I can now say I've seen Kate Winslet and Leonardo di Caprio on stage. OK, so they were on telly on stage, but that is technically on stage. Kate and Leo were in Titanic mode, the favourite film of the son in Who Killed My Father.

Who Killed My Father, Young Vic, Sep 2022

His homophobic father initially refuses to get him the video for his birthday.

Father and son are both played by Hans Kesting in this Ivo Van Hove adaptation of Édouard Louis' novel. The son is visiting his dying father and reflecting on his life, what shaped him and ultimately brought him to an untimely death.

Kesting differentiates the two using postures, cigarette breaks and stuffing fists up his jumper to indicate a protruding belly. He flits seamlessly from one to the other. There are shifts in energy too, the play covering childhood, teens, adulthood and middle age.

It's a punchy 90-minute play that feels a little like a whodunnit, with the suspects being parents, culture, class and politics.

While it is set in France, there is a lot that resonates about the struggles the poor face here in the UK and how the most minor political decision can make a huge difference - for good or bad.

It's also an interesting exploration of toxic masculinity and how that gets passed down and reinforced by society. It shows the devasting impact it has on the father and his prospects - toeing the line at school is seen as a feminine or homosexual trait. 

But this isn't a simple story of an emotionally abusive father who can't hide his shame about his son's lack of 'masculine' traits. There are family treats, the Titanic video and singalongs to Celine Dion in the car.

The father also experiences a good dose of misfortunate, which makes life even more difficult despite his best efforts.

Kesting's delivery is slow and considered, reserving bursts for youthful energy. It makes for an effective contrast in mood and tone, although the pace does drag a little in a couple of places. He doesn't always play to the audience, so at times it feels voyeuristic. 

At one point, Kesting disappears from view if you are sitting to the left of the stage, but it isn't for very long  He spends a bit of time sitting on a bed which is stage left, but I'm not sure if that affects the view if you are in seats that are to the far right.

Who Killed My Father presents some interesting ideas about the agency poor people have over their own lives, and the way society both helps and hinders. It's subtle but powerful, and I'm giving it ⭐️⭐️⭐️⭐️

Who Killed My Father, Young Vic

Adapted from Édouard Louis' book by Ivo Van Hove

Directed by Ivo Van Hove

Running time: 90 minutes without an interval.

Booking until 24 September; visit the Young Vic website for more details and tickets.

Recently reviewed

Silence, Donmar Warehouse⭐️⭐️⭐️

Cruise, Apollo Theatre ⭐️⭐️⭐️⭐️⭐️

Monster, Park Theatre ⭐️⭐️⭐️⭐️⭐️

Theatre coming up soon:

The Clinic, Almeida Theatre, Rose, Park Theatre and The Crucible, Almeida

The Lyric Hammersmith's circle was steaming hot, but can the same be said about Closer, Patrick Marber's play about love, lust and lies?

Closer, Lyric Hammersmith July 2022

Two men and two women form a love 'quadrangle': Dan (Jack Farthing) is an obituary writer, Anna is a photographer (Nina Toussaint-White), Larry (Sam Troughton) is a dermatologist, and Alice (Ella Hunt) is sometimes a waitress, sometimes a stripper.

The play opens with Dan and Alice meeting in a hospital. The latter has been knocked over by a taxi, and Dan, a witness to the accident, has accompanied her to get checked out.

It is the first random event that will eventually link the four and starts them on a journey of love pursuits and broken hearts (and egos).

Throwing away love

The problem Dan, Anna and Larry have is that they convince themselves they are chasing love and happiness, only to throw it all away when they get it.

Certainly, in the case of the men, it is quickly apparent that sexual desire is the driving force with infidelity never far away. Larry even likes to visit prostitutes and strip clubs and spends time in internet sex chat rooms while at work.

It is quite sad to watch them make the same mistakes over and over while kidding themselves they are being honest and truthful.

At its heart, Britannicus at the Lyric Hammersmith is a drama about a toxic family who happens to be the ruling class. Agrippina (Sirine Saba), Claudius' fourth wife, persuaded her husband to adopt her son Nero (William Robinson) and make him his heir, passing over Britannicus (Nathaniel Curtis), his son by his third wife.

Nero has spent the early part of his reign as an inspiring leader, but he is suffocating under the control of his mother, so he starts freezing her out, which triggers a power battle between the two. Then he falls in love with Junia (Shyvonne Ahmmad), Britannicus' fiancée, and things get really nasty.

The play might be called Britannicus, but it's really about Nero and his mother.

Robinson's Nero is like a hormonal teenager at times, petulant and peevish. At others, he is dangerous and erratic; his mood turns on a dime in behaviour that reminds me of more than one comic book villain.

Little boy lost

But there are also faint signs of a simple desire to be loved, which emerge in rare moments of tenderness with those around him. When pitted directly against his mother, he can appear like a little boy lost—someone who wanted hugs rather than being groomed for power.

And as a result, despite the terrible things he does, I did feel sorry for him on occasion.

The last 24 months have been pandemonium, writes Aceil Haddad, events have been dramatic and satirical. Coupled with the ludicrous nature of social media, you’d think you'd have plenty to script. Except it doesn't quite work in Mike Bartlett's play Scandaltown.

This adult-pantomime-meets-Blackadder approach does muster a handful of laughs, though more interesting is seeing who laughs when.

Bartlett explores many topics in his topsy turvy play; it’s a bingo board of Twitter hashtags - on par with Just Like That - exploring #capitalism #LGBTQ+ #Partygate #likeforlike #snowflakes.

Bartlett is trying to explore the hypocrisy of the righteous left and the entitled right, demonstrating the similarities of these superficially opposite positions; whilst navigating the role of power and influence in today’s world.

Concepts well worth exploring, certainly, and the theatre is a great place to do this, but at times the play felt lazy, the dialogue inauthentic, and the RP accent exhausting.

One of the greatest issues we are facing as a society is ‘us vs them’, which takes many guises; north vs south, doers vs sayers, left vs right, but there is no resolution.

The stage at Hampstead Theatre is part set, backstage equipment and lighting rigs. Zubin Varla's Felice is trying to prep the area for a performance, after which he practices a few lines from a play he's writing, delivering them to a camera on the stage, the image projected onto the back wall. 

The Two Character Play: Zubin Varla. Photo © Marc Brenner

It is one of the ways high tech equipment is used in The Two Character Play - one of the later works by Tennessee Williams. It plants it firmly in two different times and is perhaps a cheeky nod to digital theatre during lockdown.

Felice is an actor as well as a writer, but the company he is touring with has upped and left him and his actor sister Claire (Kate O'Flynn). The note they leave declares that the two are insane.

Even their manager has abandoned them.

Claire arrives all skittish and wants to cancel the evening's performance but Felice insists they do The Two Character Play instead. Claire agrees, but only if she can make cuts as they go, something she will signal by playing a C-sharp on the piano.

The Two Character Play:  L-R Kate O'Flynn &  Zubin Varla Photo © Marc Brenner

They warn each other they might dry and have to improvise, but 'the show must go on'.

And so, the play within the play begins. Claire frustrates Felice with her random cuts, and Felice has to run 'off-stage' to change cassette tapes with the music.

Cormac McCarthy isn't known for cheery topics as anyone who has sat through (or read) The Road will testify and his play The Sunset Limited is no exception.

Gary Beadle and Jasper Britton in The Sunset Limited. Photo: Marc Brenner

But where there was the drama of danger and survival in the apocalyptic The Road, in The Sunset Limited drama is somewhat lacking.

It's a two-hander between two unnamed men identified, somewhat ironically given their immovable viewpoints, as Black (Gary Beadle) and White (Jasper Britton).

Black is an ex-con who stops White, a professor, jumping in front of a commuter train - the eponymous Sunset Limited. He sits him down in his tenement apartment to persuade him that life is worth living after all.

Faith vs faithless

The reformed criminal has found god while White remains a staunch atheist admitting that the thought of meeting people in an afterlife fills him with horror.

They debate each other's views, neither conceding ground only occasionally acknowledging a particular view or train of thought as good.

And this is the problem with The Sunset Limited, as interesting as the debate is, there isn't any tension perhaps mild frustration from White that Black won't let him leave.

It's been tough but I've managed to whittle down my 'best theatre of 2019' list to 10 plays, well, one isn't actually a play but deserves a place nonetheless. So here goes, in no particular order:

Photo by Jon Tyson on Unsplash

Lydia Wilson is back on stage, hurrah! Haven't seen her since she played Kate in Charles III back in 2014 and seeing her as the Duchess of Malfi reminded me how much I've missed her on stage. 

And it was a great way to round off my year of theatre-going, I love a good, gruesome piece of Jacobean drama.

The Duchess of Malfi is a revenge tragedy sparked by the widowed Duchess deciding to defy her powerful brothers and not only marry but marry 'beneath her'.

Her siblings' instructions are motivated by a desire to inherit the Duchess' wealth, snobbery and, in the case of her deranged twin Ferdinand (Jack Riddiford) incestuous lust.

Power and greed

It is a play about power and greed and women's lack of currency in society.

The threat to the Duchess is evidence even before her secret marriage to Antonio (Khalid Abdalla) her gentle former steward.

When her brother picks up a dagger, a family heirloom, during a conversation her nervousness and discomfort marks him out as already dangerous and volatile.

Here is a snapshot of my favourite theatre from the past 10 years. I say 'favourite', I've tried not to overthink it, these are simply the plays that stand out most in my memory, the ones I talk about if people ask.

Stan's growing pile of theatre tickets

The list is not about plays that broke new ground or changed the theatre landscape - there are plenty of those lists around already - rather these plays just had something in them that I remember fondly.

To say that it has been tough narrowing it down to 10 is an understatement but I get another go next year because my blog is 10 in April. (There, I spoilt the surprise.)

In no particular order (the links are through to my reviews):

1. After the Dance, National Theatre

This is a play that gets talked about in 'theatre circles' a lot. It had a uniformly standout cast and I can still remember Nancy Carroll's snot crying.

But it has a particularly special place in my memory for being the play which turned Benedict Cumberbatch into 'one to watch' for me.

I'd seen him plenty on TV but this catapulted him from jobbing actor to leading man potential in my eyes.

This was before Sherlock hit the screens and as a result, means I can smugly say 'well I've been a fan since before he played Holmes'.

2. Hamlet, Stratford and Hackney Empire

I've seen a lot of Hamlets, more than one a year, and while technically I did see Ben Whishaw's Hamlet for the first time in 2010, it was a recording rather than the live performance so it doesn't count.

Paapa Essiedu's Hamlet for the RSC was the first, since Whishaw's, where I really felt he was a student and acting his age, he was also the most likeable which made the play all the more tragic.

Setting the play in an African country and having Rosencrantz & Guildenstern as 2 of only 3 white characters was also genius because it put them out of their depth in so many more interesting ways.

When I saw it for the second time, in Hackney, a group of teenagers were so swept up in it they leapt up to dance at the end. I don't think there is higher praise than that really.

3. The Ruling Class, Trafalgar Studios

It's the play in which director Jamie Lloyd had James McAvoy unicycling around the stage wearing just his pants. Have no idea why that sticks out in my mind. Ahem.

The play was brilliantly bonkers too. Wish I could see it again.

A few weeks ago I decided to try something new: quick video reviews (reactions) to plays I've just seen.

I've been posting them on my Instagram account and on the Rev Stan Theatre blog Facebook page (connect/like to get all sorts of extra bits and bobs) and thought I might start posting them here on the blog too.

These aren't to replace written reviews, just something extra...and speaking of which I will get around to finishing my full Fairview review but in the meantime, here are some quick thoughts.

Fairview is on at the Young Vic until 23 January 2020.