Tag Archives: The Watermill Theatre

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“Lone Flyer” at the Jermyn Street Theatre

The West End’s smallest stage has big plans now that theatres are open again. Jermyn Street Theatre’s ‘Footprints Festival’ has drama, as well as cabaret and poetry, to enjoy in real life or online. As part of the programme, this visiting production from the Watermill Theatre affords a welcome chance for London audiences to see an already well-received show.

Lone Flyer is a fascinating biographical play about an inspirational woman – the aviation pioneer Amy Johnson. An (almost) rags-to-riches story that takes in escape from a small town, a desire for celebrity and independence, plus a tragic end that could easily move you to tears, Johnson’s life had it all and writer Ade Morris crams in the details. But the truly clever idea is that any life story is really about the people someone loves. Bringing out those other lives makes Johnson’s story bigger, more relatable and ultimately more moving.

So, the story is told well – credit to director Lucy Betts as well as Morris. First, Johnson’s childhood is seen in tandem with the trip that ended her life. Then the same fatal journey is paired with her most famous exploit, flying solo to Australia in 1930. It’s a neat device that provides tension throughout – just like that final flight, Amy’s story and success seem continually precarious.

“risks and rewards”

Adding depth to the action, Morris elaborates on the “risks and rewards” of fame and the sexism Johnson had to fight. Throughout, the pilot’s charisma is clear, and it all makes a fantastic role for Hannah Edwards, who holds attention magnetically. Is Johnson’s desire to be independent really a desire to be alone is a fascinating open question that Morris introduces carefully and balances well. If there is a short fall, the “black moods” Johnson suffered from aren’t explored enough – although they provide highlights in the performance. The scene recounting Johnson’s sister’s suicide is a magnificent one for Edwards, but a question about Johnson’s possible manic depression hangs over the show.

Fantastic as Edwards is, the pleasant surprise in Lone Flyer comes with her co-star Benedict Salter. Performing all the other roles, including some female, Salter excels. From Johnson’s father and early first love (a commitment-shy Swiss man), to the engineer who helped her, each role is a gem. And there’s the fascinating relationship with husband Jim Mollison. Is the fellow pilot a “glamourous shadow” or a man who gets as much publicity out of the affair as Johnson does? The marriage could make a play of its own.

Best of all, Salter is essential to the production’s theatricality – sure to be especially appreciated right now. Betts’ work comes into its own as we travel the world and skip back and forth in time with clarity and concision. Full of neat touches, effective lighting and sound (Johanna Town and Justin Teasdale, respectively) – the numerous scenes are so engrossing that the action (I almost made it to the end without a pun) flies by. With just a few props and a lot of imagination, Lone Flyer is the kind of show that makes you happy to be in the theatre.

Until 3 July 2021

www.jermynstreettheatre.co.uk

Photo by Pamela Raith

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"Macbeth" at Wilton’s Music Hall

There was bad and good luck for the Watermill Theatre last night with its transfer of Shakespeare’s Scottish play (I’m risking nothing). After just one scene, Lady Macduff needed medical attention – sympathies and best wishes to her. Fortunately, a decision was made to persevere thanks to a member of the audience who was in the production previously. Gratitude to Emma Barclay for helping out – she did a great job. Although the circumstances for reviewing aren’t ideal, it’s only appropriate that I also go on.

So huge credit to the show’s small cast who gave little sense of being thrown by events – their professionalism is commendable. The production is marked out by its youthful appeal and tension (maybe a few extra nerves helped). Director Paul Hart clearly has plenty of ideas and, even if they are a mixed bag, they can be appraised regardless of injuries.

On the plus side, the depiction of the violence in the play through movement is done well (congratulation to Tom Jackson Greaves). The lighting effects, from Tom White, and projections from Louise Rhoades-Brown, are very good. The idea of using actor musicians is always impressive. But the delivery here needs finessing: the songs chosen prove distracting and, more importantly, too many lines are lost in the noise.

Emma McDonald in Macbeth at Wilton's Music Hall
Emma McDonald

If Hart wants a Macbeth that’s brash and bold then he has succeeded. But the consequence is a production that’s overblown and loud. Both leads are strong performers who seem wasted. Emma McDonald’s Lady Macbeth is, frankly, camp – a decision that does not serve the character well, no matter how great her outfits. It’s a shame, since McDonald and her stage husband have great chemistry and fantastic stage presence.

In the lead, Billy Postlethwaite possesses all the magnetism you could wish for as a guerrilla-style soldier with a hipsterish edge. I liked the way this Macbeth is out of his depth when it comes to plotting. But there’s no respite from madness for Postletwaite to work with. The witches (nicely delivered by the whole company) turn him too quickly. Both he and the production are hampered by the conceit of Hotel Macbeth. Macbeth as a rebel and rock star I get, but not a hotelier!

While Lucy Keirl has a good night doubling up as Seyton and Macbeth’s Porter, little else seems achieved by the hotel idea. It’s not the only tweak Hart makes that puzzles: are Macduff’s children really killed? And why is Duncan strangled first? But the abundance of ideas, like the events of the evening, show a company full of spirit. Regards again to the injured Lauryn Redding. Her colleagues displayed a determination the whole ensemble should be proud of.

In repertory with A Midsummer Night’s Dream until 15 February 2020

www.wiltons.org.uk

Photos by Pamela Raith

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“Burke and Hare” at the Jermyn Street Theatre

It’s all out for entertainment with Tom Wentworth’s take on the historic villains, Williams Burke and Hare. While facts from their 1828 trial provide some chills, the overall aim is comedy. A mix of shameless bad jokes and great theatricality, with a few songs thrown in, means the show has something for everyone.

The ‘true’ story of murderers (rather than grave robbers, as is popularly assumed) who provided corpses for the medical profession in Edinburgh piques interest, and a period feel is well conveyed. Events are presented by Dr Alexander Monro, whose rivalry to the anatomist Dr Robert Knox – Burke and Hare’s main customer – is a great source of fun. Monro has hired a couple of actors to help him tell the story and much is made of their limited numbers. In the style of The 39 Steps, they take on all the roles: the murderers, their associates and their victims. The joke is overplayed, contrived, of course… but it works. The show is funny, with some good tasteless touches, while carefully suitable for the whole family.

Wentworth has done his homework, but dissecting what makes an entertaining show with such deliberation makes this one a little cold at times. It’s the production, from director Abigail Pickard Price, that injects life: balancing a sense of improvised chaos with a script that requires great timing in a very small space, and creating a camaraderie amongst the cast that is contagious.

Personalities behind the roles are quickly established, adding real warmth, and the cast look as if they’re enjoying themselves. Alex Parry gets a special round of applause for all his swapping of roles. Hayden Wood has an amiable stage presence that’s a real asset and deals with an episode of audience participation superbly – even if you hate it when people are called on to the stage (and I do), you can’t be annoyed with him. Finally, Katy Daghorn shines playing not only Monro but the love interests for both murderers. Her accents are a hoot, while differentiating the roles shows fantastic skill. This talented trio creates the atmosphere and energises the show, making it a lively treat.

Until 21 December 2018

www.jermynstreettheatre.co.uk

Photo by Philip Tull

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“Frankenstein” at Wilton’s Music Hall

This potted production of Mary Shelley’s tale makes for an entertaining evening. In this somewhat ruthlessly adapted version by Tristan Bernays, the skeleton of the story remains, while casting one performer as both the eponymous doctor and his monster puts flesh on the bones of ideas about their relationship. Adding only simple props – lamps, buckets and a flight case – establishes a strong story-telling feel of considerable charm.

The show is a star vehicle for recent graduate George Fletcher, who plays both creator and creature. We see mostly monster – racing through ‘infancy’ efficaciously with admirable physicality, while creating possibly too much sympathy. He is joined as The Chorus by Rowena Lennon, who takes on some extra speaking roles admirably and even more impressively creates visual and aural echoes of Fletcher’s actions and emotions.

The show comes fromThe Watermill Theatre. Might it have been scarier if its genesis was the atmospheric mid-19th century Wilton’s? The Victorian loved to be spooked, after all. Director Eleanor Rhode brings clarity to weighty questions, but there could be more tension here. Nonetheless, the performances are strong, while excellent effects (light and sound by Lawrence T Doyle and David Gregory) ensure the show impresses, even if it is cerebral rather than creepy.

Until 18 March 2017

www.wiltons.org.uk

Photo by Philip Tull