Menopause: The Musical - TNT
Shamelessly aimed at women who long ago waved goodbye to the first flush of youth to say a confused hello to the hot flushes of "The Change", this lazily constructed musical is also a blatant plug for Marks and Spencer.Here, four menopausal women meet and bond over a fight for a black bra, then appear and reappear through different doors and on different floors of the famous store to sing partially reworded versions of familiar baby-boomer hits — from My Guy (which becomes My Thighs) to Wishin' and Hopin (here reinvented as Drippin' and Droppin). The performances aren't the problem — Miquel Brown's Power Woman has a great voice, and Sue Pollard's Housewife hits the comic notes when she gets the chance. But, for the most part, the material lacks bite. A far too meagre scattering of spot-on lines about night sweats, disappearing waistlines and hormonally zapped memory can't sustain the 90 minutes of American Jeannie Linders' international success, nor explain why a significant proportion of a packed house happily joined the actors on stage for a half-hearted, un-empowering knees-up finale.
Shaw Theatre, Euston Rd, NW1, 0870-033 2600. Until August 25
Louise Kingsley
Sunday, 29 April 2007
Total Eclipse - TNT
The volatile relationship between 19th century French poets Arthur Rimbaud and Paul Verlaine comes under scrutiny in this 1968 play by Christopher Hampton, written when he was a student. From their first meeting (when the older, married Verlaine becomes infatuated with the teenage "enfant terrible") to their final confrontation and beyond, it paints a louche picture of poverty and absinthe-fuelled violence as they travel from one country to another. The performances are uneven — Daniel Evans successfully communicates Verlaine's uncontrolled rages and final decay but Jamie Doyle's cocky Rimbaud lacks the necessary glint of danger. Ultimately, it's difficult to have sympathy with either character — one going out of his way to court controversy, the other abandoning his battered wife and son —and Paul Miller's traverse staging lacks the intensity needed to bring their passions into compelling dramatic focus.
Menier Chocolate Factory, 53 Southwark St, SE1, 020-7907 7060, Until May 27. £22.50
Louise Kingsley
The volatile relationship between 19th century French poets Arthur Rimbaud and Paul Verlaine comes under scrutiny in this 1968 play by Christopher Hampton, written when he was a student. From their first meeting (when the older, married Verlaine becomes infatuated with the teenage "enfant terrible") to their final confrontation and beyond, it paints a louche picture of poverty and absinthe-fuelled violence as they travel from one country to another. The performances are uneven — Daniel Evans successfully communicates Verlaine's uncontrolled rages and final decay but Jamie Doyle's cocky Rimbaud lacks the necessary glint of danger. Ultimately, it's difficult to have sympathy with either character — one going out of his way to court controversy, the other abandoning his battered wife and son —and Paul Miller's traverse staging lacks the intensity needed to bring their passions into compelling dramatic focus.
Menier Chocolate Factory, 53 Southwark St, SE1, 020-7907 7060, Until May 27. £22.50
Louise Kingsley
Monday, 23 April 2007
The Elephant Man -TNT
Inspired by the true story of John Merrick, Bernard Pomerance's 1977 play charts his life from fairground freak to his early death in 1890. Horrendously disfigured by a progressive disorder, Merrick found permanent sanctuary at the London Hospital under the care of Frederick Treves, later surgeon to the King. In stark contrast to his physical appearance, Merrick proved to be a thoughtful young man who was visited by royalty, and whose intelligence forced Treves to question his own responsibilities, as well as that of society as a whole. Clumsy staging detracts from the overall impact, but Marc Pickering, shaven-headed, his face and body contorted (and without the aid of prosthetics) memorably conveys the inner longings of a man precluded from experiencing the joys of a normal existence.
Trafalgar Studios 2, Whitehall, SW1, 0870 060 6632. Until May 5
LOUISE KINGSLEY
Inspired by the true story of John Merrick, Bernard Pomerance's 1977 play charts his life from fairground freak to his early death in 1890. Horrendously disfigured by a progressive disorder, Merrick found permanent sanctuary at the London Hospital under the care of Frederick Treves, later surgeon to the King. In stark contrast to his physical appearance, Merrick proved to be a thoughtful young man who was visited by royalty, and whose intelligence forced Treves to question his own responsibilities, as well as that of society as a whole. Clumsy staging detracts from the overall impact, but Marc Pickering, shaven-headed, his face and body contorted (and without the aid of prosthetics) memorably conveys the inner longings of a man precluded from experiencing the joys of a normal existence.
Trafalgar Studios 2, Whitehall, SW1, 0870 060 6632. Until May 5
LOUISE KINGSLEY
Tuesday, 17 April 2007
Satyagraha - TNT
16th April 2007
Fans of Philip Glass's spine-tingling music are in for a treat at the ENO's collaboration with Improbable theatre's Phelim McDermott and Julian Crouch. Adopting Gandhi's own philosophy, they've opted for the simplicity of a curved corrugated iron set and employ sticky tape, newspaper and outsize papier-mâché puppets to illustrate the development of his doctrine of non-violence. The libretto (culled from the Bhagavad-Gita) is in Sanskrit. So, freed from the distraction of deciphering the words, you can give yourself up to the sheer power of the music and glorious singing. Alan Oke's Gandhi is superb — pure-voiced, dignified and measured — and, when he finally stands, a tiny figure dwarfed by Martin Luther King raised high on a pedestal behind him, the image and the emotion are unforgettable.
English National Opera at the London Coliseum, St Martin's Ln, WC2, 0870-145 0200. Until May 1
LOUISE KINGSLEY
16th April 2007
Fans of Philip Glass's spine-tingling music are in for a treat at the ENO's collaboration with Improbable theatre's Phelim McDermott and Julian Crouch. Adopting Gandhi's own philosophy, they've opted for the simplicity of a curved corrugated iron set and employ sticky tape, newspaper and outsize papier-mâché puppets to illustrate the development of his doctrine of non-violence. The libretto (culled from the Bhagavad-Gita) is in Sanskrit. So, freed from the distraction of deciphering the words, you can give yourself up to the sheer power of the music and glorious singing. Alan Oke's Gandhi is superb — pure-voiced, dignified and measured — and, when he finally stands, a tiny figure dwarfed by Martin Luther King raised high on a pedestal behind him, the image and the emotion are unforgettable.
English National Opera at the London Coliseum, St Martin's Ln, WC2, 0870-145 0200. Until May 1
LOUISE KINGSLEY
Monday, 16 April 2007
The Lady from Dubuque - TNT
16th April 2007
What fails on Broadway sometimes works here, but, even with Maggie Smith in the cast, it's either brave or exceptionally foolhardy to revive Edward Albee's 1980 New York flop which folded after only a dozen performances. Set in Connecticut, the first half revisits familiar territory of a boozy party slanging match — given added bite by the fact Catherine McCormack's bilious Jo is dying from cancer and seems determined to alienate all around her. In the second half, Dame Maggie's Elizabeth arrives — elegant, enigmatic and claiming to be Jo's mother, but more likely an Angel of Death come to comfort her victim. Some wicked humour helps keep things afloat, but this is a waste of talent which peters out in a pointless mixture of flippancy and violence. Multi-award-winning Albee apparently admitted to being too drunk to write when he penned this — unfortunately, it seems he was absolutely right.
Theatre Royal Haymarket, Haymarket, SW1, 0870-145 1171
Chicago - TNT
16th April 2007
Even after almost nine and a half years, this revival of Kander & Ebb's 1975 musical must still rate as one of the slickest, sexiest shows in the West End and can still attract top-notch names. Currently, diminutive Aussie singer Tina Arena is taking on the role of murderous chorine Roxie Hart and makes her a dulcet-voiced schemer with a calculating backbone of steel. With its monochrome set, onstage band and ultra-fit, terrifically toned chorus in skin-tight black leather and fishnets — not to mention a great score, a leggy Velma, and super-slinky choreography — what more could anyone want?
Cambridge Theatre, Seven Dials, WC2, 0870-890 1102. Booking to October 6; Tina Arena appears until May 5
LOUISE KINGSLEY
16th April 2007
What fails on Broadway sometimes works here, but, even with Maggie Smith in the cast, it's either brave or exceptionally foolhardy to revive Edward Albee's 1980 New York flop which folded after only a dozen performances. Set in Connecticut, the first half revisits familiar territory of a boozy party slanging match — given added bite by the fact Catherine McCormack's bilious Jo is dying from cancer and seems determined to alienate all around her. In the second half, Dame Maggie's Elizabeth arrives — elegant, enigmatic and claiming to be Jo's mother, but more likely an Angel of Death come to comfort her victim. Some wicked humour helps keep things afloat, but this is a waste of talent which peters out in a pointless mixture of flippancy and violence. Multi-award-winning Albee apparently admitted to being too drunk to write when he penned this — unfortunately, it seems he was absolutely right.
Theatre Royal Haymarket, Haymarket, SW1, 0870-145 1171
Chicago - TNT
16th April 2007
Even after almost nine and a half years, this revival of Kander & Ebb's 1975 musical must still rate as one of the slickest, sexiest shows in the West End and can still attract top-notch names. Currently, diminutive Aussie singer Tina Arena is taking on the role of murderous chorine Roxie Hart and makes her a dulcet-voiced schemer with a calculating backbone of steel. With its monochrome set, onstage band and ultra-fit, terrifically toned chorus in skin-tight black leather and fishnets — not to mention a great score, a leggy Velma, and super-slinky choreography — what more could anyone want?
Cambridge Theatre, Seven Dials, WC2, 0870-890 1102. Booking to October 6; Tina Arena appears until May 5
LOUISE KINGSLEY
Tuesday, 10 April 2007
Dying For It - TNT
9th April 2007
A would-be suicide provides excellent entertainment in this sparky adaptation of Nikolai Erdman's 1930 original. A late night matrimonial spat over black sausage tips unemployed Semyon (a brilliantly manic Tom Brooke) over the edge and, fed up with his pointless existence, he decides that the only way to improve matters is to take his own life. Hearing of his intentions, a host of diverse characters (ranging from a member of the intelligentsia to a sozzled priest) turn up to encourage him on his way and to simultaneously further their own ends. The performances in Anna Mackmin's fast-paced production are a joy to watch, whilst Lez Brotherston's dingily dilapidated set serves as a visual reminder of the depressing Stalinist regime Erdman tried (the play was banned in his native Russia) to satirise.
Almeida, Almeida St, N1 (020-7359 4404). Until April 28
The Wonderful World of Dissocia - TNT
9th April 2007
Thirtysomething Lisa tunes her guitar till the string snaps — and something in her mind cracks along with it. Anthony Neilson paints a bizarre Alice in Wonderland scenario of the things that go on in her freewheeling, disassociating brain as, following the instructions of a strange Swiss watch-repairer, she embarks on a search for the hour she lost when crossing time zones on the way home from New York. It's a Technicolor world of crazy logic which contrasts powerfully with the bleak, numbed, drug-induced "normality" of the second half. The performances are excellent, the writing imaginative, but — medicated or not — being inside Lisa's troubled head is an experience I'd rather not repeat.
Royal Court Theatre, Sloane Sq, SW1 (020-7565 5000). Until April 21
LOUISE KINGSLEY
9th April 2007
A would-be suicide provides excellent entertainment in this sparky adaptation of Nikolai Erdman's 1930 original. A late night matrimonial spat over black sausage tips unemployed Semyon (a brilliantly manic Tom Brooke) over the edge and, fed up with his pointless existence, he decides that the only way to improve matters is to take his own life. Hearing of his intentions, a host of diverse characters (ranging from a member of the intelligentsia to a sozzled priest) turn up to encourage him on his way and to simultaneously further their own ends. The performances in Anna Mackmin's fast-paced production are a joy to watch, whilst Lez Brotherston's dingily dilapidated set serves as a visual reminder of the depressing Stalinist regime Erdman tried (the play was banned in his native Russia) to satirise.
Almeida, Almeida St, N1 (020-7359 4404). Until April 28
The Wonderful World of Dissocia - TNT
9th April 2007
Thirtysomething Lisa tunes her guitar till the string snaps — and something in her mind cracks along with it. Anthony Neilson paints a bizarre Alice in Wonderland scenario of the things that go on in her freewheeling, disassociating brain as, following the instructions of a strange Swiss watch-repairer, she embarks on a search for the hour she lost when crossing time zones on the way home from New York. It's a Technicolor world of crazy logic which contrasts powerfully with the bleak, numbed, drug-induced "normality" of the second half. The performances are excellent, the writing imaginative, but — medicated or not — being inside Lisa's troubled head is an experience I'd rather not repeat.
Royal Court Theatre, Sloane Sq, SW1 (020-7565 5000). Until April 21
LOUISE KINGSLEY
Monday, 9 April 2007
Attempts on Her Life -TNT
9th April 2007
With its elusive structure and briefly appearing characters, Katie Mitchell's reinterpretation of Martin Crimp's 1997 post-modern work is likely to either infuriate or fascinate. Dressed in black, a cast of 11 — several of whom have just finished playing in her adaptation of Virginia Woolf's The Waves — play out 17 scenarios involving a character variously called Anne or Anya or Anny. Using video cameras, they blur the boundaries between stage and cinema. There's no linear narrative, just a sequence of isolated events surrounding the suicidal Anne in her disjointed incarnations which range from porn star to artist to new car. If you like theatre straightforward, this isn't for you. But it's slick, lively and accomplished — go with an open mind and Mitchell's approach to Crimp's critique of a consumerist society will keep you on your toes. Lyttelton at the National South Bank, SE1 (020-7452 3000). Until May 10. Part of the £10 Travelex season
Louise Kingsley
9th April 2007
With its elusive structure and briefly appearing characters, Katie Mitchell's reinterpretation of Martin Crimp's 1997 post-modern work is likely to either infuriate or fascinate. Dressed in black, a cast of 11 — several of whom have just finished playing in her adaptation of Virginia Woolf's The Waves — play out 17 scenarios involving a character variously called Anne or Anya or Anny. Using video cameras, they blur the boundaries between stage and cinema. There's no linear narrative, just a sequence of isolated events surrounding the suicidal Anne in her disjointed incarnations which range from porn star to artist to new car. If you like theatre straightforward, this isn't for you. But it's slick, lively and accomplished — go with an open mind and Mitchell's approach to Crimp's critique of a consumerist society will keep you on your toes. Lyttelton at the National South Bank, SE1 (020-7452 3000). Until May 10. Part of the £10 Travelex season
Louise Kingsley
Tuesday, 3 April 2007
Treats - TNT
2nd April 2007
After all the media speculation, Billie Piper made it to opening night to give a creditable performance. Piper stars as translator Ann, who's just replaced her abusive, live-in boyfriend with the office bore, an accommodating mother's boy who makes the mistake of inviting her philandering ex round to dinner — even though he's just been given a bloody nose. Inspired by Ibsen's The Doll's House, Christopher Hampton's meticulously structured 1976 play paints a depressing picture of the way women choose their mates (and of the behaviour they are prepared to tolerate) without ever explaining their compliance. Laurence Fox's dithering Patrick and Kris Marshall's manipulative Dave convince at opposite ends of the macho spectrum, while Piper displays a touching vulnerability in this darkly comic, triangular drama with a very black heart indeed.
Louise Kingsley
2nd April 2007
After all the media speculation, Billie Piper made it to opening night to give a creditable performance. Piper stars as translator Ann, who's just replaced her abusive, live-in boyfriend with the office bore, an accommodating mother's boy who makes the mistake of inviting her philandering ex round to dinner — even though he's just been given a bloody nose. Inspired by Ibsen's The Doll's House, Christopher Hampton's meticulously structured 1976 play paints a depressing picture of the way women choose their mates (and of the behaviour they are prepared to tolerate) without ever explaining their compliance. Laurence Fox's dithering Patrick and Kris Marshall's manipulative Dave convince at opposite ends of the macho spectrum, while Piper displays a touching vulnerability in this darkly comic, triangular drama with a very black heart indeed.
Louise Kingsley
Monday, 2 April 2007
A Midsummer Night's Dream - TNT
2nd April 2007
Tim Supple's vibrant touring Indian production puts the physical before the verbal in an exuberant multilingual version of Shakespeare's famous comedy,with words taking a poor second place to sheer passion and colourful design.There are some inspired moments — Titania wound into a cocoon of brilliant red; Joy Fernandes' excellent Bottom, turned amorous ass with enormous ears and butternut squash appendage; acrobatic fairies tearing through a vast paper backdrop. With its mix of English, Hindi, Tamil and half a dozen other languages, you may find yourself floundering if you don't know the story, but it's a sexy, sensual feast for the eye and — on a visceral level at least — an unqualified success.
Roundhouse, Chalk Farm Road NW1, 0870-389 1846, Until 21st April
Leaves - TNT
2nd April 2007
Lucy Caldwell won the 2006 George Devine Award for this sensitive play about a Belfast teenager coming back home after attempting to commit suicide during her first term as a London university student. On the eve of her return, only her youngest sister Poppy (not quite 12 and delightfully played by Daisy Maguire) seems excited about her imminent arrival. Caldwell successfully captures the nervous apprehensiveness of her parents and middle sister who realise that things can never be quite as they were, and have to find ways of coping with a newly fragile Lori. Francis O'Connor's prettily dreamlike set suggests the protective atmosphere of a happy childhood (despite the city's troubles) and although the cause of Lori's near-fatal depression is never fully explained, this is a promising debut from a thoughtful new writer. Royal Court Theatre Upstairs, Sloane Square, SW1, Call 020-7565 5000. Until 7th April
Louise Kingsley
2nd April 2007
Tim Supple's vibrant touring Indian production puts the physical before the verbal in an exuberant multilingual version of Shakespeare's famous comedy,with words taking a poor second place to sheer passion and colourful design.There are some inspired moments — Titania wound into a cocoon of brilliant red; Joy Fernandes' excellent Bottom, turned amorous ass with enormous ears and butternut squash appendage; acrobatic fairies tearing through a vast paper backdrop. With its mix of English, Hindi, Tamil and half a dozen other languages, you may find yourself floundering if you don't know the story, but it's a sexy, sensual feast for the eye and — on a visceral level at least — an unqualified success.
Roundhouse, Chalk Farm Road NW1, 0870-389 1846, Until 21st April
Leaves - TNT
2nd April 2007
Lucy Caldwell won the 2006 George Devine Award for this sensitive play about a Belfast teenager coming back home after attempting to commit suicide during her first term as a London university student. On the eve of her return, only her youngest sister Poppy (not quite 12 and delightfully played by Daisy Maguire) seems excited about her imminent arrival. Caldwell successfully captures the nervous apprehensiveness of her parents and middle sister who realise that things can never be quite as they were, and have to find ways of coping with a newly fragile Lori. Francis O'Connor's prettily dreamlike set suggests the protective atmosphere of a happy childhood (despite the city's troubles) and although the cause of Lori's near-fatal depression is never fully explained, this is a promising debut from a thoughtful new writer. Royal Court Theatre Upstairs, Sloane Square, SW1, Call 020-7565 5000. Until 7th April
Louise Kingsley
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