Louise's Theatre Reviews

Sunday, 27 September 2009

The Shawshank Redemption *** TNT

Friday 25 September 2009 15:06 GMT

It was never likely to match the 1994 film, but this stage version of Stephen King’s novella takes a decent stab at recreating the violence and corruption in the Maine prison where banker Andy Dufresne is incarcerated for a double murder he says he didn’t commit.

Neither The Wire’s Reg E Cathey (as fellow inmate Red) nor Steppenwolf’s Kevin Anderson’s stoic, stubborn Andy equal the enigmatic charisma of their screen predecessors. And the floor to ceiling grid of prison bars struggles to evoke the confined claustrophobia of long-term internment.

But the strong narrative drive remains and Geoffrey Hutchings impresses as ageing librarian Brooksie, a man so institutionalised he can’t face life on the outside.

Wyndhams, Charing Cross Rd WC2H 0DA Leicester Square (0844 482 5125; theshawshankredemption.co.uk). Until Feb 14. £15-£49.50

Insane in the Brain **** TNT

Saturday 26 September 2009 16:27 GMT

Swedish company Bounce is back with its vibrant street dance version of Ken Kesey’s One Flew Over the Cuckoo’s Nest, an energetic, non-stop ride through the doomed tale of rebellious psychiatric patient Randal Patrick McMurphy and his battle of wills with the strict nurse in charge of the ward.

Oddly, the cast start off speaking, but then – and far more effectively – abandon words and let movement and music tell the story.

Defiant from the start, Fredrik “Benke” Rydman’s loose-limbed, body-popping McMurphy not only thinks he can get the better of the intransigent Nurse Ratched, but also tries to bring a bit of fun into the lives of his fellow inmates – superbright Dale with his obsessive compulsive disorder which makes even going to bed a major undertaking; stuttering Billy Bibbit who’s too scared to talk to girls until McMurphy sneaks the obliging Candy into the asylum, a Christ-like Chief Bromden (here a wheelchair-bound figure who suddenly finds his legs rather than the mute Indian chief familiar from the big screen). Then there’s Jenny Widegren’s hippy hoppy, blankly happy Miss Martini whose mane of flying blonde hair deserves a credit all of its own.

The eclectic music ranges from banghra (Panjabi MC) to classical (Grieg) via Lionel Richie and Missy Elliott – and the inventive staging is equally varied. An inflatable sex doll makes a brief appearance, the patients bungee-bounce off the walls during jarring ECT treatment and, having effected a short-lived break out, McMurphy leads the escapees right down into the stalls to watch a comic episode on the silent screen.Then there’s a dangerously exciting faceoff between the two adversaries and one last wild party before the inevitable climax of this fun, fast, but ultimately poignant interpretation of the nature of madness and the misuse of power.

Peacock Theatre, Portugal Street WC2A 2HT (0844 412 4322) www.sadlerswells.com Until 3rd October (£10 - £36)

Saturday, 26 September 2009

Othello *** TNT

Friday 25 September 2009 15:11 GMT

His Othello may not rank among the greats but, in his first foray into Shakespeare, stand-up comic Lenny Henry gives a more than adequate portrayal of the jealous Moor goaded to murder by a scheming malcontent.

Though his delivery lacks subtlety in the quieter moments (and there’s an occasional tendency to gabble) he’s physically imposing with a surprisingly resonant timbre to his voice. Playfully loving with Desdemona, his girlish new wife, and dignified in his dealings with the troops he commands, he rises to the challenge of the final powerful scenes with commendable, credible passion.

But experience shows, and Conrad Nelson’s Iago is a more complex creation.There’s no nobility of soul here, but a devious, self-serving and dangerous little worm who sees slight at every turn and puts every flaw to his own devious advantage.What is, perhaps, missing from his poisonously compelling performance, though, is a sense of how he has managed for so long to dupe all and sundry into believing in his much-praised but totally sham honesty.

Northern Broadsides’ director Barry Rutter keeps the accents local and the action unfussy on an equally uncluttered set. It’s a clear if unrevelatory production which ensures that this tragedy of human weakness unfolds in an accessible, straightforward manner and shows that Henry is capable of much more than making an audience laugh.

Trafalgar Studios 1, Whitehall, SW1A 2DY (0870 060 6632) www.ambassadortickets.com/trafalgarstudios till 12th December (£20 - £55)

Monday, 21 September 2009

A SREETCAR NAMED DESIRE AT THE DONMAR This is London

Once again the Donmar has a well deserved hit on its hands with this atmospheric production of Tennessee Williams' powerful domestic drama – and not just because of the starry casting of Rachel Weisz as the febrile, alcohol dependant Blanche DuBois whose arrival threatens to disturb the balance of her younger sister Stella's marriage.
Slim, delicately pale and constantly topping up her liquor levels, Weisz's Blanche lives on her memories and her nerves – a restless, fading Southern belle, constantly preening in the last ditch hope of catching a husband before her age can no longer be concealed by a carefully shaded light, and unable to hide her shock at the Kowalski's cramped living conditions.
Ruth Wilson makes a superb Stella, wholesome, glowing with sexual fulfilment and torn between loyalty to her needy sibling and to her coarse, hot-tempered spouse. Elliot Cowan's accent tends to wobble, but he is a mesmerisingly virile Stanley, a man who sometimes thinks with his fists but can see right through his sister-in-law's superior pretensions and has no qualms about smashing through the illusion of the protective make-believe world she has created.
The contrast between him and Barnaby Kay's hesitant, mother's boy ‘Mitch’ (who seems to offer Blanche a final chance of security) could hardly be greater.
Christopher Oram's subtle design, dominated by a wrought iron spiral fire escape, cleverly suggests the cramped intimacy of the Kowalski's New Orleans tenement apartment and, over 60 years since the play's Pulitzer prize-winning premiere, Rob Ashford's perceptive revival reaffirms its lasting appeal.

Saturday, 19 September 2009

2nd May 1997 *** TNT

Friday 18 September 2009 17:54 GMT

The political becomes intensely personal in the trio of schematically linked scenes which make up Jack Thorne’s touching, often amusing, 90-minute new play. All three take place in bedrooms during the eight hours from just before midnight to the arrival of the morning papers on the day that Tony Blair’s landslide victory ousted the Conservatives after 18 years in power.

First we see septuagenarian Tory MP Robert with the loyal wife (excellent Linda Broughton) who, willingly, subordinated her own wishes to support his career. With his party and his health failing (an oxygen canister sits by the bedside) he knows his days as a parliamentarian are numbered, a dinosaur from a previous era with no place in a new political arena.

Then mild, indecisive housing officer Ian finds himself cornered in his own bedsit by a very drunk Sarah who crashed the Lib Dem election night party for the free booze and meant to pick up his friend instead. He’s completely out of his depth with this out-of-control predator (a performance of brave abandon from Phoebe Waller-Bridge) who sniffs his sheets like a randy dog one minute, then reveals her damaged vulnerability the next with a whispered confession we cannot hear.

Finally, it’s a bright new morning and A- Level schoolboys Jake and Will wake to find themselves curled like spoons in the former's bed. With his whole future before him, Cambridge-bound Jake excitedly scours the tabloids for the Labour cabinet appointments, while best friend Will (a touchingly tremulous Jamie Samuel) hopes against hope that one, almost certainly innocent, night might mark a shift – or at least a compromise - in their relationship.

Depending on which side you’re sitting, the bed (itself a symbol of power) moves, scene by scene, from far right to middle to left on the traverse stage which bisects the small auditorium. And although these glimpses of private reactions to country-wide change never delve into the political issues involved, the recognisable characters metaphorically encapsulate aspects, at least, of not only three different generations but of the three main parties as well.

Bush Theatre, Shepherd's Bush Green, W12 8QD TUBE: Shepherd's Bush (020 8743 5050; bushtheatre.co.uk). Until Oct 10. £15

Kurt and Sid ** TNT

Friday 18 September 2009 17:49 GMT

Sid Vicious rises from his early grave to confront Kurt Cobain in Roy Smiles’ turgid two-hander. For a play which opens with the end of a shotgun wedged in the Nirvana front man’s mouth, you’d be entitled to expect something with more dramatic impetus than this production delivers.

Instead,despite hard work from Danny Dyer’s sneering Sid (who does a laudable job ofdelivering too many forced jokes which, not surprisingly, have little impacton the suicidal Kurt) what we get is a half biographical, half-heartedly analytical exposition of their shared and disparate grievances with the media, other people and life in general. With the addition of an appropriate soundtrack, it might pass muster on the radio, but it’s far too flimsy for West End material.

Unwashed, depressed and addicted to heroin, Shaun Evans’ monotone Kurt is holed up in a Seattle attic littered with dismembered dolls and fag ends. Just as he’s about to pull the trigger, Sid make his decidedly solid entrance (is he a ghostly reincarnation, a surprisingly articulate Sex Pistol’s impersonator, or a figment of fan Kurt’s troubled imagination?) to try and dissuade him from committing a final act of despair. Cue an excuse to divulge some Sid history (to prove his identity), some Kurt pet peeves (to justify his intended action) and a brief, weakly realised Peter Pan-style excursion looking down at the earth below.

Sadly, Smiles doesn’t go much further, and his imaginary meeting between these two icons from the eras of punk rock and grunge never convinces that bringing them back from the dead was worth the effort.

Trafalgar Studios (2), Whitehall, SW1A 2DY TUBE: Charing Cross tube (0870 060 6632; ambassadortickets.com/trafalgarstudios) Until Oct 3. £29.50

Monday, 14 September 2009

Too True To Be Good *** TNT

Friday 11 September 2009 17:18 GMT

Never one to use one word when a dozen would do, George Bernard Shaw’s 1932 social satire occasionally lives up to his prolix reputation, but also reveals his humorous, playful side. Like much of his work, it has a strong social message with its criticism of war, government, class inequality and even the eating of meat.

It’s a strange three act mixture of the whimsical (the first character to speak is a German measles microbe dressed in head-to-toe green) and the didactic (the clergyman turned thief’s closing speech definitely outstays its welcome). But in between Shaw has fun mocking the institutions of which he strongly disapproved, his pacifist sentiments fuelled by the events of the First World War.

Roger Braban gives a nicely-judged performance as a Colonel whose unseen wife has an eye on the Honours List, but the characters are often mainly mouthpieces for Shaw’s views – wealthy young Miss Mopply made ill by her over-indulgent mother; Sweetie, the flighty chambermaid who masquerades as a nurse to get her hands on her pearls then realises that a life of luxury brings a pointless, purposeless void, not happiness; her disconcertingly smug accomplice and former lover Aubrey parading in his striped swimming costume.

It’s certainly not a prime example of Shaw’s output, but it does offer a reasonably entertaining chance to catch a rarely revived example of the prolific old playwright’s later work – past his best, yes, but still retaining his ability to amuse.

Finborough, Finborough Road, SW10 9ED. Earl’s Court Tube (0844 847 1652) Until to 26th September (£9 - £13)