Tag Archives: Lez Brotherson

“Show Boat” at the New London Theatre

Daniel Evans, director of this latest revival, describes Jerome Kern and Oscar Hammerstein II’s Show Boat as “the mother of all musicals”. It’s old – a first version dates from 1927 – so it’s safe to say that the songs have stood the test of time. Serious subject matter – a troubled love story with a backdrop of racism in the Deep South – carries a message of tolerance. And while the piece is not exactly timeless, this brilliant production makes it considerably more than a period curiosity.

Sandra Marvin (Queenie) and Emmanuel Kojo (Joe)
Sandra Marvin (Queenie) and Emmanuel Kojo (Joe)

Rave reviews from the production’s premiere in Sheffield, and the reason the show unquestionably deserves all those stars, come from high production values and the performances secured by Evans. Lez Brotherson’s design screams that it’s a big bucks show. The action is held together by Malcolm Sinclair, as the showboat captain, and there are stand out performances from Sandra Marvin as Queenie and Emmanuel Kojo, who sings that famous anthem to the Mississippi. As for the leads, the lovers Magnolia and Gaylord, Gina Beck and Chris Peluso are real stars at the top of their game.

Chris Peluso
Chris Peluso

But what to do with all the history? Despite noble intentions, it’s impossible not to see Show Boat as uncomfortably racist, not to mention sexist and snobbish. Black characters are the backdrop here, no matter how much Evans tries to refocus our attention. And all those gals who ‘Can’t Help Loving Dat Man’ need a talking to. Wisely, Evans accentuates the affirmative with a view of the family – extended by theatrical camaraderie – that gives pause for thought and makes this a feel-good evening.

Drama arrives unexpectedly on the river, the years pass glibly and resolution is minimal. Love at first sight and characters bursting into song, well, that’s what fools who dislike musicals complain of. And, let’s be honest, the characters here are wafer thin and everyone’s heart is permanently on their sleeve. But, with a somewhat luxurious pacing, Evans doesn’t bother with excuses or gimmicks that try to update the experience. This show has earned respect – let’s call it old fashioned and enjoy it.

Until 27 August 2016

www.showboatmusical.co.uk

Photographs by Johan Persson

“Hysteria” at Hampstead Theatre

Hampstead Theatre’s new production of Terry Johnson’s Hysteria is a significant revival, not least because the writer himself directs it. One of the most successful plays to mine the rich seam of psychoanalysis, it imagines Freud on the couch. Like the man himself, it explores trauma and humour in inspired fashion. This is a work of big ideas that boggles the mind and attempts to explain deep truths.

The action is set down the road from the theatre in Maresfield Gardens, during Freud’s exile in London just before the Second World War. The father of the unconscious approaches his death with plenty of humour. Antony Sher is magnificent in the lead; Freud joins Stanley Spencer and Primo Levi as famous figures Sher has embodied so well. Elements of farce abound as he hides a naked woman in his closet from his Doctor (David Horovitch – excellent) and a visitor paying homage, none other than Salvador Dali.

The scenes of farce are a delight. Adrian Schiller’s “doolally” Dali is superb and his accent a triumph. But the play soon develops into a tense exploration of Freud’s methods and the foundation of his movement. In an emotional performance as the unwanted guest in his bathroom, Lydia Wilson highlights one of Freud’s failures, a case study he presumptuously reported as a success, and a change in his theories that she questions. Her interrogation of him reveals his doubts and the trauma in his own life.

Johnson’s play is full of clever touches and is a close study of his subject. It can’t have hurt the farce that Freud’s study was full of erotic sculptures but picking out the Surrealist painter’s visit is inspired. The final tableau, depicting Freud’s dream, realised by Lez Brotherson’s superbly ambitious set, rises to the challenge of a problem Johnson highlights – that depicting the unconscious diminishes it – but can still create fine theatre.

Until 12 October 2013

www.hampsteadtheatre.com

Photo by Alaistair Muir

Written 13 September 2013 for The London Magazine