Tag Archives: James Graham

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“Dear England” at the National Theatre

Football is not my thing. But, like a lot of sports, the beautiful game (that’s what people who like it call it, don’t you know) makes good theatre. Director Rupert Goold’s production of James Graham’s new play has a lot of energy and brings out the drama on the field and behind the scenes. Even if sports psychology and penalty shootouts don’t excite you, they work well on stage.

Tracking the England team’s recent history, there’s a neat theatrical parallel as our hero, manager Gareth Southgate, talks of “storytelling”. Using a psychologist, Pippa Grange, and building team spirit has long-term aims to create a new narrative. The duo, by far the main protagonists, prove inspirational, with excellent performances from Joseph Fiennes and Gina McKee that make them easy to root for.

It seems that the team’s problem is expectation and what’s needed is “learning how to lose”. The reasoning is presented clearly and leads to moving moments. Time is spent over Southgate’s own personal trauma from missing a penalty. And emphasis on the players’ youth is smart. If issues of racism and sexism might be explored more, seeing the people behind the players is a sound move.

The football team parallels a theatrical ensemble and here close-knit performances of multiple roles are consistently strong. Such praise comes despite my not appreciating the show’s humour. Nearly every character is a famous face. If, like me, you don’t know them, the audience reaction is baffling. Let’s just report that the loose impersonations go down very well indeed. Will Close’s Harry Kane is a particular standout.

Graham is a political playwright and obviously wants his work to be about more than football. Beneath the team’s problem is the idea of English exceptionalism – thinking we will win despite evidence to the contrary. Hinting at a connection to wider political events does not always convince, and brief appearances from prime ministers seem wasted. But the wish to question what it is to be English, as you are about to represent England, seems sensible enough. Staging the play at the nation’s theatre is fitting.

Like Southgate it seems, Graham wants to raise questions. The play grows in power as a result. A letter by Southgate, which inspires the play’s title and is judiciously quoted, makes big claims – compassion and change are highlighted. The focus is on optimism (which makes a nice change nowadays). Goold’s expansive energy complements this perfectly. Despite not winning the World Cup, the play ends on sense of hope that is bigger than football. And that’s a great goal.

Until 11 August 2023

www.nationaltheatre.org.uk

Photos by Marc Brenner

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“The Best of Enemies” at the Young Vic

James Graham’s new play centres around the televised debates between Gore Vidal and William F. Buckley, Jr. at the 1968 U.S. party political conventions. At opposite ends of the political spectrum, and personally loathing one another, these intellectual heavyweights with big personalities make great theatre.

Initial praise must focus on Charles Edwards and David Harewood who bring Vidal and Buckley to life. These aren’t impersonations, although Harewood might have a lead with Buckley’s odd facial expressions. Instead, the conviction and intelligence of both men comes through. If Buckley has opinions most of us shy from, Harewood (and Graham) still make him credible. Edwards has Vidal’s charm and waspish humour to a tee. Seeing Vidal’s sense of mischief turn to increasing anxiety is brilliantly depicted. For both performers, revealing fragility is the key.

Bringing these historic debates to the stage would be enough. But like the documentary that inspired the show, by Morgan Neville and Robert Gordon, Graham wants to do more. The playwright has handled politics and the media before. Here, turbulent times and cultural shifts are efficiently highlighted. Best of Enemies, and the political conflict that Vidal and Buckley embody, comes to be about “the soul of America” – grand claim with terrific dramatic potential.

With the help of director Jeremy Herrin, the play becomes the portrait of a year. The legend that is 1968 is explored in depth with video projections (Luke Halls) and a collection of cameos that serve as a potted history. It’s hard to believe that there is a cast of only ten as riots and famous faces come and go at speed.

There’s a lot to enjoy with the different historical figures who appear. But it’s James Baldwin, depicted with fantastic skill by Syrus Lowe, that I’d argue is the show’s lynchpin. Baldwin’s observations, when talking with Vidal, are disquieting. The theme of privilege is one of many topical notes that show Graham’s skill at interpreting history.   

As for connections with the present – does Graham seem too keen? He makes a good case with references to division and violence. But Vidal appears more prophetic than he deserves. The brief appearance by a media studies academic isn’t needed. And the play’s conclusion disappoints. Even at its weakest Best of Enemies works well. Graham’s great skill is to show both Vidal and Buckley as human beings. The psychology may be simplified, even predictable, but these are the last men you imagine feeling sorry for and Graham manages to make you care about them both.

Until 22 January 2022

www.youngvic.org

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“This House” from NTLive

The scheduling for the National Theatre’s fund-raising lockdown-lifeline was organised a while ago, so a play about arrogant politicians and their mistakes can’t be seen as a current commentary. And anyway, in James Graham’s fantastic play the humanity of our Members of Parliament is to the fore, making it funny and moving as a result. Set between 1974 and Margaret Thatcher’s election five years later, these politicians of a previous age come off rather well. The current lot should be so lucky in their chronicler.

Too young to remember the events he so skilfully recounts (as one MP comments, it’s “anarchy out there”), Graham surely makes them slightly more interesting than they really were. Comprehensively and impeccably researched, this is a modern history lesson brilliantly told. All manner of boring bills and the arcane workings of parliament are made fascinating and funny. You honestly don’t have to be interested in party politics to find This House interesting.

Jeremy Herrin’s direction is a masterclass: what could so easily be confusing is clear, his appreciation of the comedy is perfect while at other times the pace resembles a thriller. Herrin is also careful to allow space for more poignant moments without lapsing into sentimentality – the script benefits as a result. It’s hard not to become attached to several figures, even with smaller appearances (the member for Walsall North and a subplot about mental health, played by Andrew Havill, spring to mind).

Focusing on the “engine room” of the Whips offices is Graham’s key move. On the Labour side, the roles of Walter Harrison and Ann Taylor prove the most interesting, making great roles for Reece Dinsdale and Lauren O’Neil, who play with how ruthless their characters are with appropriate efficiency. The jokes on class, gender, personal foibles and the 1970s range from downright howlers to subtle observation. The “aristotwats” they oppose are led by the brilliantly waspish Humphrey Atkins and the dapper Jack Weatherill, even stronger roles for Julian Wadham and Charles Edwards who are both brilliant.

Phil Daniels and Vincent Franklin in 'The House' at the National Theatre credit Johan Persson
Phil Daniels and Vincent Franklin

This is a recording of the show’s transfer from the Dorfman (then Cottesloe) into the larger Olivier auditorium. The music accompanying the show seems less noticeable and Rae Smith’s design, including the audience seated on a moving stage (what fun) is understandably lost. A bigger problem is that the cast seems to be compensating for the bigger space. Yes, politicians shout a lot, but the lead Labour Whips, played by Phil Daniels and Vincent Franklin, bellow all the time and the roles suffer as a result. Filming exaggerates this further.

Nonetheless, as a “war of attrition” takes its toll on the Labour ranks, Graham’s questioning of cooperation and the constant deals politicians make comes to the fore. Remember that when it was written in 2012 the UK was dealing with its first coalition government since World War II. A long way from Machiavelli, lots of the machinations here are petty, the motivations mostly tribal. Neither detract from the drama and maybe one character becomes something of a hero? Without making excuses for our masters, Graham has shown one lot at least working hard and trying their best.

Available until Wednesday 3 June 2020

To support, visit nationaltheatre.org.uk

Photos by Johan Persson

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“Labour of Love” at Wyndham’s Theatre

Thirty years of a political party’s history doesn’t sound like a West End hit. But, as this new play by James Graham joins the transfer of his Ink just down the road, you can’t question the young playwright’s commercial acumen. I am sure someone has worked out the last time a living writer had two new plays performing at the same time – it doesn’t happen often and is to be celebrated. Graham’s talent is obvious – the strength of his writing lies in his humour, and Labour of Love is funny from start to finish.

There’s a conventional love story here, which develops a little too late, between the MP whose career we follow and his constituency secretary, Jean. Their fumbling romance is sweet and gets laughs. There’s love of a place, too: a concerted effort to depict the constituency as a character, detailing the destruction of a community. It’s a shame that the Nottingham location is depicted as The North – it isn’t, it’s The Midlands. Pushing accents geographically up the country must have been a conscious decision, but seems odd given how thorough Graham’s research is. But it’s really the love of the Labour Party that is interesting.

The history is entertaining, the observations acute, the use of hindsight effective and all of it is, yes, funny. Graham has written a lot about politics and his satire is distinctive. He seldom doubts the good intentions of our rulers and portrays them as human. While many would succumb to cynicism, Graham resists, which makes his work level headed and quietly inspirational.

Taking the leads are Martin Freeman as the amiable MP and Tamsin Greig as Jean. The comic timing of both is immaculate. Freeman is given more to work with when developing his character, and he suggests the passage of time in the play effectively. However, the play belongs to Jean. A card-carrying member of the party since she was 12 (she lied about her age), with a sincerity and passion that is palpable, her plain speaking and fruity swearing make her irresistible.

Jeremy Herrin’s direction is clear and thorough – the competency of the cast and strength of the script mean fancy touches aren’t necessary. Going backwards then forwards in time means it helps to know the history a little, as the archive footage offered isn’t quite enough. I feared for an American contingent of Freeman fanatics, but they seemed to enjoy themselves enormously. Graham isn’t shy of a bad pun or lame joke – he provides both with remarkable rapidity. Freeman and Greig tackle the speed of the gags with ease, making each and every one a winner.

Until 2 December 2017

www.labouroflovetheplay.co.uk

Photo by Johan Persson

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“Ink” at the Almeida Theatre

James Graham has made a strong reputation for himself with plays about politics. While similarly concerned with power, his new work has a broader subject matter and relates the genesis and meteoric rise of The Sun newspaper.

Graham’s nose for a good story is as fine-tuned as any journalist’s. The purchase of an ailing broadsheet by Australian outsider Rupert Murdoch, and the hiring of neglected hack Larry Lamb to run it, take on a mythic quality. These are great roles for strong actors: Bertie Carvel is the ruthless, on-the-up tycoon, while Richard Coyle is the editor whose doubts and determination both mount as he chases sales figures.

The triangle between Murdoch, Lamb and the latter’s former mentor and now rival on The Daily Mirror, Hugh Cudlipp, might have been developed further. There’s an excellent performance from David Schofield as the crusading lefty whose paper aims to improve its readers. An idealistic fourth estate is where politics comes to the fore in Ink and, surprisingly, the play’s very few ponderous moments come from this elision.

Director Rupert Goold stages the recruitment of staff at the new paper with a cabaret feel: jolly, anti-establishment, with 1960s cool. And Goold handles the play’s darker territory just as well, with a kidnapping and the launch of The Sun’s infamous topless models: a scenario that leads to strong performances from Sophie Stanton as the paper’s women’s editor, and Pearl Chanda as Stephanie Rahn, the first ‘Page 3’ girl.

Newspapers mark a generational divide – the young really don’t read them. Graham’s skill and research bridge the age gap. I wondered if we needed a scene taking us through the printing process (akin to his excellent précis of parliamentary procedure in This House) but, yes, of course we do! With a touch of nostalgia, reflecting several characters’ romantic notions of Fleet Street, an arcane world of machismo and lots of cigarette smoke is opened. Hindsight raises smiles and big questions about media manipulation.

The result of Graham’s fun groundwork is a delicious surprise – a depiction of Murdoch that shows intelligence and courage. With a little retrofitting, Murdoch is cast as a business disruptor and credited with the idea of user-generated content. Neither role is that convincing but the ideas intrigue. Murdoch’s drive, so perfectly embodied in Carvel’s performance, comes from his wish to challenge and change – recasting an often-demonised figure as a rebel with a cause.

Until 5 August 2017

www.almeida.co.uk

Photo by Marc Brenner

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“This House” at the Garrick Theatre

James Graham’s play isn’t your regular political drama. Based on the flailing minority Labour government of the late 1970s, it looks at the mechanics of Parliament – the back-room antics of the whips, who make sure MPs vote. There are few names or issues that people will remember. And, instead of Machiavellian power brokers, the characters are misfit eccentrics, working hard in grubby anterooms. So the play’s transfer from the National Theatre’s Cottesloe, to the larger Olivier, and now, after a long wait, the West End, is a triumph for the young playwright, and his intelligent funny writing, which has warmed the critics’ hearts.

Honours are shared with director Jeremy Herrin, who handles the large cast impeccably. Nearly all the actors play more than one MP, each larger than life, and the sense of a building at work is conveyed with infectious energy. Counting the ‘ayes’ and ‘noes’ becomes nail-biting, while efforts to bribe or cajole coalitions are gripping. Add Rae Smith’s replica House of Commons set, with its onstage seating and bar, and you have a sense of fun that complements Graham’s great jokes.

Steffan Rhodri and Nathaniel Parker
Steffan Rhodri and Nathaniel Parker

This House is a brilliantly ambitious ensemble piece. Phil Daniels and Malcolm Sinclair are the chief whips, giving blissfully effortless performances. I probably don’t need to tell you they represent the Labour and Conservative parties, respectively. Praise, too, for Nathaniel Parker and Steffan Rhodri, playing their deputies, each with their own agenda and sombre moments that add humanity to the comedy. Much is made of the differences between the parties, with Labour louts calling their opponents the “aristotwats’, which seems to have struck Graham as particularly fascinating. If some jokes land heavily, relying on hindsight, they are still funny.

The research undertaken for the play is impressive, informative and conveys Parliament’s peculiar charm. Even better, Graham has a good stab at being impartial. How far he succeeds possibly depends on your own voting habits – but the stance of making a play about politics apolitical is dealt with well. That those in charge act like children is a point itself, although Graham is too good to fall for simplicity, showing passion and conviction from MPs of both parties. But the propensity to treat government like a game is clear and used to make brilliant drama.

Until 25 February 2017

www.thishouseplay.com

Photos by Johan Persson

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“Monster Raving Loony” at the Soho Theatre

If you want to classify contemporary playwrights, James Graham is the one that writes about politics. His new play, via the Theatre Royal Plymouth, is engaging and imaginative. Taking as its subject David Screaming Lord Sutch and his political party, which gives the play its name, biography is combined with politics, cultural history and inspiring touches of English eccentricity. The masterstroke is to tell Sutch’s story via famous comedians. It’s a bonkers technique that’s appropriate for its subject and it’s original, funny and brilliantly written.

So, Sutch’s mum is first a pantomime dame. Then, as mother and son plan to open a bric-a-brac shop, she becomes Albert Steptoe. Interviews are conducted on Just A Minute and a visit to the doctor is a Monty Python sketch. It’s quite a carry on – yes that’s there too –  an encyclopaedic journey through comedy masters. In each sketch, Graham is up to the job – he could have written for any of these greats. And it’s all manipulated to tell Sutch’s life story. Wow.

Joseph Alessi & Samuel James Photo Credit Steve Tanner
Joseph Alessi & Samuel James

A demanding play for actors, the impersonations are non-stop and the delivery breathtaking. Samuel James gives a stellar performance as the lead, joined by four others, alongside Tom Attwood whose role as The Musician roots the play. Highlights may depend on your comedy preferences: Joe Alessi’s Alf Garnett is perfection, and how quickly Jack Brown embodies Kenneth Williams and Julian Clary cannot fail to impress. Tellingly reflecting the sexism of the time, the women have fewer pickings. But Vivienne Acheampong does well in a bed-hopping farce and Joanna Brookes is stunning in the male roles she adopts.

James’ performance is the one that requires real depth. Not that this stops a great Frank Spencer impersonation. But there is Sutch’s struggle here as well. Focusing on this fascinating figure is a task slightly at odds with such a high-energy show. Prone to depression and trapped in a public persona, his story gets a little lost despite the skills of director Simon Stokes. Sutch’s suicide seems too much for the play to handle.

Stokes shows fine work when it comes to audience participation – it’s cunning for a director to control this. Such planned fun is always a pet hate (joining in with songs makes my toes curl). But the raffle tickets and bingo cards waiting on seats have a point here that makes them (almost) worthwhile. Another bold stroke from Graham, games typify his novelty and magpie humour in this damnably clever piece.

Until 18 June 2016

www.sohotheatre.com

Photos by Steve Tanner

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“The Angry Brigade” at the Bush Theatre

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Playwright James Graham continues his hugely successful engagement with politics by looking at the history of 1970s anarchist bombers, The Angry Brigade. The first act opens on a grim basement room in which four young coppers are secretly tasked with investigating the new phenomenon of homegrown terrorism. Parallels with current concerns aren’t forced, and the authorities’ efforts are often comic, as the police loosen their ties and discover pot in an attempt to understand this new breed of criminal. Harry Melling and Lizzy Watts excel with a variety of roles: police, victims and suspects. But the act belongs to Mark Arends as the impassioned young detective Smith, whose performance is perfectly attuned to the writing’s clever drollery.

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Harry Melling and Pearl Chanda

After the humorous highs of the first act, the second act may slightly disappoint. Now with the Brigade, played by the same cast of four, the laughs are more guarded and there’s less period detail to poke fun at. Whatever you think of the politics, the ideas are presented (rather frighteningly) well. And the performances are full-bodied and intense, in particular those of Melling, again, and Pearl Chanda (as Anna Mendleson), whose fraught relationship provides a necessary emotional core to the section.

The temptation may be to see the play as split into two sides of the same story, both bravely sympathetic and boldly different. But The Angry Brigade is so meticulously written that parallels between the police and the protesters are developed with estimable precision. The crafted complexity of the script is highlighted by James Grieve’s direction and Lucy Osbornes’ design, which add a visceral, shock element to the dialogue – cast members slam filing cabinets to the ground to signify each bomb that goes off. No surprise, then, that this play feels like an explosive hit.

Until 13 June 2015

www.bushtheatre.co.uk

Photos by Manuel Harlan