Tag Archives: Ian McKellen

“Re-Member Me” at the Hampstead Theatre

Lip-syncing to Hamlet surely counts as one of those has-to-be-seen-to-be-believed ideas. Creator and performer Dickie Beau brings such skill to miming the words of others he might change your opinion about lip-syncing itself. But Re-Member Me has far more to recommend it – the show is original, startling and stirring theatre.

Beau uses recordings of previous performances as well as interviews with those who have worked on productions of Hamlet (big names include Ian McKellen and Richard Eyre). All are expertly edited, and the generous contributors come off very well. What they have to say is interesting and smart, but it is also funny and humble. Beau is generous, too. He even allows the opinions of a critic – what a wonderful, clever man he is!

And what does Beau do with this impressive material? Through an intelligent engagement with Shakespeare’s play, the concern here is mortality. Much of the piece focuses on Ian Charleson, the actor who performed in Eyre’s Hamlet just before he died. And John Gielgud features, with recordings from late in life. Re-Member Me can be thought of as a tribute show.

The action is paced perfectly by director Jan Willem Van Den Bosch. There’s a lot going on, but big ideas are given time to breath. One concern might be that the audience needs to know a lot about Hamlet and its performance history to enjoy all this. But, while appealing to lovers of the theatre, the craziness of the idea itself – that lip-synching – proves a great strength.

The technique adds humour (its mostly used for comedy, after all), which Beau embraces with mischievous touches. There’s a fantastic thrill from not knowing what’s going to happen next, especially when it comes to the songs woven in. Meanwhile, cleverly using mannequins point us towards the uncanny. The dummies are redressed and reassembled with an obsessive intensity. By mouthing the words of others, some of them deceased, Re-Member Me is a reminder of the impermanence that theatre and life share. The results are moving and profound.

Until 17 June 2023

www.hampsteadtheatre.com

Photo by Tristram Kenton

“No Man’s Land” at Wyndham’s Theatre

The star billing of Ian McKellen and Patrick Stewart is undoubtedly the draw for this revival of Harold Pinter’s 1974 play. Masterclass is the term the critics use, quite rightly, and fans of these greats won’t be disappointed. It’s encouraging to see followers of Star Trek and Tolkien take a trip to the theatre, and the crowd during my visit showed a degree of respect welcome in any audience. This is a strong production, and yet, while the devotees clearly had a good time seeing their idols, fans of Pinter may be less satisfied.

Director Sean Mathias has a keen eye for the entertainment value of this play – his strength is in his appreciation of Pinter’s humour. McKellen benefits most. As a down-at-heel, unsuccessful poet, yet “free man”, who unwittingly becomes the guest of a famous literary savant, he cuts a chipper figure and makes the dialogue light, with lots of laughs. Stewart’s role is more obviously subtle. Deadpan humour combines with poignancy in a character who lives in a privileged “world of silk” but is haunted by the past, losing his mind and waiting to die. Despite a few clichéd Pinter pauses, quiet, awkward moments are brief and it’s all surprisingly sprightly.

Ian McKellen and Patrick Stewart joined by Damien Molony and Owen Teale
Ian McKellen and Patrick Stewart joined by Damien Molony and Owen Teale

This is fast and funny Pinter and a pleasant take on the play. But a price has to be paid. As the encounter between these two men becomes more surreal, Stewart can convey tragedy but McKellen’s desperation isn’t convincing. Playing for laughs, the companions who look after Stewart’s character lack menace: Owen Teale and Damien Molony have presence but their roles become purposeless. Pinter’s sharp eye on class and its “quaint little perversions” become rather toothless and nostalgic. Matthias may intrigue newcomers to Pinter, and the performances make the production worth seeing, but this is a flat and disappointing version of a complex play.

Until 17 December 2016

www.nomanslandtheplay.com

Photos by Johan Persson