Tag Archives: Tony Jayawardena

“Young Marx” at the Bridge Theatre

There’s nothing more exciting than a new theatre. And, bearing in mind that Nicholas Hytner’s new venue is the biggest in London for a long time, its opening night is a major cultural event to really celebrate. In truth, it’s a bit of a box of place – in one of those luxury housing developments you wish you could afford but wouldn’t live in if you could – trying hard to be swish (expensive sarnies) and smelling a bit too new. But the play’s the thing and, to open his new home Hytner, has collaborated with regular favourites to deliver a real crowd pleaser.

The true history of Karl Marx’s early years living in London is fascinating, with a fact-stranger-than-fiction appeal – it seems that Marx was an expert in economics but couldn’t handle his own money. The lead role provides an enviable part for Rory Kinnear, who embraces this larger-than-life, Bohemian (yes, really) philosopher. With One Man Two Guvnors and Dead Ringers writers Richard Bean and Clive Coleman at work, the play is, as you would expect, good, old-fashioned funny.

With the excellent Oliver Chris as Friedrich Engels, the two revolutionaries make a comedy double act. They even have a piano, until the bailiffs call and, as invited, literally, take a chair. There’s more than a hint of the Marx Brothers here – there’s even a cigar or two. Add numerous emigrés with funny accents (Tony Jayawardena is a highlight as the impoverished family’s doctor) and you have more than enough comedy ingredients. Kinnear is even good for some slapstick. Hytner enjoys this stuff – as do audiences – and his direction is faultless.

Just to make sure all bases are covered, we get some light extrapolation of Marxist ideas to give us something to think about, and it’s pretty evenly handled, with nice touches of hindsight. And there’s pathos: the death of a Marx child is movingly portrayed. The treatment of Marx’s wife and mistress short-changes two excellent actors – Nancy Carroll and Laura Elphinstone – and it becomes hard to believe these women stuck around. And there is angst: that Marx fears unleashing the “virus of hope” with his writing is an interesting idea, but we need to see more of Marx’s power, rather than just being told about it. Maybe that would have made things too serious?

Young Marx tries hard to be a hit – and it deserves to be one. Even with the best reputation and address book in the business, starting a new commercial theatre is a brave move by Hytner and his producer Nick Starr. As new plays go, this is a pretty safe bet. But Hytner understandably has a cautious eye on commercial success. A big show to get people talking is exactly what is needed and my fingers are crossed for just that.

Until 31 December 2017

www.bridgetheatre.co.uk

Photo by Manuel Harlan

“Twelfth Night” at Shakespeare’s Globe Theatre

Emma Rice has chosen well for her last show as director of the Globe, with a cross-dressing comedy that updates the Bard for our gender-fluid times. If you don’t think Shakespeare and Sister Sledge mix, then be warned – Rice’s energy, sensitivity and sense of irreverence are bountiful. The disco lights are on and it’s time to celebrate her reign at The Globe.

Let’s not forget that organising a good party is hard work and can call for tough decisions. There are moments of forced jollity – musical chairs proves messy – and a close reading of the text isn’t invited. But the passion in Twelfth Night is frenzied and Rice’s insight is to allow this. Nasty edges have poignancy, fate is presented as a choreographed natural phenomenon (cleverly mocked as a touch of “community theatre”) and the laughs are manic.

The twins, Sebastian and Viola, whose adventures we follow, are used to anchor the show. In these roles Anita-Joy Uwajeh and John Pfumojena impress, respectively showing a touching vulnerability and sounding particular gorgeous. The confused suitors who fall for the ship-wrecked siblings are played by Annette McLaughlin, who makes for a joyous Olivia, and Joshua Lacey, whose river-dancing-mullet-sporting-lothario Duke is the funniest I’ve seen.

Marc Antolin
Marc Antolin

The trio of pranksters in Olivia’s house continue the strong comedy. Sir Toby, Fabian and Maria, played by Tony Jayawardena, Nandi Bhebhe and the super-talented Carly Bawden (another strong voice) really go for it. The revelation is Marc Antolin as Aguecheek, transforming the role with physical comedy, ad-libs and fluorescent Y-fronts. And a lisp… sorry, but lisps are funny.

Katy Owen
Katy Owen

What the production takes seriously is drag, spoiling us with cabaret star Le Gateau Chocolat, whose Feste steers the tempestuous proceedings like a glittering, magical MC. It’s impossible to steal a show from six feet of sequins, but Katy Owen’s Malvolio holds his/her moustachioed own. Funny again (well, most jokes are better with a Welsh accent), Owen tackles bullying intelligently, tempting us to join in, then allowing the character to retain some dignity. Role-play can be dangerous.

All good parties depend on their soundtrack. Rice’s secret weapon is Ian Ross, whose compositions dominate the show: driving plots, aiding comedy, interacting with the text – check them out online. Using so many lines as lyrics enforces how productive treating the text loosely can be. It annoys purists when Shakespeare is tampered with, but Rice does so intelligently, aided by additional lyrics and lines from Carl Grose. The revisions sustain her imaginative interpretation, making the play both accessible and stimulating and her the sadly departing hostess with the mostess.

Until 5 August 2017

www.shakespearesglobe.com

Photos by Hugo Glendinning