My 2017 Theatre Review – Productions of the Year!

It’s hard to believe it’s that time again, when I look back at my theatregoing year and look forward to the year to come (that’s coming soon in another post). I’ve seen a slightly smaller number of shows in 2017, with a total of 56, but with repeat viewings of 13 shows, I’ve actually visited a theatre 80 times in the last twelve months, which isn’t too bad!

Although I’ve seen fewer productions, 2017 has struck me as a fantastic year in theatre land. I’ve seen far more hits than misses and choosing a top ten is practically impossible, so this list is going to run a little longer. The other interesting aspect of the year (well, for me anyway) is, as someone who tends to prefer plays to musicals, I’ve seen more musicals this year than any other, with a total of 12 of 2017’s list. This is undoubtably helped by my two trips to NYC, where Broadway continues to showcase far more musicals than plays.

So, after looking back through programmes, my reviews and most crucially, my memories, these are the standout productions for me in 2017!

1. Hamlet (Almeida/Harold Pinter) & Hamilton (Victoria Palace Theatre)

There was one production, for which I had huge expectations and on first seeing it in February, was so impressed by, that it seemed certain to claim my top spot. Well, that was until three weeks ago when I finally witnessed the newest musical to hit London. Therefore, this year’s top spot has to be shared between the Almeida’s utterly stunning production of Hamlet and Lin Manuel Miranda’s incredible musical, Hamilton. It was impossible to choose between them, as they both took my breath away in a way nothing else matched in 2017.

xhamletalmeida2w300h200.jpg.pagespeed.ic.kbOX8DaVkR
Photo credit: Manuel Harlan

Hamlet is my favourite Shakespeare play and Robert Icke’s production managed to exceed my expectations. You can read more thoughts in full on this here, but in short, it is a production that made Hamlet new again. It was thrilling, original, emotional and exciting, pulling new people to the theatre and Shakespeare and had me seeing scenes I know so well in a whole new light. Supported by a strong ensemble cast, led by the incredibly talented Andrew Scott, this was a sheer joy each and every time I saw it. It will be airing on the BBC in 2018, so don’t miss it!

hamilton-london-cast-5
Photo credit: Matthew Murphy

And then there was Hamilton. Everyone has heard of it, whether you know all the words, or nothing other than the hype. Crucially for me, a Hamilton newbie on my first visit, it more than lived up to the hype. My first visit was the 2nd preview and already the cast was so good, you could believe they had been performing it for years. You can read my full review, but in summary, it’s an intelligent, exhilarating and unforgettable theatrical experience that you will want to relive over and over again.

2. Ink (Almeida Theatre)

Ink_2017_Bertie-Carvel-Rupert-Murdoch-and-Richard-Coyle-Larry-Lamb_credit-Marc-Brenner
Photo credit: Marc Brenner

Next on my list is another success from the Almeida Theatre, which continues to go from strength to strength under Rupert Goold. Having missed this show in Islington, I’m so pleased it moved to the West End, as it’s just too good to miss. The play, written by James Graham, whose previous work I’d thoroughly enjoyed (This House, The Vote & Privacy), shines a light on the first year of  The Sun newspaper under Rupert Murdoch’s ownership. You may not think it’s your cup of tea, but it’s a fascinating insight in to the creation of the tabloid, which manages to be sharp, gripping and incredibly funny during its running time. I didn’t expect to laugh as much as I did and that’s thanks to the brilliant writing, but also the calibre of the acting, with two superb central performances by Richard Coyle as editor Larry Lamb and Bertie Carvel (who just doesn’t look like Bertie Carvel!) as Murdoch. It closes on 6th January, so if you can still make time to see it, I urge you to do so.

3. Angels In America (Lyttelton, National Theatre)

16_0
Photo credit: Helen Maybanks

There was huge anticipation before Tony Kushner’s groundbreaking American play returned to the NT 25 years after its original production, with tickets selling out almost instantly. I had never read it, nor seen the HBO miniseries, but I knew this was a must-see due to the casting choices and was lucky enough to experience two separate “two-play days” over its run. It was not a comfortable play to watch, set in America during the mid-1980s, as AIDs caused the deaths of so many in the gay community, but was a sweeping theatrical epic, told across eight hours, which laid bare the horrors of the disease, the pain of those suffering from it and those who love them, as well as highlighting the difficulty many had in accepting their sexuality.

Marianne Elliot, one of Britain’s finest directors, ensures this is a powerful production, which takes hold of your emotions and holds on to them until the very end. The cast was also a treat, with Nathan Lane shining as the equally humorous and vicious Roy Cohn, Russell Tovey impressing as the ambitious Republican lawyer confused and afraid of his true sexuality, together with Denise Gough as his fragile, yet often darkly humorous wife, James McArdle as the man struggling to cope with the possibility of watching his lover die, Nathan Stewart-Jarrett as the wonderfully supportive and witty friend Belize and Andrew Garfield, as Prior Walter, trying to cope with his diagnosis and illness, the loss of his partner and the strage dream-like visitations from a rather scary looking angel. It was sensational and I’m thrilled to be able to see it again on Broadway next spring (with most of the London cast). Ticket details can be found at: http://www.angelsbroadway.com

4. Dear Evan Hansen (Music Box Theatre, NYC)

dear-evan-hansen
Photo credit: Matthew Murphy

Dear Evan Hansen was another show I had heard a lot of buzz about, but had managed to avoid listening to, before my trip to NYC in May. Personally, I prefer to see a musical fresh, without knowing all the lyrics in advance. I therefore didn’t know what to expect and a few hours and a few tissues later, I had another highlight of my year in the bag. The story of the show may be a little uncomfortable when you hear it – a shy teenager, isolated from the world because he feels he doesn’t fit in, finds himself at the centre of a local tragedy and its aftermath, through which he is able to find his place and his voice, as well as love and a family environment he feels he has never had.

Why did I love it so much? Well, the songs are rather lovely, the acting is superb (I saw the original cast on both of my two visits) and its central message that no one is alone; that we just need to reach out for help, is one that is more important than ever in the crazy world we live in now. However, on top of all of that was the simply breathtaking Ben Platt as Evan. It was an emotionally raw, incredibly moving, vulnerable performance, during which you truly believed Evan was real. How Platt was able to give such a performance emotionally and vocally (his voice reminded me of the first time I heard Josh Groban on Ally McBeal) through tears, I will never know. Yes, I cried. A lot. It was a privilege to witness something that will be talked about for years to come. Read my full review if you want to know more.

5. An Octoroom (Orange Tree Theatre, Richmond)

an-octoroon-image-960x600
Photo credit: The Other Richard

After years of meaning to visit, I finally made it to Richmond’s wonderful Orange Tree Theatre this year and what a show to start with! Brandon Jacobs-Jenkins’ play (more from him later) was one I heard about through word of mouth. Everyone I knew who saw it, loved it and it was easy to understand why. Shows like this one are what theatre is made for; a show that was so original, inventive, powerful and funny and which turned stereotypes on their heads and made you laugh one moment, before being deeply moved the next. The play uses the plot of the Irish playwright Dion Boucicault’s 1859 melodrama The Octoroon to shine a light on identity, race and culture in a way I hadn’t experienced before. The cast were wonderful, including Ken Nwosu, who has three different roles to tackle, sometimes two at once, Celeste Dodwell as Dora and Iola Evans as Zoe. Luckily, for anyone who missed it (or, those of us desperate to go again), it will have a run at the National Theatre next year, so add it to your must book list!

6. Consent (Dorfman, National Theatre)

Consent-Dorfman-78-700x455
Photo credit: Tristram Kenton

Another favourite from early in the year was Nina Raine’s new play, which dealt with the difficult and emotive subject of assault and the perceptions and attitudes that surround what is and what is not consent, made all the more fascinating by having the key characters be criminal barristers, now experiencing the issues from a very personal perspective. It was strongly written, superbly acted (including Anna Maxwell Martin and Adam James) and gave me plenty to think about for quite a while afterwards.

7. Who’s Afraid of Virginia Woolf? (Harold Pinter Theatre)

img_0129
Photo credit: Johan Persson

Otherwise known as Imelda Staunton’s first hit of 2017, this was my first time seeing a production of Edward Albee’s play and it will take some beating, as Staunton unleashed her incredible force on to the stage, as the domineering Martha. Her chemistry and interplay with Conleth Hill, as her husband George was at times deeply uncomfortable to watch, as they emotionally attacked each other, but three hours have never flown quite so quickly. You can read my full review for further thoughts.

8. Follies (Olivier, National Theatre)

Follies-Prod-Shot-16-700wx457h-1511344330
Photo credit: Johan Persson

To say I’m not a huge musicals fan, the fact three are in this list says quite a lot about how much I enjoyed Follies, especially as, I admit, I’m not a huge Sondheim fan either! A musical that takes a nostalgic look back at a different time, through the eyes of its four central characters, I loved the blending of the past and present, to highlight young hopes and dreams and how life changes us, as we grow older. The central performances, particularly Janie Dee and Imelda Staunton were phenomenal, yet, it was the entire ensemble that brought the story to life so vividly on stage, from Tracie Bennett and Di Botcher, through to Josephine Barstow and Alison Langer’s incredible operatic duet. Combine this with a live orchestra and the glorious utilisation of the Olivier stage to put on a true spectacle and this was a show I enjoyed so much, that I had to go back and see it for a second time.

9. Gloria (Hampstead Theatre)

Gloria-PROD-171
Photo credit: Marc Brenner

The second entry for Brandon Jacobs-Jenkins in my list was the heart-stopping Gloria. With a pre-interval twist (well, I admit, I did see it coming) that required a sealed section in the programme, it provided one of the most shocking theatre moments of the year, whether you were expecting it or not. Jenkins’s writing brilliantly lays the foundations for that moment from the start (on a second visit, I was able to appreciate this even more), but this didn’t make it any less traumatic to watch, turning the second half in to an analysis of how we all deal with trauma differently. Would it break you, or would you capitalise on it for personal, monetary gain? This question is answered with dark humour, as we see how the characters are changed by what has gone before. Director Michael Longhurst did a superb job with the staging (including that pre-interval moment) and the acting was fantastic (including Colin Morgan and Kae Alexander to name just two). You can read both my spoiler and spoiler-free reviews for more details.

10. Oslo (Lyttelton, National Theatre)

DP99HXTW4AItpCy
Photo credit:Brinkhoff/Mögenburg

I had wanted to see this Tony award-winning play in New York, but decided to wait for its arrival at the National Theatre, where a ticket would cost me a fraction of the price. It was certainly worth the wait, proving to be an insightful, intelligent, engaging play about the lead up to the 1993 Oslo Peace Accords between Israel and Palestine; a story I knew almost nothing about. It may have been long, but it certainly didn’t feel it, as JT Rogers’ script moved us through the ups and downs of the behind the scenes negotiations, where a Norwegian couple unexpectedly found themselves at the centre of such important talks. The acting was very good (putting aside Toby Stephens’ wavering accent) and I left the theatre keen to learn more about the subject matter, which, following recent world events seems more relevant than ever. Oslo finishes tomorrow (30th December), so you still have a couple of days left to catch it if you are quick.

11. The Ferryman (Royal Court Theatre / Wyndham’s Theatre)

THE FERRYMAN
Photo Credit: Johan Persson

It’ll come as no surprise that Jez Butterworth’s latest play makes my list, as it is appearing on every 2017 theatre list at the moment and with good reason. Following the wonderful plays Jerusalem and The River, his latest success tells a powerful story, set in Armagh, Northern Ireland in 1981, which weaves The Troubles in to the history of one family and their struggle to confront the past and move forward. This may have been Paddy Considine’s stage debut, but he was superb and had fantastic chemistry with Laura Donnelly. I laughed, I gasped and held my breath as the tension grew. The Ferryman continues to run at the Wyndham’s Theatre until at least May 2018 and it is certainly worth a visit.

12. Network (Lyttelton, National Theatre)

a-scene-from-network-left-and-onescreen-bryan-cranston-image-taken-by-jan-versweyveld
Photo credit:Jan Versweyveld

I had never seen the film the play is based on and so didn’t really know what to expect, my excitement peaked by the chance of seeing Bryan Cranston on stage and he certainly didn’t disappoint, as the news anchor, who has finally had enough of the world and decides to let everyone watching know exactly how fed up he is. The production’s staging is quirky, but the on-stage audience restaurant did feel a little unnecessary to me. However, with such a powerful, commanding central performance from Cranston, you couldn’t help but be drawn in. Plus, hearing almost 1000 people shouting “I’m mad as hell and I’m not going to take it anymore!” in unison was quite a unique experience, which in 2017 couldn’t have been more timely. Although tickets are scarce, you have until 24th March to try and see this production.

13. King Lear (Minerva Theatre, Chichester)

2.-Ian-McKellen-in-the-title-role-of-KING-LEAR-at-Chichester-Festival-Theatre
Photo credit: Manuel Harlan

There had to be some Shakespeare in my top productions of the year list and this year it was Chichester’s production of King Lear, which I admit isn’t one of my favourite Shakespeare plays. However, this version, with such a brilliantly talented cast, managed to bring both intimacy and a sense of vast scope to the small space of the Minerva theatre. Ian McKellen was excellent in the lead role, clearly revelling in having a second chance to take on Lear and he had strong support from a cast that included Kirsty Bushell, Dervla Kirwan and Danny Webb.

……

So, those are the productions that truly stood out for me in 2017 and which I’d happily see again in a heartbeat. Special mentions also to The Girls (a musical that deserved a longer London life), Jodie Prenger’s heartwarming Shirley Valentine and a final visit to Groundhog Day in NYC (Broadway, I’m still disappointed in you for letting this one go so soon).

I’d love to hear your highlights! Over the next couple of days I’ll be continuing by look back at the theatre year, with my most memorable theatre moments from the last twelve months and my favourite performances.

 

 

 

 

Advertisements

Mid-Year Theatre Review 2017

As we are now well in to July, my mid-year theatre review is well overdue. 2017 is already shaping up to be a fantastic year of theatre and there is still so much more to come (I’ll talk a bit about that at the end). I already anticipate my top ten of the year will be a difficult selection, so at least this way, more of the productions I’ve loved in 2017 will make it on to at least one of my lists!

So, these are the current highlights of my theatre year. They are in no particular order, as I always finding ranking productions that way quite difficult, unless something stands head and shoulders above the rest.

………………

1. Hamlet (Almeida / Harold Pinter Theatre)

xhamletalmeida2w300h200.jpg.pagespeed.ic.kbOX8DaVkR

This production of Hamlet was probably my most anticipated show of 2017 and I’m thrilled it not only lived up to my expectations, but exceeded them, so much so that it’s probably my favourite Hamlet, a crown that has been Mr Tennant’s ever since 2008. It’s simply because Robert Icke’s decisions with the text and how to stage certain scenes is fresh and innovative. Watching this Hamlet had me experience the story and the motivations of certain characters in a whole new light. Thrilling, exhilarating and incredibly emotional, it’s ensemble cast are superb and it has one of the most beautiful endings I’ve ever seen on a stage. You have until 2nd September to see it. Go, go, go! Read my first review of this production here.

2. An Octoroom (The Orange Tree Theatre, Richmond)

an-octoroon-orange-tree

I bought a ticket to An Octoroom after reading so much praise for it on Twitter from theatregoers whose opinions I value more than any professional critic and I’m so pleased they brought it to my attention. Brandon Jacobs-Jenkins’s play was the complete theatre experience – surprising, inventive, powerfully emotive, yet funny in places too. The cast were superb (especially Celeste Dodwell as Dora) and the staging truly brought the play to life in the intimate space of the Orange Tree. I would love to see this have another life somewhere in the West End.

3. Dear Evan Hansen (Music Box Theatre, Broadway, NYC)

dear-evan-hansen

Besides Hamilton, this is probably the most talked about show in New York at the moment and I was taken by surprise by how moved I was by it. It’s an emotional story about feeling alone, wanting to belong and giving people a hope that if they reach out, someone will help them and Ben Platt’s central performance is one I will never forget, so full of raw emotion, not to mention an impressive vocal. I don’t have the soundtracks to many musicals, but I listen to this one quite often. Read my full review here.

4. The Little Foxes (Samuel J. Friedman Theatre, Broadway, NYC)

the-little-foxes.jpg

I was unable to see both versions of this play, in which Laura Linney and Cynthia Nixon alternate the roles, but despite this, it remains one of the strongest productions I’ve seen so far the year. I chose to Cynthia as Regina and Laura as Birdie and I wasn’t disappointed. Nixon was truly cold and calculating in the role, while Linney brought the tragedy of Birdie’s life to the stage. With a beautiful set and a strong ensemble, particularly Richard Thomas as Regina’s husband, who no doubt would have been happier with Birdie, this was a joy to watch. It would be lovely to see this play come across to London soon.

5. Angels in America (Lyttelton, National Theatre)

34504055965_cbcd3b0aa6_b.jpg

I have a second trip to this epic two play event next month and I certainly cannot wait to experience every moment of it again. Told across 8 hours, this seminal play is certainly not an easy one to watch, but its story is one that we should all see. The cast is one of the finest you could wish for, with Denise Gough bringing yet another raw and stunning portrayal to the stage, together with Nathan Lane, Russell Tovey and James McArdle. However, it was Andrew Garfield that blew me away as Prior Walter, a character so full of life, whose journey is the axis of the story. It will be a production talked about for years.

6. The Ferryman (Royal Court Theatre)

d7e4cd3a-30bd-11e7-9555-23ef563ecf9a.jpeg

Jez Butterworth has already established himself as one of the best playwrights we have and he follows Jerusalem and The River with another powerful story, set in Armagh, Northern Ireland in 1981, which weaves The Troubles in to the story of one family and its struggles. Paddy Considine’s stage debut is certainly impressive and his chemistry with Laura Donnelly shines off the stage. You will laugh, cry and probably gasp before the three hours of The Ferryman has passed. Buy your tickets for its West End run (until January 2018) now.

7. Who’s Afraid of Virginia Woolf? (Harold Pinter Theatre)

img_0129

There are only two words really needed to explain why this production is on the list – Imelda Staunton, who is utterly outstanding as the acid-tongued Martha! To be fair though, that doesn’t do justice to the other fine performances (especially Conleth Hill as her weary husband George). There was something darkly entertaining about watching Martha and George tear shreds off each other and some of the sharp, biting dialogue had me laughing out loud, even as I grew more and more uncomfortable. I can imagine it’s easy to overdo the dramatics in this play and yet director James Macdonald’s production didn’t do this. In fact, in a frightening way, it feels very believable. Read my full review here.

8. Consent (Dorfman, National Theatre)

Consent-Dorfman-78-700x455.jpg

Another success from the National this year was Nina Raine’s latest play, which focused on the powerful subject of rape and consent, in the context of a group of criminal barristers, whose professional and personal lives become caught up in what is a difficult topic to think about. Intelligently written and superbly acted by its cast, I was gripped by Consent from start to finish and wish I’d had the chance to see it twice.

9. Gloria (Hampstead Theatre)

Gloria-PROD-171

A second, but fully deserved, entry for Brandon Jacobs-Jenkins is a play that has such a powerful end to Act One that the programme has a sealed spoiler section! I’ve already seen this twice to fully appreciate the sharp, biting dialogue, which makes you laugh one minute even when you shouldn’t, before making you gasp the next. You have until Saturday to catch it if you can. Read my spoiler-filled review here, or the spoiler-free one here.

10. Shirley Valentine (UK Tour at Lyceum, Sheffield)

Jodie-Prenger-as-Shirley-Valentine-124-Photo-by-Manuel-Harlan-683x1024.jpg

A trip with my parents to the theatre to see this revival of Willy Russell’s production surprised me for the simple fact that I didn’t expect to enjoy it as much as I did. Effectively a one-woman show, in which Jodie Prenger brought the iconic Shirley Valentine to life, it made me laugh, but was also rather moving too, as this older woman bravely reaches for a fresh start in life. I left the theatre with a huge smile on my face and sometimes that’s exactly what you need.

 

……..

Special mentions so far this year also need to go to the continued magic of Harry Potter & the Cursed Child, whose original and new cast ensure the Palace is the happiest theatre atmosphere in town, The Glass Menagerie, which I managed to see before its run ended and a NYC return trip to the glorious Groundhog Day!

Coming up is Ben Whishaw back at the Almeida in Against, the arrival of the Follies at the National (even more Imelda Staunton!), the opening of a brand new London theatre in the Bridge Theatre, whose first show Young Marx stars Rory Kinnear and Oliver Chris, Apologia with Stockard Channing and the arrival of the Tony Award-winning Oslo, to name just a few.

Yes, there’s no denying the end of year review is definitely going to be tough in 2017!

 

 

 

Theatre Review (Spoiler-free version) – Gloria (Hampstead Theatre)

Gloria-PROD-171

As some readers may have seen, I have already posted one review of Gloria on this blog yesterday. As I explained in that post, I felt it was only fair to try and write a spoiler-free review as well. Heck, even the theatre programme to the show has sealed sections, only to be opened at the interval! So, for those unable to see the show, or those looking for more detail as to the storyline of it, then head across to my other, more spoiler-filled review of Gloria here.

Gloria is the latest play by Branden Jacobs-Jenkins and was nominated for a Pulitzer Prize last year and it’s certainly a drama with a sharp, witty edge. It’s also a tale of two halves, through which the playwright skilfully explores ambition and when it becomes something more questionable, when circumstances present us with an opportunity to cash in on our experiences.

Events are set in modern day New York, in the Manhattan offices of a popular magazine. In the culture section, three editorial assistants are starting their day according to their usual patterns. Studious, hard-working Ani (Ellie Kendrick) is already hard at work, a year in to her job and still possessing the positivity and enthusiasm for it. Dean (Colin Morgan) is late, inching towards 30 and five years in, feeling frustrated and hoping a book deal will give him an exit. Kendra (Kae Alexander) is even later than Dean, not that she gives a damn, as she begins what feels like her usual criticisms of her colleagues, their lives and the state of publishing in New York; it’s a place, she says, which used to have opportunities, but now has only the illusion of them.

Gloria-PROD-1680
Bayo Gbadmosi & Colin Morgan (Photo credi: Marc Brenner)

Together they banter, bicker, sing, mourn the death of a young pop star and deploy their pearls of wisdom to the team’s intern Miles (Bayo Gbadamosi), while driving the team down the corridor crazy by making too much noise, something their older, despairing colleague Lorin (Bo Poraj) regularly reminds them (although I notice Dean’s boss (Sian Clifford), who we hear about, but don’t see until Act Two, never complains)!

It’s an incredibly funny, entertaining start, which has you quickly enjoying watching the exploits of this ambitious bunch and results in quite a lot of laughter. For those of us who’ve worked in an office environment, at least some of this will be familiar, regardless of the industry.

Woven through all of their pranks, stories and discussions about their possible futures, is Gloria. She’s worked there for 15 years or so and is the magazine’s loner; she’s someone you smile at and are polite to, but have no interest socialising with elsewhere. This has only been reinforced by her poorly attended party the night before, at which only Dean and a handful of others made an appearance. Ani feels bad for not going, Kendra does not and Dean just wants to forget he was ever there. As an audience, we feel for Gloria. She also feels a little familiar from our own work lives and it is this familiarity of some aspects of the office dynamics and personalities, that ensures the emotional punch of Jacobs-Jenkins’s work later is all the more powerful. Indeed, the emotional reaction I had to the end of Act One (even though I suspected where it was heading) isn’t one I’ve had at the theatre very often.

Gloria-PROD-1596
Bo Paraj (Photo credit: Marc Brenner)

The personalities of the characters having been established already, Act Two shows us their world seven months later and what I loved most about Gloria was how the second half builds on everything we have seen in the first half to present an interesting commentary on how events and experiences effect us all in different ways and perhaps sometimes can bring out our less admirable qualities. It’s fascinating to see where these people are now and how they have changed and the writing fantastically mines the humour in some of the seemingly tasteless endeavours that have resulted from the recent past.

The use of doubling for the actors in roles across the two halves of the play is also a brilliant choice. It provides a strange sense of continuity to the story, while also being a little unnerving.

The production also benefits from a strong cast. Colin Morgan is perhaps the most well known (last seen on stage in Mojo) and, as usual, he is very very good, conveying Dean’s downward spiral from playful, sarcastic office worker, to someone struggling to put his life back together. Morgan also takes the role later of a frustrated IT guy, resulting in a return to the lighter laughs of the first half.

Gloria-PROD-190
Kae Alexander & Ellie Kendrick (Photo credit: Marc Brenner)

I also particularly liked the acerbic character of Kendra, who is both likeable and unlikeable at once, due to her sharp, mean barbs, that often speak more truth than we’d like to admit and Kae Alexander brings her wonderfully to life. Ellie Kendrick (who you may recognise from Game of Thrones) plays Ani, as one of those sweet, hard-working types, who tries to get along with everyone and I also loved one of the other characters she plays, Callie, also an assistant and it is to her credit that each one feels distinct.

Our moral compass is represented by Lorin, whose response to earlier events in the play is much different from the others and I left the theatre truly hoping he was successful. Interestingly, Bo Paraj is also the only actor who plays just one role, which seems to emphasise Lorin’s difference from the others as well.

Director Michael Longhurst captures the brilliant wit of the play and I loved Oliver Fenwick’s lighting, which is used to great effect in the second half, to reflect the recollections of certain characters, slowly dimming at times, before growing brighter again as the moment passed. The settings of each scene are great and set designer Lizzie Clachan has created three different sets, all ideally suited for the play’s story and I particularly liked the contrast of the basic decor in the first office, with the flashy, colour-coordinated look of the later office location; the positioning of the company’s logo in the latter being suitably ironic.

I thoroughly enjoyed Gloria for its biting humour and sharp dialogue and I won’t forget the powerful ending of Act One in a hurry. It makes you laugh with recognition, gasp with shock and then smile ironically at the resulting, differing behaviour of the characters. This may have been my first trip to a Branden Jacobs-Jenkins play, but it certainly won’t be the last (in fact I’m off to another one next week and am now looking forward to it even more)!

Tickets are selling fast for this production, so I recommend you buy a ticket quickly before it sells out!

Gloria runs at the Hampstead Theatre until 22nd July 2017. For further information and availability, visit the theatre’s website here.

 

Theatre Review – Office ambition & tension spills over in Gloria (Hampstead Theatre)


On Tuesday night, I took a trip to the Hampstead Theatre for the final preview of their new production, Gloria. It’s a strong piece of theatre, but one that creates a challenge when it comes to writing a review – spoiler-free or not? I usually try and avoid writing spoilers which give away anything significant to a play, particularly a new play, as I’m a big believer in an audience experiencing theatre fresh, without knowing its secrets in advance. However, to write everything I want to say about Gloria will inevitably result in giving away a core element of the story. I’ve therefore decided to try and write two pieces; this one and a spoiler-free review, which will be posted tomorrow.

Warnings taken care of, on to the play itself.

Gloria-PROD-171.jpg
Dean (Colin Morgan), Kendra (Kae Alexander) & Ani (Ellie Kendrick). Photo credit: Marc Brenner

Gloria is the latest play by Branden Jacobs-Jenkins and was nominated for a Pulitzer Prize last year and it’s certainly a drama with a sharp, witty edge. It’s also a tale of two halves, through which the playwright skilfully explores ambition and when it becomes something more questionable; specifically when ambition collides with the opportunity to cash in on a tragedy.

Events are set in modern day New York, in the Manhattan offices of a popular magazine. In the culture section, three editorial assistants are starting their day according to their usual patterns. Studious, hard-working Ani (Ellie Kendrick) is already hard at work, a year in to her job and still possessing the positivity and enthusiasm for it. Dean (Colin Morgan) is late, inching towards 30 and five years in, feeling frustrated and hoping a book deal will give him an exit. Kendra (Kae Alexander) is even later than Dean, not that she gives a damn, as she begins what feels like her usual criticisms of her colleagues, their lives and the state of publishing in New York; it’s a place, she says, which used to have opportunities, but now has only the illusion of them.

 

Gloria-PROD-1680.jpg
Bayo Gbadamosi & Colin Morgan (Photo credit: Marc Brenner) 

Together they banter, bicker, sing, mourn the death of a young pop star and deploy their pearls of wisdom to the team’s intern Miles (Bayo Gbadamosi), while driving the team down the corridor crazy by making too much noise, something their older, despairing colleague Lorin (Bo Poraj) regularly reminds them!

It’s an incredibly funny, entertaining start, which has you quickly enjoying watching the exploits of this ambitious bunch and results in quite a lot of laughter. For those of us who’ve worked in an office environment, at least some of this will be familiar, regardless of the industry and it is this familiarity which makes what follows all the more frightening.

Woven through all of their pranks, stories and discussions about their possible futures, is Gloria. She’s worked there for 15 years or so and is the magazine’s loner; she’s someone you smile at and are polite to, but have no interest socialising with elsewhere. This has only been reinforced by her poorly attended party the night before, at which only Dean and a handful of others made an appearance. Ani feels bad for not going, Kendra does not and Dean just wants to forget he was ever there. As an audience, we feel for Gloria. She also feels a little familiar from our own work lives.

Gloria-PROD-1596.jpg
Bo Paraj (Photo credit: Marc Brenner)

As the play moved through Act 1, I could see where it was heading, as Gloria sporadically appears, checking if everyone is in yet, growing increasingly erratic with each pass through the cubicles. Maybe it’s the impact of the last few months’s real life events, but the pointers to what was to come seemed clear to me. However, this didn’t detract from the emotional punch of Jacobs-Jenkins’s work, as Gloria’s isolated, unhappy feelings at the office spill over, resulting in violent consequences. It may just be a play, but it was nevertheless shocking to watch and I did find myself closing my eyes, so genuine was my response to the harrowing scene unfolding on stage. Indeed, it’s one of the most shocking ends to an act in the theatre that I’ve witnessed.

The personalities of the characters having been established already, Act 2 shows us their world seven months on.  What I loved most about Gloria was how Act 2 builds on everything we saw in the first half to present an interesting commentary on how horrifying events effect us all in different ways and perhaps can bring out our less admirable qualities.

Gloria-PROD-1931.jpg
Sian Clifford (Photo credit: Marc Brenner)

Dean, spared by Gloria for always being nice to her, has been, understandably, deeply affected by what he witnessed and is trying to piece his life together again, which includes the publication of a memoir, now altered to make Gloria its focus. He’s not the only one looking to cash in on the tragedy though, as we watch others indirectly affected by Gloria’s actions become seduced by the idea of their five minutes on fame (and a big cheque) and the writing fantastically mines the humour in their seemingly tasteless endeavours (including the editor’s fond recollections of the intern, whose name she doesn’t even get right)! The use of doubling for the actors in roles across the two halves of the play is also a brilliant choice, as it provides a strange sense of continuity to the story, while also being a little unnerving, especially with the reappearance of Sian Clifford, who after being Gloria, later returns as the editor we never saw in the first half.

The production also benefits from a strong cast. Colin Morgan is perhaps the most well known (last seen on stage in Mojo) and, as usual, he is very very good, conveying Dean’s downward spiral from playful, sarcastic office worker, to someone still unable to comprehend what he survived and clutching to his book as a way to deal with it. Unlike some of the other characters’s need to make a quick buck off the story, I felt genuinely sorry for Dean, whose writing of his book, although a little possessive of the tragedy, seemed to be driven by his need to heal more than anything else. Morgan also takes the role later of a frustrated IT guy, resulting in a return to the lighter laughs of the first half.

 

Gloria-PROD-190
Kae Alexander & Ellie Kendrick (Photo credit: Marc Brenner)

I also particularly liked the acerbic character of Kendra, who is both likeable and unlikeable at once, due to her sharp, mean barbs, that often speak more truth than we’d like to admit, but are possibly more of an act once we see her again in Act 2 and Kae Alexander brings her wonderfully to life. Ellie Kendrick (who you may recognise from Game of Thrones) plays Ani, as one of those sweet, hard-working types, who tries to get along with everyone, which only makes what happens to her more upsetting and it’s great that Kendrick is back in the second half as two further characters, spookily ending back as someone’s assistant and it is to her credit that each one feels distinct.

Our moral compass is represented by Lorin, as the only person who isn’t seeking to profit from Gloria, simply wanting to put it all behind him (interestingly, Bo Paraj is also the only actor who plays just one role, which seems to emphasise Lorin’s difference from the others as well). Now studying for the LSAT exam, this is his second chance in life and you leave the theatre truly hoping he is successful.

Director Michael Longhurst captures the brilliant wit of the play, while also building a subtle unease in the piece, which some of the audience may not even notice, but once you spot, you cannot ignore. This is also enhanced in certain moments (especially in the coffee shop scene) by Oliver Fenwick’s lighting. I loved how as characters started to recall upsetting memories or thoughts in act two, the lights would slowly dim, before growing brighter again as the moment passed. Set designer Lizzie Clachan has also created three different sets, all ideally suited for the play’s story and I particularly liked the contrast of the basic decor in the first office, with the flashy, colour-coordinated look of the later office location; the positioning of the company’s red splash logo on the wall in the latter being suitably ironic (and a little disturbing).

I thoroughly enjoyed Gloria for its biting humour and sharp dialogue and I won’t forget the powerful ending of Act 1 in a hurry. It makes you laugh with recognition, gasp with shock and then smile ironically at the resulting, differing behaviour of the characters. It may also make you think about how you treat the people around you in your own office environment too. This may have been my first trip to a Branden Jacobs-Jenkins play, but it certainly won’t be the last (in fact I’m off to another one next week and am now looking forward to it even more)!

Tickets are selling fast for this production, so I recommend you buy a ticket quickly before it sells out!

Gloria runs at the Hampstead Theatre until 22nd July 2017. For further information and availability, visit the theatre’s website here.

Theatre to see in 2017!

Happy New Year!

I’ve looked back on my year of theatre in 2016, which means it’s now time to focus on what lies in store over the next twelve months. The good news is that there is already quite a lot to be excited about and below are 17 shows I’d put on your list for the new year!

1. Hamlet (Almeida Theatre, 17th February – 8th April)

tumblr_oa22h296dO1u7q89vo1_500.jpg

There is so much I’m excited about regarding the  forthcoming Almeida production of Hamlet. It’s my favourite Shakespeare play, directed by probably my favourite director at the moment, Robert Icke, whose Oresteia and current Mary Stuart productions are some of the finest plays I’ve seen and it will see Andrew Scott take the title role. He may be best known for playing Moriarty in Sherlock, but he is also a superbly versatile stage actor and I cannot wait to see what he and Icke come up with for this production.  All it needs is a strong ensemble cast, which it is well on the way to having wth Juliet Stevenson and Jessica Brown Findlay and this has the potential to challenge the RSC’s 2008 production as my favourite. Can you tell I’m excited?!

2. Angels In America (National Theatre, from 11th April)

angels-in-america-1280x720_1

Ever since the National’s 50th anniversary celebration featured a scene from this play, I’ve been hoping it would return to the London stage and 2017 sees that happen. It’s such an iconic award-winning play, which made such an impact originally in the 90s and this revival promises to be very special with actors including Denise Gough, Andrew Garfield, James McArdle, Nathan Lane and Russell Tovey announced and directed by Marianne Elliot. Tickets will go quickly for this. You have been warned!

3. Don Juan In Soho (Wyndham’s Theatre, 17th March – 10th June)

show_donjuaninsoho

2017 also sees David Tennant return to the stage and this time it’s not Shakespeare. For me, he is one of the finest stage actors we have in the UK and I’m very excited to finally see him live on stage performing a non-Shakespeare role. Patrick Marber’s play is described as a savagely funny and filthy play, which has me intrigued to say the least! Directed by Marber and also starring the brilliant Adrian Scarborough, the only question for me is just how many times I’ll see this show over its run!

4. Hamilton (Victoria Palace Theatre, from November)

hamilton.jpg

The juggernaut that is Hamilton finally arrives in London late this year at the Victoria Palace (which is undergoing refurbishment in advance of becoming the hottest theatre spot in town). I have heard so much about this show, but have resisted the urge to listen to any music from it before I see it. With crazily expensive tickets for the New York run, hopefully the London production will be a little easier to get in to!

5. Who’s Afraid of Virginia Woolf? (Harold Pinter Theatre, 22nd February – 27th May)

whose-afraid-of-virginia-woolf

After her performances in Sweeney Todd in 2012 and Gypsy in 2015, I’d go and see the incredible Imelda Staunton in anything! Next on her list before Gypsy heads to Broadway is this production of Edward Albee’s play. Also starring Conleth Hill (now better known as Varys in Game of Thrones), this promises to be another gem in the 2017 calendar.

6. the ferryman (Royal Court Theatre, 24th April – 20th May)

image

The Ferryman makes the list even though it is technically already sold out. This does not mean it should be ruled out however (I for one will be queuing as long as it takes for returns after failing to book this fast enough)! Jez Butterworth’s reputation for brilliant and exciting theatre was established with Jerusalem, but I also loved The River and I’m intrigued to see what is next. The production will also mark the Royal Court directorial debut of Sam Mendes.

7. Obsession (Barbican Theatre, 19th April – 20th May)

jude-law-and-halina-reijn-in-obsession-110355

This year also sees Ivo Van Hove, whose recent productions of A View From A Bridge and The Crucible both made quite an impression on anyone who saw them (including me) directing one of three Toneelgroep Amsterdam productions at the Barbican. Jude Law leads a cast of Dutch and British actors in Visconti’s drama where two people’s attraction to each other leads them to plot murder. This season as a whole is on my must-see list, but I’m rather intrigued by this one in particular.

8. The Goat, or Who Is Sylvia? (Theatre Royal Haymarket, 24th March – 24th June)

the-goat-2.jpg

Spring also sees two of Britain’s finest actors, Damian Lewis and Sophie Okonedo together on stage in Edward Albee’s The Goat, or Who is Sylvia? Described as a dark comedy, I am rather excited about seeing these two together and directed by Ian Rickson too!

9. Woyzeck (Old Vic, 6th May – 24th June)

4487.jpg

Woyzeck isn’t a play I’ve seen before and therefore I’m thrilled to be able to have a chance to tick this highly regarded piece of literature off my list. Set in 1980s Berlin, John Boyega (now of Star Wars fame) tackles the story of a young soldier on the border of East and West trying to build a better life for his family. This new version of Georg Buchner’s classic has been written by Jack Thorne, whose recent hits include This Is England for the screen and the Harry Potter play.

10. Speech & Debate (Trafalgar Studios, 22nd February – 1st April)

33813_full

Stephen Karam’s play The Humans was one I’d hoped to see next time I was in NYC (sadly I’ll miss it), but I will at least be able to see Speech & Debate when it arrives in London in February. Billed as the story of three misfits, brought together at school by a sex scandal, with hilarious consequences, I’m looking forward to seeing Douglas Booth and Tony Revolori (Zero in The Grand Budapest Hotel) tackle this play.

11. 42nd Street (Theatre Royal Drury Lane, 20th March – 22nd July)

60982a.jpg

I can tick another classic musical off my list this year with the arrival of 42nd Street, the story of a young woman who, after joining the chorus line of a musical, may get her chance of stardom when the leading lady lady suffers an injury. Starring Sheena Easton as Dorothy Brock, this production will also be directed by Mark Bramble, the co-author of the original book of the production. I’ll be curious to see where this ranks in my list of musicals.

12. The Glass Menagerie (Duke of York’s Theatre, 26th January – 29th April)

378203_770_preview

I’ve still yet to see The Glass Menagerie on stage and so I’m pleased this version of Tennessee Williams’s play is transferring from Broadway at the end of this month. Director John Tiffany’s (also director of Harry Potter & The Cursed Child) production was highly regarded in New York and will again star Cherry Jones as the matriarch Belle Amanda Wingfield.

13. Paul Auster’s City of Glass (Lyric Hammersmith, 20th April – 13th May)

Glass_Show_Page.jpg

Regarded as a seminal American novel, I’m looking forward to a trip to the Lyric to see this new adaptation, which is billed as using ground-breaking stagecraft, projection, magic and illusion to tell the story of a reclusive crime writer who becomes drawn in to a thriller after receiving a call in the middle of the night from someone in need of a private detective.

14. Touch (Soho Theatre, 6th July – 26th August)

600x600-fitdown

I didn’t get to see Fleabag last year, but after the acclaim it received, as well as for the BBC series based on the play, I’m certainly adding Touch to my 2017 list, as it is by the same creative team. Starring Amy Morgan, it’s the story of a 33 year old woman trying to find her way in London.

15. Tribes (Crucible Studio, Sheffield, 30th June – 22nd July)

15101728_607440176110361_3442102402944073728_n

I thoroughly enjoyed the original run of Nina Raines’s play at the Royal Court in 2010 and so I am looking forward to seeing this new regional premiere in Sheffield over the summer. The story of family life, where the son is deaf is very funny, but also incredibly moving and explores perfectly the desire we all have to be heard and understood.

 

 

16. Antony & Cleopatra (RSC, Royal Shakespeare Theatre, Stratford-Upon-Avon, 11th March – 7th September)

b6287-2017_season_web_images_hub_antony-tmb-wo-720

I’ve always struggled a bit with this play, but I’ll certainly be heading to Stratford-Upon-Avon for this production, which will see one of my favourite RSC actors, Antony Byrne take on Marc Antony. Byrne was wonderful in the original Richard II in 2013 (and very much missed by me in its revival this year) and also in Henry IV and V and it’ll be fantastic to see him again performing Shakespeare.

17. Sex With Strangers (Hampstead Theatre, 27th January – 4th March)

x6031-1479746446-sexwithstrangerssq-jpg-pagespeed-ic-svcae5mn1u

The Hampstead Theatre has certainly come a long way since Edward Hall took the helm in 2010 and I’m very much looking forward to seeing its first production of the new year. Laura Eason’s comedy sees two people, very much opposites of each other, stuck together in a B&B in the snow, who find themselves undeniably drawn to each other. I enjoyed Emilia Fox’s performance in Rapture, Blister, Burn at this theatre in 2015 and so it’ll be lovely to see her back, in a production that also stars Theo James.

…………….

So, those are some of my suggestions for this year on stage. I could have picked so much more, with theatres including the Bush Theatre and the Young Vic already setting out exciting seasons. Then of course there are all the shows yet to be announced! Finally, there are some shows that opened last year, but which are well worth a trip if you can see them before they close. A few examples are:

  • Love’s Labour’s Lost & Much Ado About Nothing (Theatre Royal Haymarket) until 18th March – the London transfer of the RSC’s gorgeous double-bill is not to be missed. With a lot of the cast returning, including Edward Bennett and Sam Alexander, they are perfect at this time of year. Go, go, go!
  • This House (Garrick Theatre) until 25th February – This superb National Theatre production sees a new run in the West End. Set in the 70s as Labour cling on to power before Thatcher, it’s a brilliantly sharp and funny glimpse in to Westminster. Having seen the current cast in Chichester over the autumn, I can say it’s just as strong as it was originally. Review here.
  • Hedda Gabler (National Theatre) until 21st March – My review will be up laster this month for this exciting modernisation of Ibsen’s play. Ruth Wilson is yet again superb and there are also wonderful performances from Rafe Spall and Kyle Soller. This was so close to being in my top 10 of 2016, so I urge you to go. Yes, it’s sold out, but there is the option of Rush tickets on sale on Fridays for the following week’s shows and returns will pop up, so keep checking.
  • Mary Stuart (Almeida Theatre) until 21st January – One of my highlights of last year was this play which sees Lia Williams and Juliet Stevenson swap roles as Mary Stuart and Elizabeth I. It’s an exciting production from director Robert Icke and is another must-see. Again, it’s sold out, but there are day seats of every performance and I’ve usually been successful in the returns queue at this theatre in the past.

Hopefully there is something on the list that you are interested in. As always, I’ll be adding reviews of shows as I see them and so please do pop back any time!

 

 

2016 Theatre Review – My memorable theatre moments the year!

Having already chosen my top ten productions of the year and my favourite performances of the year, for my last 2016 theatre review post I wanted to look back on my most memorable moments at the theatre in the last twelve months. These are the moments that have stayed in my mind, whether a set, scene or personal experience while seeing a show.

The mind-bending set change at the end of Wild (Hampstead Theatre)

wildfeature

I had heard so many people talk about the staging of Mike Bartlett’s Wild before I arrived at the Hampstead Theatre and that final set change was certainly a sight to be seen! Watching one set change in to another, much starker one was already impressive and then it started to rotate! I admit I was a little distracted from the actual scene itself. Top marks to the set designer and stage management team for this feat.

Watching the cast of Unreachable do all they could to make each other corpse during their final show (Royal Court)

Unreachable-Royal-Court-382.jpg

I’d hoped to see Unreachable twice, but had to miss my earlier trip, meaning my only visit was to the final show. Seeing the final performance seemed to heighten the hilarity, as a number of times the cast, particularly Jonjo O’Neil, were trying to throw their fellow cast members off. It was very very funny and one of the most fun trips I’ve had to the theatre.

My return to the wonderful world of Punchdrunk (Sleep No More, NYC)

matthew-oaks-center-with-audience-members-c2a9yaniv-schulman.jpg

A Punchdrunk show is always an experience to remember and Sleep No More in NYC was no exception. From the first moments of making my way in to the venue in darkness, to exploring the eerie and intricate rooms and levels, where I sampled the sweets in the shop and leafed through the books on the shelves, right through to my own one-on-one experience with one of the cast, I had a great time. I only hope it’s still there on my next trip.

Genuinely feeling as though someone was behind me blowing in my ear at The Encounter (Barbican)

318e0ca000000578-3465378-the_encounter_is_unlike_any_other_theatrical_experience_simon_mc-m-76_1456514708072

From immersive theatre to sensory theatre with my trip to Simon McBurney’s one-man show The Encounter. Using special technology (including the head in the photo), he was able to transport us in to the rainforests of Brazil. The moment he had us close our eyes and then created the effect that someone really was behind my right ear, blowing on it, was astonishing. The possibilities for audience interaction in future shows is very exciting indeed if such experiences can now be created.

The magical illusions in Harry Potter & The Cursed Child (Palace)

13. harry potter and the cursed child, photo credit manuel harlan.jpg.png

The most eagerly awaited show on the planet was just as much fun as I’d hoped (and I’m not even a huge Potter fan) and one of the biggest thrills of the theatre year for me was seeing the illusions achieved in this production. I especially loved the entrance to the Ministry of Magic. The cast must be on skates or something  backstage to get from one part of the stage to another so fast! A treat for young and old alike.

Watching Glenn Close in Sunset Boulevard from the centre of the front row (London Coliseum)

32d9df7300000578-3524085-a_tour_de_force_glenn_close_made_sure_the_revival_of_andrew_lloy-m-10_1459844538431

Glenn Close as Norma Desmond was a performance I’d been looking forward to since it was announced and on seeing it, I just had to go back for a second time. I’m still amazed that this wasn’t a total sell out, but the fact that a week before, I was able to buy a front row ticket was unbelievable. Having Close stand so close to me and deliver that performance was a real thrill for me in 2016.

 

Saying goodbye to War Horse and Groundhog Day at their final London performances (New London and Old Vic)

img_3129

I was lucky enough to be at the final London performances of both War Horse at the New London Theatre and Groundhog Day at the Old Vic in 2016. The first show was closing after over nine years, during which it has delighted and moved so many audiences and it was lovely to hear author Michael Morpurgo’s words of thanks to its cast and crew. On the other hand, we’d barely had Groundhog Day in theatreland before it was off to prepare for Broadway. I loved the show (it’s my favourite of 2016) and being able to say a fond farewell to it, from the front row no less, was a joy.

Experiencing the enthusiasm of New York audiences for Shakespeare during the RSC’s King and Country tour (BAM, NYC)

js34112464

This year also saw my first trip to NYC since 2012 and it was filled with a great deal of wonderful theatre. However, one of the things that truly stood out was during my time at the BAM Harvey Theatre in Brooklyn, where the RSC was showcasing its King and Country cycle. Having seen it in both Stratford-Upon-Avon and London, I was surprised to experience the plays in a new environment. Antony Sher has talked about how the New York audiences were more enthusiastic and I agree with him. There was a new kind of excitement in the venue and lines received an audience response they hadn’t in the UK, which in turn had an effect on the actors. From chatting to other audience members, many had read the plays before coming and had a genuine enthusiasm for the plays. It was wonderful to be a part of it.

Being given a reminder of how precious time and life is by Gavin Plimsole (Greenwich Theatre)

gavin

One of the new theatres I visited during 2016 was the Greenwich Theatre and I was rather moved by its show The Inevitable Heartbreak of Gavin Plimsole. As we journey through the last part of Gavin’s life, depicted by marbles dropping through a chute after a certain number of heartbeats, the audience was reminded of how precious life is and how we should not take it for granted. At the end of the show, we each opened a box. Mine had a marble in it for me to keep. I have kept it in my handbag ever since. Sometimes it is the smallest shows that make the biggest impression.

…………

There were so many special moments for me in theatres this year, but those are the ten that have stayed with me the most as I sit here and reflect on the last twelve months. Next I’ll be looking ahead to the productions I’m most excited about in 2017, which I hope to post very soon. If you have some moments that have stood out for you, let me know about them in the comments!

 

 

Theatre Review – Giving at Hampstead Theatre Downstairs

CisV0MSWkAASrLj.jpg

The current production in the Hampstead Theatre’s Downstairs space (due to end on Saturday) is a fascinating exploration of philanthropy and charitable giving. Why do people give? Is it ever really altruistic or do people give just to be seen as “doing good”, or to highlight their own wealth? Should those facilitating such giving care about the reasons for it and should we even care about those reasons if the outcome is that the recipients of such donations are better off?

Hannah Patterson’s play presents all these questions in a though-provoking and enjoyable production, in which Laura (Sinead Matthews) is tasked by her magazine’s editor (who also happens to be her married former lover) Jonathan (Dominic Rowan), to write a profile on a successful and high profile businesswoman Mary Greene. The focus of the piece is to be Mary’s huge charitable donation, which is the largest single pledge by an individual to date in the UK.

Laura, already skeptical as to the motivations behind such gestures meets both Mary (Sylvestra Le Touzel), a formidable woman and tough interviewee and Mary’s “Charitable Giving Advisor” Michael (Simon Manyonda), who seems to exert a great deal of influence over his client’s decisions, while in the process taking a percentage for his broking-style American firm, calling in to question whether he simply wants to make a profit by any means necessary.

ESC-7256.jpg
Sinead Matthews as Laura

I thoroughly enjoyed Giving. Its theme wasn’t one I’d seen on stage before and it certainly made me think about the role of philanthropy in society today (especially here in the UK where it is less common than in America) and the reasons that drive individuals to make charitable donations. The three main characters of Laura, Mary and Michael were fascinating to watch interact, as their differing viewpoints often led to some uncomfortable exchanges. In particular the interview scenes between Laura and Mary were brilliantly acted and staged, with the veneer of politeness barely masking the friction between them. It was very believable and made me as an audience member feel awkward for them! Le Touzel’s portrayal of Mary was excellent, bringing to life a woman who you wanted to admire, but who you found yourself not liking a great deal. She reminded me of characters I’ve come across in the real world and you believed that Laura would be on dangerous ground were she to cross her!

ASC-8214.jpg
Sylvester Le Touzel (Mary) & Simon Manyonda (Michael)

The other strand of the play is about giving and receiving love and our ability to do so, which is cleverly weaved in to the story through Laura’s relationships. I liked how different Michael was from Jonathan and the writing of the relationship between Laura and Michael (wonderfully played by Matthews and Manyonda) means, as their affection for each other develops, so does the growing conflict Laura faces as her article begins to take shape. I really did find myself rooting for them.

Top marks for maximisation of space also need to go to designer Lucy Sierra, whose use of furniture able to effortlessly disappear in to the walls when not needed was ideal for a play which moves quickly from scene to scene, in the small theatre space.

Sometimes the Hampstead Theatre Downstairs may be overlooked, but Giving yet again proves that the material it produces is just as important as that in the main house and with tickets at a maximum of £12 it is great value for money. If you have a chance to catch Giving before it closes on Saturday, it’s well worth the effort.

Giving continues its run at the Hampstead Theatre Downstairs until Saturday (11th June). Running time is 1 hour 35 minutes (no interval). For more information visit the website: https://www.hampsteadtheatre.com/whats-on/2016/giving/