Dr Jekyll and Mr Hyde – February 2018

Experience: 6/10

Adapted by David Edgar from the story by Robert Louis Stevenson

Directed by Kate Saxon

Venue: Rose Theatre, Kingston

Date: Thursday 15th February 2018

This was a decent attempt to put Stevenson’s story on the stage, but suffered from the usual problems of such adaptations – having to shift scenes very quickly as well as coping with visual changes which are done much more easily on TV and film. The cast did a reasonable job overall, and Phil Daniels created two clearly distinct performances as Jekyll and Hyde. The addition of a singer for this production was largely wasted on me, and I found the gloomy lighting a problem at times, as with increasing age I need more light to see by, not less. But this performance certainly kept my attention much better than the afternoon’s offerings, for which I was grateful.

The set had to accommodate several locations, and while it wasn’t the most sophisticated I’ve ever seen, it did the job pretty well. An upper balcony stretched across the centre of the stage, with a spiral staircase at the left side. Underneath was a filler wall which could be either the doors to Jekyll’s sister’s garden or the fireplace of Jekyll’s flat. For other locations it was usually left open. There were doors at either side of the wide stage, and an additional door, coloured bright red, in Jekyll’s lodgings, this being the door to the lab. Once through this door, a tall rack of glass bottles containing coloured liquids masked the right-hand door, while a table and overhead light took centre stage. With all of the furnishings removed, the stage became a gloomy London street.

The costumes and décor all contributed to the murky nature of the production. Dark clothes and dark paintwork made for dismal surroundings, but the cast did their best to keep things moving, and for the most part it worked quite well. My main problem was with the maid, Annie. It took me a long time to adjust to her accent, probably because it travelled round the British Isles at a fair lick. If it had settled down in one place, I would have been alright. Steve and I heard hints of Irish, Scottish and West Country, and that, combined with a tendency to gabble her lines, meant I got very little from her part at all. Since she was the one in the lab with Jekyll/Hyde at the end, when the final revelations were being presented, I lost most of the connection I’d had with the plot and found myself looking at my watch more than once. Even so, we enjoyed ourselves well enough, along with the rest of the audience.

© 2018 Sheila Evans at ilovetheatre.me

Romeo And Juliet – March 2015

Experience: 7/10

By William Shakespeare

Directed by Sally Cookson

Venue: Rose Theatre, Kingston

Date: Thursday 19th March 2015

One of the lovely things about the number of Shakespeare productions being put on these days is that we get a chance to compare and contrast performances much more quickly than before. This is a fairly typical case: an early performance of one production followed a few weeks later by a completely different version with a reprise of the first one close on its heels. There were some interesting similarities amongst the many differences, and both had a lot to offer with their individual take on the play.

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Smack Family Robinson – April 2013

Experience: 7/10

By Richard Bean

Directed by Richard Wilson

Venue: Rose Theatre, Kingston

Date: Thursday 11th April 2013

Richard Bean rewrote this play specifically for this venue, relocating the drug-retailing family to Petersham and including lots of local references which some of the audience found particularly amusing; presumably we weren’t the only non-residents attending the performance who didn’t understand all these jokes, although we got the gist most of the time. Aside from the local stuff, there were a lot of very funny lines, though not enough to make this more than a patchy comedy at best, but as the funny stuff was well worth the trip we’re not complaining.

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Rutherford & Son – March 2013

Experience: 9/10

By Githa Sowerby

Directed by Jonathan Miller

Company: Northern Broadsides

Venue: Rose Theatre, Kingston

Date: Thursday 21st March 2013

This was an excellent performance marred only by some seriously inconsiderate coughing from a large number of audience members, particularly during the first act – get some cough sweets! Having said that, the audience were nicely responsive to the play, gasping a bit when two characters had an unexpected kiss and when Rutherford senior came out with some of his more outrageous comments. We applauded warmly at the end as well, and Steve and I left feeling very uplifted and happy – a marvellous experience.

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The Vortex – February 2013

Experience: 7/10

By Noel Coward

Directed by Stephen Unwin

Venue: Rose Theatre

Date: Monday 18th February 2013

This is another good production by the Rose. It was a controversial play when first put on stage, but after nearly ninety years the adultery and drug-taking seem more appropriate to a soap opera, so the tension has to come from the relationships, and that depends heavily on the characterisations. The choices made in this production seemed to emphasise the comedy at the expense of the darker side, so while I accept this interpretation, I felt it was weaker than other productions we’ve seen. Still, it was an enjoyable evening, and I do think they deserve better audiences.

The set was nicely done. At the centre of the stage was a large square platform made to look like a blank canvas, thrust forward a few feet into the pit area. There were large studs round the sides and streaks of blue paint on the edges around the central acting space. Two corner pieces of a large picture frame were positioned above and behind – the one on the right leaned a little drunkenly inwards – while a small piece of frame was positioned just behind the platform at ground level.

The opening scene was set in Florence’s drawing room at the Lancaster’s town house. The furniture was rampantly 1920s Art Deco, with a red lips sofa, chairs and enormous stool seat. A gramophone and some records stood on the floor front left, and there were double doors standing in splendid isolation centre back. Other furnishings included a female nude lamp stand, period telephone and lots of cigarettes.

The second act was a similar room in the Lancaster’s country house, and the difference was telling. An old-fashioned fireplace stood centre back with two small padded stools in front, there was a piano on the right and a table with two chairs on the left. The style was much older and suggested a more traditional household. The third act, in Florence’s bedroom, was more flamboyant, with lots of cushions and throws. The bed was in the centre, with a dressing table to the right and a window back left.

The simplicity of the set was refreshing, and certainly allowed for quick changes, although as they took intervals between each act that wasn’t really an issue. I notice that many of the Rose’s own productions tend to use picture frames in one way or another, which raises the question in my mind of whether they’re truly comfortable with such an open space yet? Having said that, I’ve liked the sets very much, and while I prefer period pieces such as this play to have more elaborate sets, this one did the job very well.

The performances were all fine too. David Dawson was nicely nervy as the son, Nicky, while the young lover Tom, played by Jack Hawkins, was suitably virile. The two ‘sensible’ women, Helen and Bunty, were well portrayed by Rebecca Johnson and Sophie Rundle respectively. Coward packed this play with minor characters whom we don’t really get to know, and although the weekend party in the country would have been a bit thin without them, the poor actors don’t get much to do.  Even Florence’s husband is hardly to be seen, although William Chubb got across this poor chap’s unhappy personality very well in his short time on stage.

I felt the main weakness was in the portrayal of Florence, Nicky’s mother. Kerry Fox was fine with the early scenes, showing us her character’s shallowness and need to be admired by all and sundry. In the final scene, however, I felt there was no discernible change. She’s meant to be so shaken by discovering Tom’s ‘unfaithfulness’ (and just how can a lover be unfaithful to an adulterous wife?) that she almost breaks through her delusions to a more truthful existence. This just didn’t happen from where I was sitting. We seemed to be going through an interminable closet scene from Hamlet, with the arguments going round in circles and not reaching any definite resolution.

Both Steve and I felt this was a valid interpretation of the scene, showing a vicious circle in which nothing would have changed, but it wasn’t as strong a version as we’ve seen before. We didn’t feel the son was near to killing himself, so the tension just wasn’t there; perhaps they’ll tighten this up during the rest of the run.

© 2013 Sheila Evans at ilovetheatre.me

The Second Mrs Tanqueray – October 2012

7/10

By Arthur Wing Pinero

Directed by Stephen Unwin

Venue: Rose Theatre, Kingston

Date: Thursday 25th October 2012

As Steve remarked, you wait years for a Pinero and then three come along at once! (The Magistrate at the National and Trelawney of the Wells at the Donmar are the other two – we’ve booked.) We saw this play thirty years ago at the National, with Felicity Kendal and Leigh Lawson playing the Tanquerays alongside a classy support cast. The story had faded; all I could remember at this distance was that Felicity Kendal was a troubled woman with a past, that I felt sympathetic towards her, and that we enjoyed the play. Not a lot to go on, but enough to make us keen to see this revival at long last.

The set had another picture frame straddling the stage, a slim one which didn’t intrude too much into the acting space. The opening scene was set in Aubrey Tanqueray’s rooms at the Albany, at the end of a meal with two of his friends; the dining table with appropriate debris was on the left of the stage with a cabinet behind it, a wide doorway screened with a curtain was centre back and a chair, sofa and fireplace were on the right hand side. For the rest of the play, the location was Highercoombe, Mr Tanqueray’s country house. The second act was in the breakfast room while the final acts took place in the drawing room. The breakfast room had the table on the right of the stage with a different sofa and chair on the left and no curtain over the doorway. The change took a little time, and Mrs Tanqueray had already turned up before it was complete. She waited, looking somewhat bored, while the servants completed their task, then sat down to wait for the start of the scene. During the interval the furniture was completely changed, with a circular seat over on the left, a sofa on the right with a piano behind it and various tables and cabinets. Everything was in period style, as were the costumes, and despite the sparseness of the design it worked well for this production. Not as sumptuous as the National, of course, but better for this space.

The plot was relatively simple, but there was some back story we had to be told during the first act. Mr Tanqueray was a widower with a daughter in a convent whi was shortly due to become a nun. The following day he was to marry again, and his wife had a past, which was why he hadn’t mentioned the impending nuptials earlier to his friends. There was a good deal of discussion as to the social consequences of marrying such a woman, both in terms of Tanqueray himself and in relation to Sir George Orreyed, who had himslef only just married another scarlet woman, much to his mother’s distress.

We learned a lot of this from the conversations between Tanqueray’s friends; Tanqueray obligingly took himself off to write some letters – the 19th century equivalent of sending a few texts. To avoid being disturbed, he went into the next room, so his friends could gossip freely, and what fun it was! Cayley Drummle, Tanqueray’s closest friend, stayed after the others had left to get more information about the bride-to-be, and this was followed by a visit from the lady herself, so by the end of the first act we were pretty well acquainted with the situation. The future Mrs Tanqueray had made her living by associating with a series of men, not actually married to them but adopting their names and being a charming hostess to all their friends. Aubrey was convinced that she’d been treated badly by each and every one of these men (the brutes!) but I wasn’t persuaded so easily. With Tanqueray’s young daughter Ellean (pronounced Ellie-Ann) returning home after receiving ghostly guidance from her deceased mother, there was very little likelihood of this second marriage ending happily, and so it proved. We’d both forgotten the dramatic conclusion to the play, but it was not unexpected given the circumstances.

The picture of Victorian marriage painted by Pinero was certainly unflattering, and possibly more accurate than not. Many of the social niceties of those times no longer apply, of course, so I had to be patient occasionally as characters went through agonies over some trivial difficulty which wouldn’t raise an eyebrow today. But there was plenty to enjoy as well, and we laughed often throughout the performance. I felt that this production was taking a deliberately lighter tone than the National’s, making it more of a melodrama. The emotions were more exaggerated, and while we felt kinder towards Paula during the second half, she wasn’t a sympathetic character this time with her temper tantrums and shallowness. (Felicity Kendal, just post-The Good Life, was an angel, of course, and entirely sympathetic – how dare these men think anything bad about her!)

Laura Michelle Kelly showed us Paula’s nervousness and waywardness along with some of her charm and intelligence, but I wasn’t always clear why Aubrey found her attractive. Her dignity started to show through in the later scenes, and there was a sense that but for misfortune she might have been both a decent human being and acceptable to Victorian society. James Wilby did reasonably well as Aubrey Tanqueray, but despite his ability as an actor he seemed to be rushing his lines so much that I missed many of them – very puzzling. Rona Morison was suitably priggish as Ellean, with a noticeable change when she arrived back from Paris, and Joseph Alessi gave perhaps the best performance as Cayley Drummle, Tanqueray’s confidante, gossip-monger and the life of the party. There were good supporting performances from the rest of the cast as well, and the production was nicely balanced.

It was good to see this again, and I hope we don’t have to wait so long for our third opportunity.

© 2012 Sheila Evans at ilovetheatre.me

Our Country’s Good – February 2012

By Timberlake Wertenbaker

Directed by Alistair Whatley

Company: The Original Theatre Company

Venue: Rose Theatre, Kingston

Date: Thursday 2nd February 2012

We saw this play many years ago at the Royal Court (1988) where they played it paired with The Recruiting Officer, the play being rehearsed by the convicts. The casts were the same, so we had all the fun of seeing the actors rehearse as convicts and then play the same parts for real. As it happens, we’re going to see The Recruiting Officer in a few weeks, as Josie Rourke has chosen that play to start her Donmar reign; although the actors won’t be the same, it will be interesting to see the combination again.

The Recruiting Officer is a very funny play; Our Country’s Good makes full use of that comedy to lighten the darkness it’s exploring – our treatment of convicted criminals a couple of centuries ago, which just happens to be very similar to current events in many ways. Even if we hadn’t seen the play before, we had plenty of advance warning that it was a serious piece as we groped our way to our seats through thick fog. (Oh alright, it was only a light mist, but I have to keep my spirits up somehow.)

The set was evocative; there were two wooden frames which dominated the stage, and one of them had some pulley tackle attached which could have been on a ship or part of a construction site, both appropriate for the play. There were wooden boxes scattered around the place as well, and these performed a number of roles – mainly furniture, but they even stretched to a rowing boat at one point. A table was brought on from time to time as needed and there were blankets for the stage curtains; that was about it. The convicts were in tatty clothes of the period, while the officers wore splendid red coats and wigs. There was also a Reverend dressed in sombre black. As almost everyone doubled up at least once, the women all played officers as well – one played the parson – and they all did a very good job.

During rehearsal

Our Country’s Good

The opening scene is set on the ship taking the convicts out to Australia. As one chap was being flogged by a couple of the officers on the central frame, the other convicts huddled on the front of the stage, singing a song. The image of brutality was very clear. The next scene introduced us to the Captain and some of the officers. Their conversation covered the nature of the penal colony they were now running, their differing attitudes on punishment vs. rehabilitation, and the unusual flora and fauna to be found in this strange land. Despite professing some enlightened views about providing a civilising influence on the convicts, I noticed it was the Captain himself who was the first to shoot something.

We then met Second Lieutenant Ralph Clark, a young officer missing his wife back home terribly and keen to find some way of earning his superior’s approval and preferment. One of the men suggested to him that he stage a play using the convicts as his cast, and he decided to act on this. The rest of the play showed us the casting process, the convicts’ different attitudes and abilities, the response from the officers, especially those who objected to the play being put on, and the developing relationship between Ralph and Mary Brenham, his lead actress and one of the few convicts who could read. The final scene showed the start of their performance, with the stage audience on the other side of the curtains as we watched the back stage preparations. From the reactions we could hear, this was going to be a total success, and rightly so.

There was so much meat to this performance that it’s hard to know where to begin. The story was told very clearly, and at times it was difficult to watch. The abuse of these people, treating them as sub-human when they were mostly ill-educated and poor, was beyond moving. These were harsh times, and people were being transported for stealing a loaf of bread. The number of lashes needed to be effective was being discussed by the officers at one point, and two hundred seemed to be a reasonable amount to them – it’s clear they never expected to be on the receiving end. I soon found myself longing, as the prisoners did, for the relief of a rehearsal scene; even so, the author cleverly increased the tension by having the most unpleasant officers invade the final rehearsal we see and, overriding Ralph’s protests, abuse the convict actors horribly. It only stops because one of them, the most enthusiastic actor of the troupe, starts performing and the others join in, a brave choice in the circumstances but the only possible one if the play was to go on.

From time to time throughout the play, one of the natives came on stage and commented on what he saw. At first he thought these strange white people were part of a dream, but it didn’t take him long to realise they’re no dream; nightmare more like. Just before the final scene, as they were setting up the stage, the native appeared again but this time he was covered in sores from the diseases the white folk have brought with them. This oblique referencing of the natives’ experience was very powerful, as it emphasised both the impact which the new arrivals had and their disinterest in the native population – two hours of soapboxing wouldn’t have been so effective.

I want to remember so much about this play that I know I won’t be able to get it all down in time. There were so many layers that I’m still discovering things as I write. The discussion among the officers showed us their brutality, and with the doubling, it emphasised for me that the officers and men were just as brutal and uncivilised as the prisoners, but with the power they had they could express it more easily. There were educated prisoners as well such as Mary and John Wisehammer, who was also interested in Mary but had to watch as she and Ralph gradually became an item.

Our Country’s Good

Harry Brewer represented the guilty conscience, as his obsession with the ghost of a man he’d hanged on ship eventually drove him to madness and death. His relationship with Duckling Smith, in which he wanted some kindness and she withheld it until it was too late, showed the difficulty for women in those conditions. They were expected to provide ‘comfort’ for the men, but how could they then have any affection or tenderness in a relationship?

Ralph’s gradual change from dedicated husband to Mary’s lover was nicely done, and there were many lovely moments in the performance. I did find it hard to hear the lines occasionally – Liz Morden’s story was particularly quiet – but it didn’t stop me understanding what was going on. The music was good – we like traditional folk songs – and the cast did a fantastic job. It’s still early in the tour, so it may even improve, though we were very happy with our experience.

It’s a dark piece covering a difficult subject, and it’s a shame there weren’t more people in the audience to appreciate this excellent production. I can understand the difficulty, but this is definitely a modern classic – should be done in schools if it isn’t already – and I wish them every success with the tour.

The Original Theatre Company website – www.originaltheatre.com

© 2012 Sheila Evans at ilovetheatre.me