35 posts categorized "Southwark Playhouse" Feed

Review: Max Irons in Farragut North at the Southwark Playhouse

FarragutImageHe was the charming, womanising medieval King Edward in the small screen adaptation of The White Lady but now Max Iron's has turned his attention to a charming, potty-mouthed political PR in Farragut North, the Beau Willimon play currently in preview at the Southwark Playhouse.

There are no swords and and armour here instead the characters use rhetoric and guile to manipulate voters in a Democrat caucus.

Irons plays Stephen the bright and talented communications manager whose loyalty to his campaign manager, Paul (Shaun Williamson), is tested when the campaign manager of the rival candidate offers him a job.

Willimon's script is sharp and punchy and deserves a delivery to match. This is play of high drama and tension and the soup├žon of nerves visible from the cast (this was the first preview) only added to the atmosphere.

Irons' Stephen oozes the necessary charm to make his success and confidence believable but it is as things start to fall apart that we see a darker less composed and ultimately more interesting side to the character. There were a couple of forgotten lines but it is nonetheless a convincing performance, winning the audience over despite the characters obvious flaws.  And, no doubt, he will relax and gain more confidence as the run progresses.

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Review and production photos: the moving Billy Budd @swkplay

BBThere's a nauticaul theme developing at the Southwark Playhouse. Next week Titanic opens to previews in The Large and last night Billy Budd opened in The Little.

Covered in dirt, sweat and blood that reminded me of another nautical play Southwark put on, Hairy Ape, good soul Billy is impressed upon a Navy ship that is sailing off to fight the French.

Adapted from Herman Melville's novel Billy (Charlie Archer) is an orphan, a stammerer and a simple and gentle soul who sees the good in everyone but that doesn't mean he can't handle himself, quickly winning over moody, bully Jenkins (Iain Batchelor) by standing up to him.

But there is one person Billy just can't win over: Claggart, the man at arms (Gerrard McArthur). The relationship between these two men is fascinating. While the rest of the crew can see that Claggart is out to get Billy, Billy think he is his friend.

Why Claggart takes a dislike to Billy is the sort of thing that would come up as a question on an English exam or give psychoanalysts hours of couch time, such is the subtext in their encounters.

Is Claggart afraid of Billy because Billy isn't scared of him? Does Billy's goodness remind him of what he lacks? At times I was reminded of that line Gertrude says to Hamlet in the closet scene: "Thou turn'st mine eyes into my very soul".

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A bit of Tanzi Libre and Southwark Playhouse's new space

Saw 30 minutes of Southwark Playhouse's inaugural production at their new venue last night. It wasn't a bad production, that had me ducking out but unfortunately cast injury.

The show, Tanzi Libre, is set in the world of wrestling with each scene a sort of mock bout so the injury isn't a massive surprise although nobody realised at the time that anything was awry. The actor is OK - I should add - taken to hospital as a precaution.

At first it just appeared that we were having an interval, although no one was entirely sure whether to leave their seats or not. Then the stage manager came out and told us what had happened.
That the actor concerned is OK is the most important thing.

What I saw of Tanzi Libre was certainly interesting and different. It was livel, with the audience, sat on four sides of a wrestling ring and encouraged to cheer, shout and boo. Although I'm not entirely convinced that telling someones life story through the medium of wrestling was going to work completely - the portrayal of baby Tanzi being pushed about by her mother was distressing even if it was entirely acted by adults - I still would have liked to have seen where it went.

So in lieu of the review I thought I'd write a bit about Southwark's new space, the theatre's home for probably the next five years while their old venue is redeveloped as part if major work at London Bridge.

It is much brighter and airier than their former under the arches home, no damp smell either. The bar area is full of the familiar mismatched chairs, tables and sofas with lots of little nooks and crannies - certainly a place that would be pleasant to meet for a drink.

Tanzi Libre is in the large performance space which is a nice size and bodes well for different seating configurations.

The rumbling of trains overhead that added so much atmosphere to the London Bridge venue is absent but the team at the Southwark Playhouse have succeeded in recreating the essence and vibe of their old venue. Looking forward to going back.

A year in London theatreland: arrivals, departures and angering members

7671532902_4ddcb26e44It's certainly been an Olympic year in London theatreland, 2012 has seen a slew of hellos and goodbyes, theatres riling those paying for membership schemes and, despite the recession, new theatres.

Departures include the announcement that Michael Boyd will step down as artistic director at the RSC with Greg Doran taking over next year. With the new theatres open and established in Stratford Upon Avon, perhaps Doran will be able to devote some attention to a permanent London home for the company. 

Dominic Cooke also announced he was leaving the Royal Court with National Theatre of Scotland's Vicky Featherstone taking the helm in April next year.

Meanwhile it was hello to Josie Rourke who began her tenure as artistic director at the Donmar Warehouse (more on her first year in a future post) while Mandani Younis stepped into her vacated shoes at the Bush Theatre.

And a sort of hello as Michael Grandage launched his first season of plays in the West End following his departure from the Donmar Warehouse. He attracted some impressive acting names to the Donmar and his new West End season isn't any different but more on what I'm looking forward to in another post (yes I have time on my hands) and no prizes for guessing which production is top of my 'can't wait for' list.

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Review: The Seagull @swkplay and why it's becoming one of my favourite plays

116530496_ARTS_Seag_355494cMy mum would sometimes ask me, when I was visiting, what I had seen at the theatre and I remember one time mentioning 'Hamlet again' to which her response was 'surely you know the story by now?'. I tried then to explain the appeal of that play, its many layers and different interpretations that made every new production a draw.

The Seagull is rapidly becoming 'a Hamlet' in that after seeing just two productions, this latest at the Southwark Playhouse, I could quite happily go and see another version tomorrow, should there be one to see.

I'm not familiar enough with the more traditional translations of Chekhov's play to judge how much artistic licence playwright Anya Reiss's has taken in her 'version' so I can only judge on how believable and natural the dialogue sounded and on both points it gets the thumbs up.

In fact, the modern dialogue worked perfectly within the modern setting. Konstantin (Joseph Drake) writes on a laptop, Arkadina (Sasha Waddell) can't get a signal on her mobile and Masha (Emily Dobbs) plays music on her iPod, dresses Goth-like and smokes spliffs.

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Review: The Busybody and the but...

ImagesBit of a tricky one this because there was much to enjoy about the revival of this early 18th century comedy by Susanna Centlivre.

Its plot is standard fare: young people being kept from their beaus and/or inheritances by their parents/guardians except to add to the comedy, as the name suggests Busybody has a busybody - Marplot - who is nosey, gets the wrong end of the stick and generally makes things worse by trying to help.

The acting is a little obvious at times from some of the less experienced cast members but there are some genuinely funny moments and it is simply and effectively staged with just a few pieces of stage furnishing being worked very well. And, it will shock those who know of my views of musicals, there are also some nice little musical interludes (I'm not adverse to the odd song in a play I just don't want a whole album's worth).

Jessica Swales, who adapted and directed, adds effective little modern flourishes such as the opening 'number' which is about asking the audience not to run away because the play is written by a woman and goes on to name check a whole gamut of talented women playwrights right up to Anya Reiss.

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Was there something in the water at the Dursley house: Another star turn by Harry Melling in I Am A Camera @swkplay

Camera2It is quickly becoming a joy to see Harry Melling on stage. Aside from Daniel Radcliffe he's probably made the most successful transition from a 'Harry Potter actor' to an accomplished actor in his own right.

I first saw him at the National Theatre in Mother Courage and All Her Children, ironically playing son to his Harry Potter screen mother Fiona Shaw and then he stole his scenes in Women Beware Women, also at the National.

Last year he got his first lead in the wonderful When Did You Last See My Mother at the Trafalgar Studios and I was hooked. So much so that I couldn't miss seeing him play Christopher Isherwood in I Am A Camera at the Southwark Playhouse.

And he didn't let me down. Once again he carries off a role with such confidence and skill it is easy to forget that he is only 23 - there must have been something in the water in the Dursley house.

Set against the back drop of the rise of the Nazi's in 1932, a young Isherwood is living in Berlin, barely earning his keep tutoring the daughter of a rich Jewish family. Forced to take a smaller room at his lodgings by his financial situation he quickly becomes friends with rebellious posh girl Sally Bowles (Rebecca Humphreys) who takes his old room and who survives earning money singing in clubs and eating out on rich men.

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Is this going to be the best week of theatre of 2012, so far?

Such a trio of potential delights lined up for this coming week that it could be the best week of the year, so far.

First of all I'm stupidly excited about The Judas Kiss tomorrow night at the Hampstead Theatre. It stars Rupert Everett who is someone I never thought I'd get a chance to see on stage and the lovely Freddie Fox who has proved a delight in the last two plays I've seen him in. The story of Oscar Wilde and his young lover Bosie is a familiar one but curious to see what David Hare's spin on it was.

Then on Tuesday there is Three Sisters at the Young Vic. Have a love/hate relationship with Chekhov but this is one of his plays I've never seen before and with Mariah Gale and Sam Troughton among the cast I'm hopeful it will fall in the former category. The trailer is intrigue at least (follow link above).

Finishing off the trio, on Thursday I'm off to see I Am Camera in the tiny Vault space at the Southwark Playhouse with Stan fav Harry Melling. Have loved everything I've seen him do on stage, most recently in When Did You Last See My Mother last year at the Trafalgar Studios which I gave five stars to. It's based on a Christopher Isherwood memoir. *rubs hands together with glee*

The autumn theatre season kicked off in great style with Hedda last week, lets hope it continues.

RADA grads create an Illusion @swkplay

Slide_theillusion_fullAlways an extra feeling of excitement and anticipation going to see a play with fresh acting graduates in it: Will there be a potential star of the future in the cast?

Of course there is also a slight nervousness about the potential for green performances manifesting in over-acting and poor delivery although those failings can't exclusively be reserved for inexperienced actors.

This production of The Illusion at the Southwark Playhouse combined recent and new RADA grads with experienced actors and I'm happy to report there wasn't a dud performance among them. The fact that it is a fun and interesting play and all the newbies got to play more than one character or at least variations of the same character probably helped.

Tony Kushner's adaptation of Pierre Corneille's 17th comedy is about Pridament (James Clyde) who is searching for his son, Calisto (Charlie Archer), whom he drove away 15-years earlier. He visits mysterious and slightly sinister magician Alacandre (Melanie Jessop) who says she can show him what happened to Calisto.

The story of Calisto, a story of love, desire, heartbreak, jealousy and rivalry, shifts and changes with the same characters but roles and scenarios mildly mutating, as if looking at his story from different perspectives. The big question is whether the father can not only face the truth about himself but also the truth about Calisto.

The play is structured as a series of plays within the play, with the Pridament interjecting and responding to what he sees. As he watches so does we the audience, giving the play a 'storytime' feel peopled with larger than life and colourful characters such as Pleribo (Adam Jackson-Smith) the lisping, mad and cowardly gentleman who is a suitor for the object of Calisto's affection, the rich young lady Melibea (Daisy Hughes).

While not quite funny enough to really earn the label comedy - maybe it's lost in translation - it nonetheless made for an enjoyable evening at the theatre, an engaging story told in an interesting way. I'll certainly be keeping an eye out for the young cast members in the future, lets hope we get to see more of them. 

The Illusion is on at the Southwark Playhouse until Sept 8 and I'm giving it 4 stars.


Steps, water and health and safety: The Only True History of Lizzie Finn

ClaraThe title of this play by Sebastian Barry at the Southwark Playhouse is certainly suggestive. 'Is our Lizzie misunderstood?' 'Does she come to some sort of tragic end?' 

Unfortunately it doesn't quite live up to the intrigue and I think staging played its part. The stage is three broad, deep steps with a channel of water making up a fourth, bottom step on which there are floating candles (pretty, but I'm not sure why). The narrative involves a lot of short scenes so it sometimes felt like the actors were spending more time running up and down the steps to enter and exit than actually telling the story. (If they get through the run without tripping it will be a miracle.)

Don't get me wrong, Lizzie has some lovely moments - bird call impressions are a very underrated art - and some fab lines in it but it felt very bitty. We first discover Irish Lizzie as a can-can style dancer in a music hall in Weston Super Mare. A chance meeting with a gentleman offers her a return to Ireland and a future she couldn't have imagined.

There are plenty of glimpses of Lizzie's tough past and her gentleman's war experiences and political leanings but not enough to fully connect with the characters and I confess that the denouement left me feeling 'is that it?'.

It is otherwise well done, the lighting is particularly atmospheric with lots of candles hanging above the stage in jars. There are also real flames licking up from a grille in the centre of the stage during the second half but, together with the water feature, these felt like unnecessary adornments and at times were quite distracting. It's amazing how transfixing a candle very slowly moving across water can be and long dresses swishing around exposed flames is just nerve-wracking.

Maybe Lizzie's true history would have been better presented a little more simply. I'm giving it three and a half stars. It runs at the Southwark Playhouse until 21 July.