguably, has the best voice. Along with Emile Ruddock, Horace Oliver and Dex Lee, this is a team drilled to perfection – yet it makes the party atmosphere the show aims for feel natural. With little help from the script, the actors establish an otherworldly presence – their magical appearance is to impart wisdom on to a drunk with relationship problems called Nomax. This is a tricky role for Edward Baruwa (for too much of the piece he has little to do but stumble around), highlighting the weak story. Nomax’s problems are a slim scaffold for a revue show that in itself is excellent.

Peters’ musical knowledge, attested by his shows on Radio 4, is the overriding talent here; his passion and interest drive the musical, curating a selection of songs not to be missed. The numbers are mostly by Louis Jordan, grandfather of rock & roll and a chief architect of rhythm & blues. The entertaining lyrics are both heartfelt and humorous. The music combines adventurous experimentation with a slick confidence and Jordan’s massive influence makes listening fascinating. Many might be tempted to ignore Five Guys Named Moe as a jukebox musical, and its problems are familiar ones for the genre. But the soundtrack is inspirational, the pacing perfect and the performances excellent.

Until 24 March 2018

www.fiveguysmusical.com

Photo by Helen Maybanks

“Race” at Hampstead Theatre

In Race, which opened last night at the Hampstead Theatre, playwright David Mamet uses the legal system as a prism through which to examine racism in America. Race centres on the case of a white man accused of raping a black woman. It’s a hard-hitting, foul-mouthed, hilarious affair with the most serious of themes.

This is a huge coup for Hampstead; artistic director Edward Hall is justifiably pleased to give the show its UK premiere. Any work by Mamet is an important event for contemporary theatre writing, and in the must-see category by virtue of his name alone.

And it’s also characteristic Mamet: brilliantly contentious, perversely confrontational, and deliberately provocative. The play is about the lies we tell each other and ourselves about race, set in a legal world whose dialectic consists solely of falsehoods.

The law often makes great theatre; here the legal team of Lawton and Brown, played expertly by Jasper Britton and Clarke Peters, are more than open to a connection with “pageantry”. Overblown certainly, you might pray they are a parody, but their bluntness – constantly mercenary and misanthropic – is a technique to tackle taboos and get howls of laughter.

The key to the play is a new addition to the law firm, Susan, an honours student whose agenda gives rise to the most testing moral questions. Nina Toussaint-White is superb in the role, revealing that in razor-sharp competitions with her elder colleagues her character isn’t at the same professional level. And Toussaint-White conveys a deep pain behind her character’s sleek façade, injecting much-needed humanity into the play.

Mamet’s cynicism is such it occasionally beggars belief. Plot points designed to make us question Susan’s character are clumsy. There’s also the issue for London audiences that, understandably, the focus is very specifically on American society. But these are caveats. Race is never less than thrilling and this production makes a trip to Hampstead essential.

Until 29 June 2013

www.hampsteadtheatre.com

Photo by Alaistair Muir

Written 30 May 2013 for The London Magazine