Five plays in five days – my recent trip to London allowed me to see some outstanding productions, as well as observe the vibrant London theatre scene.
Musicals — Many of these are American imports or shows that hope to go to Broadway. The Devil Wears Prada bombed in Chicago, but it is going strong in London. Other American musicals that made relatively quick exits from Broadway, including Back to the Future, are still running. Of course, there are the shows that seem to run forever – Phantom, Wicked,
Comedies tend to be more slapstick. The Play that Goes Wrong has bred a series of similar shows from the same group, as well as others from different authors.
The Shows I Saw
I had wanted to see Giant, starring John Lithgow, since it won rave reviews during a limited run at the Royal Court. Now it is in the West End (Broadway), and I hope it will come to NYC. Lithgow gives a stunning performance as Roald Dahl, the author of children’s books such as James and the Giant Peach, Matilda, and others. Lithgow’s performance is matched by that of Elliot Levey as his British publisher.
But this is another side of Dahl – either a bully or a man so wounded that he strikes out to protect himself. Or perhaps he just likes to stir the pot. The play is based on the repercussions of a book review he wrote in 1983; the book was about the Israeli attacks on Beirut. In his review, Dahl makes multiple anti-Semitic statements. While his British publisher and a representative of his American publisher try to find a way to smooth over the outcry, Dahl doubles down on his prejudice.
It is not a comfortable play to see – listening to his statements, some of which could be taken from any of the most virulent antisemitic internet sites, is uncomfortable. Watching his British publisher (who was part of the Kindertransport during WWII) is even more so. We never know why the publisher stays friendly with Dahl; was it just the money?
But the performances make it all worthwhile. Playwright Mark Rosenblatt leads us to the underlying question: do we judge an artist by their work or by their lives and beliefs?
Retrograde is a play I saw on a whim because it was one of the shows that had a Sunday matinee. Again, it was fascinating how this play resonated with our times. Playwright Ryan Calais Cameron is considered one of the rising talents in British theatre. The play focuses on the early career of Sidney Poitier as he is up for a major role on NBC, but the network wants him to sign a loyalty oath. This was in the 1950s, when both Senator Joseph McCarthy, HUAC (the House Un-American Activities Committee), and Red Channels, the newsletter that listed which media people were acceptable to hire, were still active.
But there is more – they also want Poitier to make a statement denouncing Paul Robeson, a friend and activist as well as a Communist. Poitier was already known as an activist for African American rights and was a friend of the Rev. Martin Luther King Jr.
Poitier must make a decision while the NBC lawyer pushes him to agree, and his friend, who wrote the script of the TV movie, walks a tightrope of conflicting loyalties. This script is his first big break, and without Poitier, it won’t get made.
This was a well-acted and well-directed play; Ivanno Jeremiah was excellent as Poitier.
Conon McPherson’s world premiere, The Brightening Air, at the Old Vicis typical of many of his plays – more character study than plot, with a definite Chekhovian air. While beautifully acted, the story never totally engaged me, nor did I have a sense of what he wanted to say. You will note some strong parallels to Uncle Vanya; a brother and sister are living a hardscrabble life in a dilapidated farmhouse, until their well-to-do brother arrives with their uncle, a blind priest. The two announce that the ownership and disposition of the farm is not shared by the three siblings, and a sale is possible, which threatens the living arrangements of the brother and sister. As usual with McPherson’s plays, there is mysticism, family drama, and intriguing, eccentric characters.
Yet, this production was beautifully acted, with each of the performers revealing the multiple dimensions of the sometimes-quirky characters.
How could I resist seeing a production of George Bernard Shaw’s Mrs. Warren’s Profession? I couldn’t particularly because it starred Imelda Staunton as Mrs. Warren and her daughter, Bessie Carter, as Vivvy Warren. Dominic Cooke, the director, trimmed the play to under two hours and made some other choices that, while interesting, did not clearly enhance the production. I don’t like to miss a word of Shaw’s dialogue. But Staunton and Carter are terrific; the Shaw dialogue sparkles, and you will leave the theatre thinking about each side of the argument.
I saw Here We Are at the Shed off-Broadway. While others found this last Sondheim musical confusing, I found it fascinating. The juxtaposition of two Luis Buñuel films using the same set of characters seemed so like Sondheim. When I saw that the National Theatre was going to produce the show – and the cast they assembled – it was a no-brainer. I had to see it again.
The cast includes several New York actors – including Jesse Tyler Ferguson, Deno O’Hare, Martha Plimpton as well as Paulo Szot and Jane Krakowski. Krakowski stole the show as Marianne, particularly with her second-act number, “Shine.” Szot was a standout as Raffael, the diplomat. Harry Hadden-Paton played the Bishop (originated in NYC by David Hyde Pierce). Joe Mantello repeated as the director. This is a show that you will either find thought-provoking and intriguing or confusing and boring.
Five days, five shows – I can’t wait to do it again.
