Stage, Screen and the Mystique

****

This play, written by the infamous Zach Braff (Scrubs actor, Garden State actor/director & numerous Hollywood films star) excels in delivering many moments of brilliance.

The story revolves around the protagonist, Charlie (played by Braff) who is disrupted in the long island beach house his friend has leant him. This disruption comes in a guise of various misfits, the real estate agent who is on the verge of losing her job and her american citizenship (played brilliantly by Eve Myles), the local fireman who has a long-standing crush on Emma (the real estate agent) and an obsession with drugs and Kim, the escort hired to 'cheer' charlie up.  

This brilliant concoction of characters leads to an entertaining play, the director and writer have clearly worked hard to form the strength of the characters and each actor is strong within their own role, so much so I completely believed all of the actors on stage and their worlds.

It's important to note, that whilst 'All New People' is a drama and a dark drama at times, it is also a comedy. This comic element works brilliantly at the start of the play and both actors/script and direction are instrumental in timing these elements together.

However, of the brilliance of this place, the wonderful performances, the shinning light which brings into focus society's faults and the human condition as well as focusing on depression in at times. It could go further to propel this play into the depths of depression, the dark comedy behind this and do more to speak to it's audience.

* 1/2

I must admit, I wasn't sure what to expect before I saw this play. I thought if good, it would challenge the senses, create a sensual atmosphere and pose some intriguing questions. Unfortunately, for this theatre lover it did none of the above.

Simply put, the play was too long and although it does try to create a sensual mood and produce controversial scenes it lacks punch as I failed to see what the play was trying to say to it's audience.

It doesn't help that there is little chemistry between the two central female characters, Chunga and Meche or that you don't believe that Meche is trapped in a violent relationship with her lover, Josefino. 'La Chunga's' downfall is that the play at times has painfully contrite dialogue. Dialogue that is cliché and which I could predict about 2 mins before it was said.

What saves 'La Chunga' is it's central character, 'Chunga' played by the sensual and husky voiced Victoria Grove. The only criticism being that perhaps the actress is a little too pretty for the role and that she is a little restricted at times as to what the dialogue will allow her to do with her character.

Though, this may seem a little harsh, the play was by no means inadequate and it did attempt to address themes of sexual desire and mystery.

****

There has been much press on 'Jerusalem'. Press, critics and theatre lovers have applauded this production so when I came to review this play I wondered what one more voice would add to an already award-winning and critically acclaimed production.

But after two months of having seen the play on London's Strand I felt I had to say a word or two as to say nothing would do the play an injustice.

And after such a long time I can still envisage Mark Rylance's stunning performance. A character who has many faults somehow achieves empathy and admiration, even love from the audience.

It's a tour-de-force performance from Rylance and you can't help but be in awe of his skill and patience for such a role. The supporting cast is strong but this play, though well written and thought provoking would be nothing without Rylance's dynamic and mesmerising performance.

The humour is spot on, the timing of the actors and the direction of the play is choreographed so well that you can't help but be intrigued in characters whose plight you usually wouldn't be so interested in the real, non-fiction world. But the genius behind 'Jerusalem' is that the characters depicted very much do exist outside the confines of the play and it's a shining light on the British culture, it's social norms and values and puts into question the issues so prevalent in today's society.

****

Some plays leave the audience with a sense of unease, little information is provided to them and is if for themselves to sift through the facts and make sense of what they have seen.

I personally am an admirer of such methods in theatre, I believe it is done with a sense of bravery, that a theatre company can be bold enough to not answer to what the critics or audience may want in a play, put simply, they tell a story and do not try to flourish the tale with a convenient beginning, middle and end.

In Death and the Maiden at the Harold Pinter Theatre this was executed beautifully. At first we are presented with a domestic scene between a man and wife, the wife seeming on edge and we, the audience are drawn into the events that unfold. Paulina Salis, the protagonist and played brilliantly by Thandie Newton becomes convinced that the kindly stranger who helps her husband with a flat tyre is actually the Doctor who observed torture and raped Salis when she was previously imprisoned as a political prisoner some time ago.

What is most interesting and works, I believe wonderfully, is that we are never given the name of the country the play is set in. We gain enough information that this is a country with previous civil unrest and that the country is coming to terms with human rights abuses, amplified through Paulina Salis' character and the hauntingly score of Schubert's Death and the Maiden.

And with such injustice, there are secrets and lies, delusions and confusion of what happened. Did this Doctor who apparently was a kindly soul, helping his fellow citizen, a gentleman, part-take in this abuse? Was Paulina Salis damaged so severely by the abuse and torture to her as a political prisoner that she projects this vengeance onto a man who may be an innocent victim? These are questions asked and never clearly answered and it is to the play's credit.

I can understand that this is not to every audience members taste. The final scene itself was abrupt and confusing, but why have all questions answered, all resolved?

It's interesting to not and leave the audience wondering why. Death and the Maiden is a tale simply about the human condition and that everything, like life, is not black and white, fact & fiction.

****

With an air of uncertainty I went to North London to see the much anticipated 'Etherdome' by Penny Dreadful.

Momentum began to build for this production at this years Edinburgh Fringe Festival, where it wowed it's audience and gained some great reviews. As it began to tour the UK and Ireland it picked up even more momentum and some great reviews as well as sold out nights in the venues they were touring.

This kind of hype can sometimes be a great publicist or an excellent production office, would there be any substance? So, I waited in the Jackson Lane Theatre on the tours final night to find out...

And what a delight! Excellent actors drove this tour de force production incorporating themes ranging from comedy/science/history and morality to new levels.

I split my sides with laughter and was enthralled and mesmerised by the talents of the three protagonists on stage. Philippe Spall, Denis Herdman & Denise Kennedy shine in their roles.

This play is a simple tale in truth but executed brilliantly with some hilarious and perfectly timed comedy. Comedy drives this production, and at first it feels a little awkward, a little hammy but then the audience falls in love with the nature of the comedy and literally goes for the ride as audience participation begins...but again this is done wonderfully well and kudos again to the actors for making this entertaining as well as tasteful.

'Etherdome' as it's title suggests tells the story of how three men claim to have first invented anaesthetic, the failures on the way to success and the greed that resulted - presenting a morality tale suitable for all ages which makes this production not only a joy to watch by all but extremely marketable.

**

The setting for this production of 'Don Carlos' was intimate, upfront and personal. The Blue Elephant Theatre is a remarkable venue, small, unique and charming.

The production itself is atmospheric, placing a lingering feel onto the audience member. Emphasised by the carefully choreographed movements by the actors against the smoke that filters as if ghost-like into several scenes.  

As a play though, this story though failed to move me. I tried and failed to believe the passion of the love between Don Carlos and Elizabeth.

Elizabeth, the new wife of the King Philip of Spain and therefore, now step mother to Don Carlos spurns Don Carlos' advances until it is revealed close to the end of the play and the characters demise that they are passionately in love. And although there is an embrace, a passionate kiss, there is something missing in this tale of doomed love that does not set my heart racing.

****

I went to see this play with little information, I heard the whisperings of press around that it was a 'must-see' and with a wish for a little comedy I abandoned what little British-reserve I had at the door and took a chance...

Oh, how glad am I that I did! What an excellent night at the theatre! Gasps, laughs (lots of them) and clapping were abundant in the packed full house at The Adelphi Theatre on the strand in London's West End.

Nicholas Hytner (director) wonderfully shapes this play together with an excellent cast so that you enjoy every single moment.

Once more, the well-known 'star' James Corden does not appear to act like a personality or 'star' from an infamous tv series, but instead holds his own, immerses himself in his character and is very much a talented comedic actor. 

All of the actors, are indeed brilliant and work as a team on what is a very tightly choreographed comedic play but none ever show the work behind the magic before the audience's eyes.

I must admit as the play began, in the first few scenes in the first act of the play I was slightly pessimistic. I thought, is this too much of a farce? Will it make a mockery of the theatre? But very quickly I was proved wrong, is this a farce at times - most definitely but it is intelligently crafted. Once again, The National Theatre (where this play was given legs) has created a wonderful theatre experience.

I think comedy, good comedy can never be explained so I keep this review short. I will expose no more information about the play that I'm sure the director and producers would want you, the audience member to experience first hand.

So live and let go of your reservations of what comedy in theatre should be and go grab a ticket!

*****

I remember ‘Macbeth’ from School…as a teenager (some time ago now…) I became captivated by the written word and whilst my classmates groaned when the teacher began to speak the words ‘we’ll be studying Shakespeare’s…’ I was thrilled; Shakespeare’s verse was to me, poetic, beautiful, tragic and exhilarating.

Though I also vividly remember sitting in a classroom being disappointed by an actor’s interpretation of the infamous ‘to be, or not to be’ soliloquy in ‘Hamlet’ and watching productions which seemed lifeless and did not encapsulate the genius of Shakespeare’s tragedy’s. 

Shakespeare, I believe can sometimes be played too austerely, not wanting to offend, the production steers on the side of caution and the audience receives a good but uninspiring play which is why I was looking forward to see the International Tour version by Icarus Theatre Collective (they had previously produced a shorter version of the play at this year’s Edinburgh Fringe Festival).

Icarus Theatre Collective, renowned for its bold and striking productions which are both visceral and intellectual and with a body of work including ‘The Lesson’ (Eugène Ionesco), ‘Journey’s End’ (R. C. Sherriff) ‘Othello’ and ‘Hamlet’ (William Shakespeare) my expectations were high…and I was not to be disappointed.

In the Yvonne Arnaud Theatre in Guilford about an hour from London’s west end I watched intently, captivated and on the edge of my seat.

This production of Macbeth was exhilarating, tragic, intelligent, beautiful and blood-thirsty. The witches played by the terrific Richard Hay, Emma Carter and Sophie Brooke were wonderful to watch, their movements, bird-like and at points skilfully in unison were a refreshing take of the witches of 'Macbeth', far too often clichéd in both film and stage adaptations.

These witches, clothed simply brown hooded cloaks were living creatures on stage and I was waiting in expectation for the ‘double, double, toil and trouble’ scene which was excellently wicked and simply done, a unique choice of using five small plinths in a circle to represent a cauldron.

The set itself, simple yet striking is all you need to visualise the time and the action on stage. It’s slightly gothic, giving the production that sense of impending tragedy, darkly deeds and most of all its hauntingly atmospheric. Look out for the bane moon and the plinths on stage during the play…

Joel Gorf who plays the lead role as Macbeth is just mesmerising to watch. Brilliantly cast, he is the embodiment of Macbeth and plays the character with brutality but an underlying vulnerability that is not seen often in ‘Macbeth’ and hardly ever done well. His Lady Macbeth played by the wonderful, Sophie Brooke is a refreshing take on the character. Lady Macbeth is played wonderfully manic, a sexual and power-hungry creature, loosing control before our very eyes. I can’t imagine another actress doing this role, to me this portrayal encapsulates the character completely.

One added touch, which makes this production truly amazing, is the transformation of the actors doubling up into various roles and what is remarkable is that you don’t really notice. The transition is so seamless and the actors so talented that this feels natural and you’re clear as to who’s who on stage.

The success of this can be seen by Matthew Bloxham who plays Banquo, The Doctor and The Porter. Bloxham seamlessly changes to each character and it is through this change we see the distinct qualities of each. From a strong and loyal Banquo, a character endearing and heroic to the Porter - the fool in the play providing comic relief (brilliantly executed by the actor with excellent comic timing) to The Doctor, where I had to double take to see if this was indeed the same man, as with his hair slicked back in this scene (the actor has naturally curly hair) and a completely different stance, mannerisms and accent I was amazed by his versatility. 

The sound effects and music within the play is carefully done, which encompasses an almost cinematic feel to the production. Watch out for the chilling use of sound in the murder scene of Lady Macduff and child.

The fight scenes within this production of Macbeth are something to behold, choreographed brilliantly, they are almost terrifying. I could feel the adrenaline coursing through my veins, and I was a mere audience member sitting in the stalls. Gone from my mind were all the fight scenes in Shakespearian plays that I have seen on stage where the actors are being too careful and delicate in their movements.

These fight scenes are brutal yet beautiful and harmonious at the same time. Coupled with striking and complex lighting cues these scenes are one of the many highlights of the production. The opening battle in particular sets the tone for the play and is brilliantly executed by the cast of what appeared to me as very accomplished stage-combat trained actors. Most notable also is the final fight scene between Macbeth and Macduff (brilliantly played by Joel Gorf and Costa Chard) where the fighting is amplified by the excellent acting and emotional range on stage, Macduff’s vengeance perfectly executed by Costa Chard and is a joy to watch. 

And where would a production of 'Macbeth' be without the use of blood, such a powerful and emotive signifier and difficult to get right. Too much and it appears brash and senseless, too little and the audience is left wondering what the red-like substance is from the balcony seats. Let’s remember too that blood is messy, even more so when you are a mid-scale touring theatre company but Icarus Theatre Collective makes it work and deliciously well! After Macbeth has killed Duncan, the blood transfixes Lady Macbeth and it’s this signifier that tells the story of Macbeth’s bloody deed and the beginning of Lady Macbeth’s decent into madness.

So I implore you to find a venue near you and watch this for yourselves, this ‘Macbeth’ is something to behold, it pulls no punches, it develops these characters into flesh and blood human beings and the director, Max Lewendel is instrumental in making this happen. For without a concept and a vision and the execution of this vision by a stellar cast and stage manager this ‘Macbeth’ would fade into the background with the many other productions produced every year. As it is, it shines brightly and like it’s name implies, Icarus Theatre Collective has wings and long may it continue to be fearless in pushing boundaries, challenging it’s audiences and creating powerful and moving drama. 

A good play or film can lift your spirits and have you hanging on every word spoken or frame seen. It can make your heart race and the hairs on the back of your neck stand on end. The euphoria we experience brings the audience, whether it be theatre lovers or movie fans back again and again.

Sometimes, on those rare occasions when we emerge from the darkened cinema or the foyer of a theatre, we are left so in awe of what we have seen, a good play becomes something more and an aura of mystique surrounds what we have just experienced.