Tag Archives: Jonathan Hyde

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“Double Feature” at the Hampstead Theatre

John Logan knows a lot about the cinema. As well as plays, he’s written scripts for major movies including Skyfall and Gladiator. His new work for the theatre takes two older films, Marnie and Witchfinder General, and is a tricksy, witty, entertaining piece, with plenty going on.

The characters are two pairs of directors and performers from those films: Alfred Hitchcock with Tippi Hedren and Michael Reeves with Vincent Price. So, we’ve got big personalities to enjoy; Logan brings out these artists’ intelligence and gives them great lines. The performances from Ian McNeice, Joanna Vanderham, Rowan Polonski and Jonathan Hyde (in that order) are strong.

Keeping up with who is who and what they do? Well, hold on, despite meeting in different times and places, they are all on stage at the same time. All the action occurs on Anthony Ward’s gorgeous country cottage set.  It’s to the credit of the cast and director Jonathan Kent that this isn’t confusing. While the idea elaborates the play’s themes, it doesn’t necessarily make them clearer.

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Joanna Vanderham and Ian McNeice

The four are, ostensibly, rehearsing. Although both meetings have darker agendas that provide drama. Going behind the scenes is often interesting; you might consider current hit The Motive and the Cue as a parallel. If you like movies, Double Feature has built-in appeal, there’s a lot of insight here. It’s interesting to see how the directors explain how they work, how they storyboard in their heads. How there’s more than a little snobbery from both Hitchcock and Reeves. And how insecure both actors turn out to be.

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Jonathan Hyde and Rowan Polonski

The link between each director and their star is clear, the relationships explored in depth leading to powerful moments. In tandem with questions about celebrity (pinning that down is as fickle as fame itself) there’s an exploration of power as well as age and youth – Hitchcock and Price are senior and worried about being “foolish old men”. Everyone reveals a vulnerable side, although Reeves’ poor mental health needs elaborating. It’s Vanderham who steals the show: a horrible #MeToo moment, made viscerally moving, gives way to Hitchcock’s muse turning on him in magnificent style. I felt like bursting into applause.

Maybe, the cleverest part of Double Feature is how much both theatre and film reveal about each other. There’s plenty of talk about honesty and reality, made urgent with Polonski’s cineaste character. He thinks a movie has an advantage here, but this play asks you to think again. There’s a lot of talk about shallowness and substance, with performers simply a face or a big name to be used. But with four on stage, and the text weaving between them, it’s easy for us, if not Hitchcock, to see how collaborative the performing arts have to be. While Kent directs with precision, Hyde’s brilliant Price points out to us how the theatre controls less and demands more. A play becomes a great way to say a lot – the stage does Logan proud. 

Until 16 March 2024

www.hampsteadtheatre.com

Photos by Manuel Harlan

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“Cancelling Socrates” at the Jermyn Street Theatre

Well done to the wag who decided the sign for the toilets should be in both Greek and English at this première of Howard Brenton’s new piece. The bilingualism is indicative of the show’s playfulness and learning – a combination that makes the evening more fun than you might expect.

If you like philosophy in your plays, telling the story of Socrates’ last days is a sure-fire winner. There’s a lot of debate, all of it interesting, and director Tom Littler treats the arguments with swift efficiency. Clarity is appropriate and essential when bringing so much discussion to the stage, and Littler has done a great job.

Socrates’ engagement with future philosophy (more later on how literal this is) provides strong moments for William Reynolds’ lighting design. But, I confess, I found the show increasingly hard work. You’ll spot references to Descartes and Kant and, I think, Deleuze (but don’t hold me to that).

What impresses more is that the constant questioning is given a camp appeal. That Socrates, depicted expertly by Jonathan Hyde, is such a pleasant, genial figure to watch is balanced by the potential threat he poses – combining sincerity with mischievous. It isn’t hard to see why some felt threatened by his famous, continual probing. “But” is said to be a ”lethal” word – and Socrates says it a lot.

When it comes to the famous death, the play lacks an emotional appeal. Again, you could argue that’s appropriate. There is a fine performance from Robert Mountford, who appears as the jailer after having served as Euthyphro, whose eponymous dialogue forms the first scene. The temptation to find contemporary connections, not surprising given the play’s title, pick up pace but raise smiles rather than convince.

Home vs world

The real highlight in Cancelling Socrates comes with Brenton’s focus on women. The characters of Xanthippe (Socrates wife) and Aspasia (who it is suggested was his mistress) make fine roles for Hannah Morrish and Sophie Ward. Both characters feel freer of cliché and fully rounded despite (yet again) presenting two sides to an argument. The scene of them “quarrelling over how to live” is great drama.

The women’s roles take us to the core of an exploration of mysticism and religion within the play, which is a keen reminder of ritual and magic in Ancient Greek culture. Discussion of Socrates “demon” comes with the voice that drives him to argue – the thing that sees him “testing everything to destruction”. This isn’t just a metaphor, but a stage presence, lending some much-needed theatricality to the show. To cram so much into a short piece, with a mostly light touch, is a magical achievement.

Until 2 July 2022

www.jermynstreettheatre.co.uk

Photo by Steve Gregson

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“Gently Down The Stream” at the Park Theatre

A world première from Martin Sherman, directed by Sean Mathias, counts as a coup for this North London venue. The 80-year-old playwright’s latest piece is a careful meditation on age and, through the prism of an older artist’s affair with a young man, gives us a little gay history that ripples out to touch the most profound human experiences. It is crisp, rich and wonderfully well written.

In Beau, an older gentleman from the Southern States who becomes our hero, Sherman has written a great creation. Recognisable yet full of surprises and depth, he makes a great role for Jonathan Hyde. A series of beautifully written monologues about Beau’s life make the play worth watching all on their own. In a sense, these are all ‘war stories’, as a personal history that starts before World War II follows the course of gay rights. Sherman’s skill and Mathias’ tactful handling of these scenes banish any sense of them as contrived and Hyde gives a performance of great tenderness and subtlety. Careful about exaggerating any stereotypical touches, Hyde’s is a truly great performance.

We’re on less sure ground with the play’s younger characters. Rufus, who starts an affair with Beau, suffers from bi-polar disorder so a ‘manic energy’ is called for. But discussion of his health, which should be a central concern – mental health is a major issue among young gay men – is shied away from. Rufus’ next partner is a ‘performance artist’ and even less well defined. The idea behind his occupation is clearly to form a sense of legacy between gay artists, but it ends up just being a source of humour. Ben Allen and Harry Lawtey try hard in both roles, and they make them engaging, but the idealised friendship that develops pushes credibility too far and the jokes about youth seem too carefully planned. Ultimately, the other two characters pale next to the gloriously vivid Beau.

A “thirst for the past” exhibited by both young men shouldn’t be the surprise it is to Beau. History, a form of self-narrative, can surely be added to the list of things people need and seek. Theatre testifies to and answers this search. A close, recent, parallel is Matthew Lopez’s masterpiece The Inheritance. The works make for an interesting compare-and-contrast that, for most, will focus on duration. Sherman packs almost as much into his hour and half as Lopez does in nearly seven. A sense of urgency in the writing is balanced by Mathias’ steady hand, so not a moment feels rushed. And there’s a lot less misery here – more a sense of hope that comes from experience and a wry eye. Maybe wisdom provokes brevity as much as wit? Sherman is clearly gifted with all three qualities.

Until 16 March 2019

www.parktheatre.co.uk

Photo by Marc Brenner

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“The King’s Speech” at Wyndham’s Theatre

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Director Adrian Noble has a hit on his hands with his new production of The King’s Speech at Wyndham’s Theatre. Buoyed by the success of the film and interest in all things royal, the play is an entertaining work with humour and a touching sentimentality. And, to warm the hearts of theatregoers, it isn’t an adaptation. Remember, please, that David Seidler’s play came first.

And what a fine, well crafted piece it is. We all know the story of George VI’s struggle with his speech impediment – and his therapist Lionel Logue is now a household name – but the clear plotting of The King’s Speech and the skilful re-imagining of the pre-war period still impresses. It isn’t inspired or adventurous stuff – the play seems too short to allow any journey of self-discovery for its characters to really take off – but Seidler knows his job and does it well.

The King’s Speech works superbly as theatre. Noble stages at speed and Anthony Ward’s revolving design, around a gigantic frame, not only echoes the play’s theme of presentation but also focuses attention on the acting. No fancy locations or fetishisation of props here – the piece is theatrical enough to rest confidently on its story.

Noble’s is a focused presentation that gets the most out of his cast. There are stirring cameos from Joss Ackland as George V and Ian McNeice as Winston Churchill. Charles Edwards gives a technically astounding performance as the stuttering royal, swearing, singing and dancing his way through the speeches that terrify him, and Jonathan Hyde is full of charm as the “familiar” mentor Logue who becomes almost part of the family. Lionel’s wife Myrtle is made into a major role with a stealing performance from Charlotte Randle. Desperate to return back to Australia but devoted to her husband’s ambition, Myrtle’s forceful stage presence highlights a fascinating triangle of affection that derives from this production’s proud theatricality.

Until 21 July 2012

Photo by Manuel Harlan

Written 28 March 2012 for The London Magazine