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KING LEAR – RSC, Stratford & London

In London theatre, Opinion, Plays, Regional theatre, Reviews, Touring by Jonathan BazLeave a Comment

William Shakespeare’s tragedy depicting the 17th Century King’s descent into madness has been given a pared down, modern retelling by director Gregory Doran in this new production at the RSC. The audience draw is clearly Antony Sher, taking on the eponymous role (the Stratford run is apparently returns only) but this production has much to commend it.

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INTERVIEW: Alex Hassell on his journey from Hal to Henry V

In Features, Inspiring people, Interviews, London theatre, Plays, Quotes, Regional theatre, Reviews by Jonathan BazLeave a Comment

As the RSC cycle of Shakespeare’s Histories arrives at London’s Barbican Theatre, Alex Hassell appears first as Hal in Henry IV Pts 1 & 2, before maturing into the series’ Henry V. 35 years old and with enviably chiselled features, whilst not yet a household name, Hassell is commanding increasing respect. It was only last month that he achieved a podium finish as a Best Supporting Performance nominee in the 2015 UK Theatre Awards for his portrayal of Biff in the RSC’s acclaimed revival of Death Of A Salesman.

YOU ME BUMBUM TRAIN – Site-Specific

In London theatre, Reviews by Johnny FoxLeave a Comment

When You Me BumBum Train took the site-specific theatre world by storm in 2004 at the Barbican with its unique concept of an audience of one in a wheelchair and a cast of hundreds, and all over again when it was presented during Olympics season at Stratford, people were blown away by the originality and audacity of both concept and execution.

VOLPONE – Stratford-upon-Avon

In Plays, Regional theatre, Reviews by Jonathan BazLeave a Comment

Trevor Nunn’s production of Volpone at the RSC’s Swan sagely contends that the sins of greed and avarice are timeless. With Ben Jonson’s 17th century comedy set squarely in a modern Venice, if some of Ranjit Bolt’s occasional script revisions are schoolboy clumsy (silly references to Greece and the Euro pop up), they can be forgiven in a plot in which incredible complexities may not have weathered the test of time as much as the brilliant observation of the flawed human condition that makes this play so entertaining.

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DEATH OF A SALESMAN – Royal Shakespeare Theatre, Stratford-upon-Avon

In London theatre, Opinion, Plays, Regional theatre, Reviews by Johnny FoxLeave a Comment

Dear RSC: I’d like to return this Death of a Salesman. It just doesn’t fit. Apart from its unravelling from not being a Shakespeare play in your theatres over the 23 April ‘birthday weekend’ for the first time, the ‘perfect match’ between Willy Loman and tragic heroes like Coriolanus or Lear wasn’t knit together any […]

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Harriet Walter: In Conversation about Death Of A Salesman

In Features, Interviews, London theatre, Plays, Regional theatre, Reviews by Jonathan BazLeave a Comment

Harriet Walter
Rarely has a show moved to the West End at the lightning speed with which the RSC have transferred Death Of A Salesman. Opening in Stratford upon Avon only last month, to rave reviews across the board, Greg Doran’s interpretation of the Arthur Miller classic features Antony Sher as Willy Loman, the titular doomed salesman.
It is Harriet Walter however, one of our finest performers and arguably the RSC’s leading lady of her generation, who plays opposite Sher as Linda, Loman’s long suffering spouse.

Having reviewed the Stratford production, I can confirm that both actors deliver virtuoso performances – with Walter in particular giving a finely tuned display of loving loyalty, made all the more excruciating as she witnesses her family disintegrate before her eyes. Few playwrights have offered such a devastating analysis of the complexities of marriage and maternity as Arthur Miller does with Linda.

The RSC company were completing their rehearsals last week, prior to opening at London’s Noel Coward Theatre, when I caught up over lunch with Harriet to learn more about her remarkable interpretation of Linda.  




JB:    Harriet, thank you for finding the time in your hectic schedule to talk. I’m going to dive straight into the role of Linda and ask, what you have found to be the key elements in bringing this woman, who is pivotal to the story as both a wife and a mother, to the stage?
HW:    Well, first of all, I had seen the play before but only some time ago, so I hadn’t really got a great recollection of the part and so it helped that I came to it with fairly innocent eyes.
I’ve come from a company where I’ve been playing Henry IV in an all-female Shakespeare, so it was quite a twist for me to be playing a character who is completely, ostensibly selfless and whose own ambitions are thoroughly sublimated in her ambitions for her family. 
It really wasn’t a very long step to realize that the part was my mother, that it’s my mother-in-law and that it’s several million women, still, in certain parts of the world.
JB:    To what extent, if at all, are you able to identify with Linda? 
HW:    There are parts that are very close to you and you just bring your own experience to them and there are parts that are not at all close to you and you have to censor yourself and restrain your own reactions and think very honestly about that character within the context of the play and ask yourself: Do you know anybody like that?
The answer is, there are plenty of people like that and some of them, like Linda, do appear to be almost saintly.
You don’t get any sense of her own resentment, in any direction, of what she’s putting up with. In a world where that was considered the norm, she doesn’t consider herself particularly unfortunate. There is no self-pity in the role.
I have to add, that there’s also no self-pity in the role of Willy Loman, which I think is the great strength of Antony Sher’s performance. 
I just felt, with Linda, she was somebody who doesn’t have any sense of being pushed aside, or of not being allowed to express her own wishes, she has no feminist agenda and she has actually reduced things to a very simple equation, which is that whatever makes Willy happy and stay alive is what she will do and anything that obstructs that, even if it’s the presence of her beloved son in her house, whom she would normally love – she’s telling him he can never come back if he’s going to upset his father. 
It’s a bit like Sophie’s Choice really.She literally has to choose between her son and her husband. I think that it’s awful that she has simplified it down to that, but that is just a decision that she’s made and that’s got to happen.
Obviously there are lots of complicated emotions underneath that, but I don’t think she allows them to surface. 

JB:    Linda is obviously aware of Willy’s state of mind, but do you believe that she is aware of his infidelity?
HW:    It’s so varied, but there are indications from Arthur Miller that deep down she is troubled. 
There are two moments, which I’m sure you observed, when she’s about to talk about a woman who saw the car crash and she says: “Apparently there’s a woman, …” and her son Biff interrupts her and they talk over one another in the script, talking at the same time. Biff says: “What woman?” She says: “What?” and their dialog is overlapping one another and then she says: “Now, what did you say?” and Biff replies, “Nothing. Just you carry on.” 
And you have to ask, now why does a playwright bother to put that little interruption in? It’s brilliant. It just indicates that somewhere, she has got this trigger reaction, because somewhere in her subconscious she’s thinking, “He’s out on the road, why wouldn’t he? He gets lonely,” and then he’s obviously behaved slightly differently towards her and he’s pounced on her about the stockings. 
It’s not like Linda’s going to put it together, but I think she knows something. It’s like, as I said before, it’s a restraint. Personally, that is very alien to me, to bury your own worries and to sit on things.
And then Linda does have a little strange question at the end of the first act, when she’s just got Willy settled to go to bed and everything’s seemingly calm. She goes and says, “Willy, dear, what has he got against you?” and I thought to myself: Why does Linda bring that up now? He’s calm Linda, what are you doing?
And then I realised that this is the only moment that she loses her guard and is not being very sensible. Linda is so troubled by this, because ten minutes earlier, Biff has said, “He’s a fake,” and that has caused her this little ripple. 
That ripple has stayed with her, so that she wants her husband to elaborate and so she goes on to say, “What has he got against you?” and Willy replies, “Don’t talk. Let’s go to sleep.” The next thing she then says is, “Will you ask Howard to let you work in New York,” which in my opinion means, “I want you here where I can keep an eye on you.”
It’s all very clever. There’s no spare word in the play that isn’t used, so you know that every word you say must be a clue and if you haven’t found out why you say something, it usually goes with the bits that seem odd, or the bits that, if you examine them, you’ll go on to find an interesting answer.
With Alex Hassell (Biff) 
JB:    Thank you for that remarkable insight. Moving on, Death Of A Salesman has been described as the greatest American play. Give me your thoughts on that description and upon Miller’s writing.
HW:    I absolutely agree, it is the great American play and inasmuch as America’s ethics affect the whole world, with the notion of success and failure being down to the individual, the idea that you’ve got this country where everything is possible, so if you’re not making it, it must be your fault.
That’s an incredible burden to put on an individual, but it comes with the notion of liberty. It’s an American dream and it’s an American ideal, but it filters down to everybody and that’s why the play works in so many other countries.
I think it’s also astonishingly well-crafted, considering Miller was 34 when he wrote it. There’s not only the compassion and the understanding he has for all the characters and the intricacies of family life that are so brilliantly realized, but the actual structure of the play.
It’s just brilliantly constructed. I think it is one of the greatest plays I’ve ever been involved in.

JB:    Do you believe the play has a relevance to an English audience – and also, do you believe the play still has a message in 2015, nearly 70 years after it premiered on Broadway? 
HW:    Well, I think the idea of parents and particularly fathers and sons, is probably going to be an issue that’s with us forever and has been with us forever. The whole notion of the balance that parents have to play between imposing values on their children and playing out their own failures and expectations through their children, it is impossible to be neutral about your child. No child can be a blank page for more than a day of its life. I think the notion of parental responsibility to children, children fighting for their freedom to get out from under, is universal and eternal.
The particular modern world that we’re in is the same world that Arthur Miller was depicting in the sense that it’s the post-war world of linking free flow of money and capitalism with freedom to behave how you want to behave and make your own world and make your own life, which is riddled with contradictions and disappointments.
It’s probably, as Churchill said, the best system we have come up with yet, so it’s tying in the political world of how one generation hands down to another, with the family world in the microcosm of the family.
The thing that’s majorly changed is the role of women, but in many plays where you have to play this rather faceless, back-foot character in period pieces. You do feel Arthur Miller is “paying attention”, in his own words, to Linda.
I very much wish an Arthur Miller would write a play about women. To include feminism in the politics of the play would be great, but it doesn’t. It’s of its time. What Miller does do is to give you plenty of focus, though at least this production takes up the offer that Arthur Miller gives of focusing on Linda. 
When it’s her turn, he gives her the last word of the play and I wish there was more. I don’t know, I can’t wish the play to be different, because it isn’t, but to be truly relevant as a statement in 2015, you’d have to have the complication of the woman’s voice arguing in there as well.
With Antony Sher
JB:    Tell me about working with Antony Sher. 
HW:    I’ve worked with Antony before. He’s rock solid, a unique craftsman. I think of him as a craftsman, because he does build a character three-dimensionally and sort of step into it. Then you look behind the eyes and he’s incredibly alive.
It’s wonderful if you can believe the person you’re playing opposite and Antony is quite a private man, so I know him on stage better than I know him off stage.
That all contributes to being able to believe in what he’s doing and believe in him as your husband. He’s a great performer.
JB:    My final comment is much lighter! Cynthia Erivo, who acted with you in Henry IV at the Donmar Warehouse last year, described your knowledge – and above all, your willingness to share your knowledge as “immeasurable”. She described you as hilarious and lovely and a very cool woman whose inner kid is still alive and playing.
HW:    That is lovely. I don’t think that inner kid ever dies, actually!
JB:    Harriet, thank you so much for your time and “break a leg” for the transfer.

Death Of A Salesman plays at the Noel Coward Theatre until 18th July 2015

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Death Of A Salesman – Review

In London theatre, Reviews by Jonathan BazLeave a Comment

Royal Shakespeare Theatre, Stratford upon Avon
*****
Written by Arthur MillerDirected by Greg Doran

Harriet Walter and Antony SherTo read my interview with Harriet Walter and her analysis of the role of Linda, click here

Death Of A Salesman not only marks the centenary of Arthur Miller’s birth, but in Greg Doran’s production being staged over Shakespeare’s April birthday, is also the RSC’s jewel in its 2015 crown.
Widely acclaimed as the greatest American play, we witness a meticulous dissection of the last 24 hours of Willy Loman’s life. His sales are flagging, buyers won’t see him anymore and he has been reduced to “commission only” by his young and ruthless boss Howard, a man who (in one of many moments of Miller’s cruel perception) Willy has watched grow up from boyhood to inherit his family’s business. The mounting finance bills on car (and hellishly, even the refrigerator) remind us of the domestic pressures that Antony Sher’s Willy can never escape.
As guilt and failure take their toll on Loman, we see early on how wise his wife (Harriet Walter’s Linda) is to his confusion. “Your mind is overactive, and the mind is what counts, dear.” But she is being kind. As act one unfolds, Harriet Walter delivers one of the most devastating female performances, telling sons Biff and Happy that not only is she fully aware of Willy’s suicidal depression, but that she cannot let him know that she knows, for such a revelation would destroy him. Linda’s strength as a wife and mother, desperate to glue her family together is a recognisable pain and as Walter spoke, the sobbing around the auditorium was profound.
Miller is merciless as he twists the knife into Loman’s last desperate hours. As Biff again disappoints him, the true depths of Willy’s guilt and shame are revealed, whilst Happy (Sam Marks convincing as the shallow even if ultimately loving son, too easily led by his trousers) is happy to desert his desolate father in a restaurant, as he heads off in pursuit of women.
Loman’s descent will be recognised by all and quite possibly be familiar to many and yet along the way he encounters everyday kindnesses too. Linda’s love for her husband breaks our hearts, whilst Charley (a beautifully weighted performance from the lugubrious Joshua Richards) provides one of the most touching definitions of friendship ever penned. In the play’s Requiem, Charley’s eulogy echoes Horatio’s “now cracks a noble heart” speech from Hamlet, as the old New Yorker says of Willy: 
”He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back — that’s an earthquake. And then you get yourself a couple of spots on your hat, and you’re finished.”
Nowhere else in the canon has the so-called “American dream” been so concisely revealed as the nightmare that it can so easily become.
Besides the faultless text, it is Doran’s company that mark this production as one of the greats. Sat at his kitchen table, the shoe-shining Sher defines Miller’s anti-hero for a new generation and as his mind unravels, Sher’s Loman is as brilliantly desperate as he is pitiful.
In a pairing that has seen Alex Hassell play Hal to Sher’s Falstaff, so is the younger man now Biff. Magnificent throughout, it is late into act two when Hassell, with minimal dialogue and outstanding acting, portrays a young man watching the rock that he had previously believed his father to be, crumble before his eyes. Watching the equal despair of the humiliated father and his devastated son, both now destroyed, is almost unbearable. 
Stephen Brimson Lewis’ powerfully overbearing set depicts a tenemented Brooklyn, the Lomans’ home, where nothing grows anymore – and as Miller has the play’s action flash between the years, so too does the staging mirror Loman’s muddled mind. Credit also to Tim Mitchell’s lighting and Paul Englishby’s music, both perfectly enhancing time and place.
In 1979 Miller described Warren Mitchell in Mitchel Rudman’s National Theatre production, as “definitive”. I saw the NT show more than once and Greg Doran’s version shares that pantheon. 
A tragedy that is timeless and epic and yet also everyman, Death Of A Salesman plays at Stratford, before an immediate transfer to London. The production is unmissable. Drama does not come better than this.

Plays at Stratford until 2nd May 2015. Then plays at the Noel Coward Theatre from 9th May until 18th July 2015

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The Jew Of Malta – Review

In by Jonathan BazLeave a Comment

Swan Theatre, Stratford upon Avon

****

Written by Christopher Marlowe
Directed by Justin Audibert

Jasper Britton
Christopher Marlowe’s The Jew of Malta play takes a tale of cunning and avarice, love and hypocrisy and strips it down to the basest of humanities at its core. Barabas  the Jew is a man for whom it is possible to feel both compassion and disgust.  He hadn’t chosen his calling, having first been a physician, then an engineer and finally a usurer.  Yet it is in that money-lending role that he is singled out by Ferneze, Malta’s Christian governor, to fill the island’s war chest or face conversion to Christianity. And as the Muslim Turks threaten Malta, so do we find Marlowe sketching out a contemporary, if troubling resonance, as the three Abrahamic faiths challenge each other
Justin Audibert’s intelligent production sees Jasper Britton give a warmth and joie de vivre to Barabas that one might not have expected from a man destined to ultimately wreak hideous revenge. Britton’s wiles and connivances serve only to endear him to the audience, whom he plays beautifully, with a string of raised eyebrows and intimately glanced asides. An unexpected counterpoint to the Jew is Ithamore, his Moorish slave. Lanre Malaolu bounces and clowns across the stage as we witness the slave perversely worming his way deeper into the affections of his master.
The threatening Turkish armada is led by Calymath, ably played by Marcus Griffith in true swashbuckling form. As the intrigues of the plot, riddled with treachery and deceit lead to an inevitably tragic conclusion, we witness the duplicity of inter-faith conflict alongside an even more painful intra-familial despair as Barabas and daughter Abigail, (sensitively and spiritedly played by Catrin Stewart) both come to despise the other, with fatal consequences.
Steven Pacey’s Ferneze displays a recognisable statesman-like duplicity, as he schemes both with and against Barabas to defend his nation, whilst we catch but a glimpse of Marlowe endorsing his own personal inclinations when Simon Hedger’s Merchant says ‘I count religion but a childish toy’.
In a production that thrills, Jonathan Girling’s music enhances proceedings. His introduction however of a 19th century klezmer sound, whose history derives from the European Ashkenazi Jewish community whereas Malta’s Jews hailed from a distinctly Mediterranean Sephardi heritage, does seem a little incongruous.
But elsewhere the detail invested in The Jew Of Malta is meticulous, manifest in the clarity, diction and playing of the company for whom neither a syllable nor glance is wasted. Bringing their world class style to this Elizabethan classic, with Lily Arnold’s plainest of sets proving a foil to magnificent costumes, The RSC again deliver magnificent theatre.

In repertory until 29th August 2015

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Review: Oh What A Lovely War (Theatre Royal Stratford East)

In Musicals, Reviews by Johnny FoxLeave a Comment

The Theatre Royal Stratford East’s resolutely multi-cultural auditorium is strung to the rafters with British Empire bunting for the centenary of the First World War and by extension the 50-ish anniversary of Joan Littlewood’s landmark production of Oh What A Lovely War, on this same stage, which gave political satire a popular face. It’s an […]

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Review: Oh What A Lovely War (Theatre Royal Stratford East)

In Musicals, Reviews by Johnny FoxLeave a Comment

The Theatre Royal Stratford East’s resolutely multi-cultural auditorium is strung to the rafters with British Empire bunting for the centenary of the First World War and by extension the 50-ish anniversary of Joan Littlewood’s landmark production of Oh What A Lovely War, on this same stage, which gave political satire a popular face. It’s an […]

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Westfield Stratford Opens To The Sound Of Smashing Glass

In by Johnny FoxLeave a Comment

Stratford E15 when first encountered by this Londonista in about 1985 already had a post-apocalyptic feel and Ralph McTell’s “have you seen the old man in the rundown market” echoed every footstep through piss-scented underpasses and past frightened shuttered shopfronts and the greasiest of spoons. Despite Newham’s ‘town centre plan’ and various regeneration initatives, it’s […]

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