I’ve held off saying anything about this but it was press night last night so I see no problem. It’s 3 hours 20 minutes, plus one interval and Ralph Fiennes is on stage for almost the whole of it, talking for a good half of that, and he is perfect. It’s unfair to concentrate on him though, as there’s not a dud performance in it. OK, there were a couple of minor glitches but it was a preview. They may well add more performances – keep an eye out and grab it if you can.
A brilliantly written, astonishingly well staged examination of morality in the virtual world. A grey interrogation room opens up to show a very beautiful virtual reality in which people can experience anything they want to. Is it acceptable to rape and murder a child when you know the ‘child’ is really a willing adult who wants to partake and the the ‘child’ will be resurrected instantly? This play will not give you an answer but I guarantee it will leave trying to work out your own answers: I haven’t finished yet. This is easily the most important play I’ve seen this year and really should be seen by anyone interested in the Internet.
A great little comedy about a couple in their 40s inviting a younger couple round for a nookie. It’s not for children but don’t expect anything to be explicit other than the language. It’s actually more of a comedy about class, manners and relationships than the sex comedy you might expect. The cast are mostly billed according to their fame on TV: Charlie Brooks and Tanya Franks from Eastenders, Jason Durr from Heartbeat, with the exception of Off West End Award nominee Ralph Aiken, but don’t let that worry you. Unlike some famous actors from television, these four are all good stage actors. Very enjoyable all round.
I haven’t reviewed theatre lately as everything I’ve seen has been on for ages, but here’s a quick summary of my thoughts for anyone who might be interested.
King Charles III (Wyndham’s). I was initially put off on hearing it was in verse but I was wrong. Don’t let it put you off as it’s a great satire. Tim Pigott-Smith is perfect as the pig-headed King who can’t leave the government to govern. Harry is trying to learn to live like Common People with a girl who studies art at St Martin’s College, leaving it up to Kate to help William try to move the monarchy into the 21st century. I won’t tell you the outcome as if you haven’t seen it yet then you must.
3 Winters (Lyttelton). Croatia’s history from 1945 to (almost) the present day, as illustrated in its effect on a specific family. It’s a good story, well acted but the first half is too slow. It really picks up after the interval and it doesn’t need to be as long as it is.
Go See (King’s Head). I saw this on the last day of its run so didn’t review it, but it may come back. A tender examination of attitudes to sex in the 1980’s thanks to Norris Church Mailer. It’s a shame all the fuss was about it being the only play by Norman Mailer’s wife, rather than the two excellent performances by Peter Tate (great in American Justice too) and Lauren Fox.
39 Steps and The Play That Goes Wrong – both very silly and very funny, perfect to cheer you up in the depths of winter.
Finally, I saw Beatriz Stix-Brunell as Alice in the Royal Ballet’s Alice in Wonderland. The fact that she came over as such a different character to the original by Lauren Cuthbertson just goes to show how Christopher Wheeldon’s choreography, Joby Talbot’s music and Bob Crowley’s designs have combined to make this ballet the first masterpiece of the century. I hope to see many re-interpretations over the years.
Violence, bad language, blasphemy and a bit of nudity. If that offends you, it’s even more reason why you must see this play. Philip Ridley is probably the most exciting playwright in Britain today and even if this is not his greatest play, it’s a very good example of his work. It starts with the tense domesticity of The Fastest Clock in the Universe and ends in a surreal vision more akin to Mercury Fur. One of the more extreme characters even suggests that we are seeing the end of the old world and the beginning of their new one. Despite its in your face, violent presentation, there is so much subtlety and ambiguity that any description is impossible: just go and see it and ask yourself why doesn’t the National Theatre have the courage to commission him?
If Michael Billington’s four star review in the Guardian can’t pack them in, my little blog will hardly matter. Shape of the Table was brilliantly performed by this American company, and to say Pentecost was not quite as good is hardly a criticism, but I suspect the gem will be The Prisoner’s Dilemma which I saw a very good version of a year or two back. Written following the fall of the Berlin Wall almost exactly 25 years ago, it is fascinating to see how David Edgar’s analysis has played out – it’s certainly a more accurate forecast than any of the politicians gave us. Two parts of the trilogy in one day, a Philip Ridley next Thursday and a brand new opera to come on Saturday. What a week!
Aeternum was the star piece in this triple bill and Claire Calvert was the star in Aeternum. If there were another matinee I’d go back and see it all again and maybe appreciate the other two ballets better. I missed Aeternum last time as I was nodding off after 24 Preludes due to the Chopin effect and went home early. This time, the preceding ballets were more interesting. They were both narrative ballets – they are obviously coming back into fashion – not that I’m sure what the story of Cermemony of Innocence actually was. It was good to watch and Britten’s music was excellent. The Age of Anxiety had a much clearer story, apparently based on an Auden poem but very reminiscent of Coward’s Design for Living. Set in New York to music by Bernstein, it made me think of Jerome Robbins’ choreography for West Side Story. I knew it was an unfair comparison: the dancing was superb but I still haven’t seen a British company manage to swing like that, although Boston Ballet did when they visited London. These were only the second performances of both works and I suspect they’ll be just that bit better when they are revived – they are certainly worth seeing again. For Aeternum, everything was superb: the choice of music by Britten, the orchestra under Barry Wordsworth, the choreography by Christopher Wheeldon and the dancing, but it felt like it was all there to support the stunning performance by Claire Calvert. She is still only a soloist but on the basis of this I strongly look forward to seeing her in other major roles.