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Posts Tagged ‘The Old Vic’

Keeping It Real

Thursday, April 29th, 2010

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The Old Vic’s new production of Tom Stoppard’s play The Real Thing is the first major revival since Stephen Dillane and Jennifer Ehle played the playwright Henry and his actress wife Annie at the Donmar in 1999. Rather than Ehle, we have Hattie Morahan and Toby Stephens replaces Dillane. Both are very good.

The play has sensibly not been updated from its 1982 original setting (though apparently a discussion about VCRs has been deleted), and the central themes of how a brilliant, witty and charming man can still find himself having to grow up from his literary Peter Pan existence and confront the realities of life and love still resonate as truly as they did in earlier productions.

Annie Mackmin’s fluent, lively and often hilarious staging does an exemplary job of bringing out the elements which many other productions might ignore, such as the meta-theatricality of the whole conceit – the play begins in media res with a hugely mannered extract from Henry’s latest, House Of Cards, and continues with extracts from ‘Tis Pity She’s A Whore, which Annie is appearing in, and even rehearsals of the dire agitprop play by a left-wing former soldier, Brodie, that she champions and that Henry is dragged into rewriting.

There’s also a beautiful counterpoint to the comedy in the sense that virtually all of the characters – including Henry’s first wife Charlotte, splendidly played by Fenella Woolgar, and his daughter – find themselves abandoned and alone at some point. It’s a fascinating conceptual reading of the play, which, without making it sound unduly ‘difficult’, closely unifies it with Stoppard’s lifelong interest in language, games-playing and dramatic inversion.

This is a thoroughly compelling and intellectually satisfying reading of the play that foregrounds both the wit and the poignancy, with a more bittersweet account of the ending than I’d ever imagined from the text, or from other productions. The Monkees’ ‘I’m A Believer’ might be on the soundtrack, but what Henry and Annie presume is open for debate.

For more information, please go to www.oldvictheatre.com.

Broadway To The West End…and back?

Tuesday, January 19th, 2010

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With the news that the highly acclaimed (and financially successful) Broadway production of Hair will transfer to the Gielgud Theatre with the full New York cast intact, the question arises…will this start a precedent among transferring shows?

Whilst it isn’t making history as the first musical to transfer its entire cast across the Atlantic, (despite many reports to the contrary, it was in fact Company that came to the West End with Broadway cast intact), we are left wondering what deal British producer Sir Cameron Mackintosh has done to achieve such a feat.

It’s generally accepted that short run plays featuring whole casts is now the norm, particularly from producing houses, such as the National’s The History Boys, and The Old Vic, who have seen not only the entire cast of the Norman Conquests head to the Great White Way, but also their Bridge project featuring American and British actors play at the BAM in New York and the Old Vic itself, and will continue to do so for the next two years.

Every now and then a Hannah Waddingham (Spamalot) will appear on Broadway, while we get a Sierra Boggess (Love Never Dies) here in the West End, but a whole musical cast is an interesting prospect. It strikes me as odd that we could not have had a UK cast for this revival, as I know there are enough performers out there desperate for work;  the Drama Schools and Musical Theatre courses are more popular than ever in this country.

But, Cameron Mackintosh, a man who was number two in the The Stage‘s 2009 theatre industry power 100 and hasn’t been out of the top 10 since it started, has rarely put a foot wrong in recent years. After all, we are talking about the man who threatened to pull the entire Broadway production of Miss Saigon if original London star Jonathan Pryce was not allowed to repeat his performance as The Engineer. He knows what he wants and how to get it, so I can only assume the Hair cast was a means to an ends. So now I want to know what the end is.

Sir Cameron always has a little something up his sleeve, so I for one wait with baited breath to see what it is…

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