Posts with the label play
Showing posts with label play. Show all posts
Showing posts with label play. Show all posts
Wednesday 24 May 2017
Angels in America, National Theatre | Review
Angels in America
National Theatre, Lyttleton Theatre
National Theatre, Lyttleton Theatre
Reviewed on Saturday May 13th 2017 by Olivia Mitchell
★★★★★
Angels in America has got to be one of the National Theatre's most eagerly anticipated productions and one of the hottest tickets in London right now. The production boasts a line-up of incredible stars with the entire run sold out apart from lottery and day seats. Due to the sheer size and epicness of this play, it is rarely staged so seeing this revival from director Marianna Elliott is a once in a generation opportunity.
The show is big. The glossy A4 programme is big, the set is big, the cast names are big and the length is big. So much is packed in and the scope of the production and the ideas within it are vast and although slightly overwhelming at times, it's an extremely well put together and a mesmerising production.
The cast includes Broadway's Nathan Lane, Olivier-winner Denise Gough, NT stars Russell Tovey and James McArdle and Hollywood film star Andrew Garfield, who had performed in shows at the NT before heading to Hollywood. The acting is utterly sublime, with ridiculous talent and confidence that is breathtaking throughout.
Tony Kushner's two-part play tells the story of the emerging AIDS crisis of the 1980s as it hit the gay community in New York, by as cast of both real life and fictional characters who are living through it. Both parts are dense but liberating in the way they play with form, moving from domestic realism to hallucinatory fantasy, especially in part two Perestroika.
Part one, Millennium Approaches is full of angst and drama but is extremely humorous at points. A homeless woman chaotically exclaims "In the new century I think we will all be insane", when get to part two, Perestroika, twenty-five years later we see that that premonition may have come to be.
Nathan Lane manages to have both our hate and sympathy as the vicious, closeted lawyer Roy. Denise Gough lives right up to her superstar name and she embodies the role of the drugged out, angry and upset, Harper, giving a mesmerising performance. James McArdle is wonderful as the infuriatingly sensitive Louis. Russell Tovey brings pain and innocence to the confused Mormon Republican Joe and Nathan Stewart-Jarrett is fantastic as Belize who is perhaps the only sane one of the group. But it's Andrew Garfield who steals the show. He is breathtaking as the shows lead, Prior Walter. Garfield is intense and committed to the role with just the right amount of wit and grit to make this somewhat wacky character come to life in perfect colour on stage.
Although the context of Angels in America is different in 2017, especially with regards to AIDS, the play feels extremely relevant and the revival couldn't have come at a better time. The action looks back at the time Reagan was in office and studies his right-wing policies which are scarily analogous with Donald Trump's. This makes everything even more resonant and emphasises the fractured America where opinions on gender, wealth and race have unfortunately not changed.
This play is unlike anything else, with a mix of angsty, sardonic, gloomy surrealism which is a roller coaster from moment one. There are so many moments of shock that jump out like an endless stream of consciousness and it's really like being inside Kushner's brain as his thoughts vomit out. Although that doesn't sound particularly pleasant, it really is. There's something magical and truthful about the craziness. This play is not likely to be seen again in the near future and this production of the modern masterpiece is sure to stay with everyone who sees it until the next one comes about. Angels in America is epic but the most important thing is that it promotes discussion and remains relevant.
Angels in America will be broadcast to cinemas by NT Live from 20 July.
Sunday 30 April 2017
Late Company, Finborough Theatre | Review
Late Company
Finborough Theatre
Finborough Theatre
Reviewed on Friday April 28th 2017 by Olivia Mitchell
★★★★
Late Company is one of the most moving and well executed plays I've seen. Written by award-winning Canadian playwright, Jordan Tannahill when he was only twenty-three, it follows two families dealing with the roles they played in the suicide of a young boy.
Michael and Debora Shaun-Hastings are the parents of teenager, Joel who died by suicide a year earlier. They have invited the Dermots: mother and father Tamara and Michael and their son, Curtis who played a big role in the bullying that led to Joel's suicide, round for dinner to build bridges and get "closure". The play is a study of grief, cyber bullying, parental guidance and homophobia among many other issues.
Of course this is a heavy subject and there's no avoiding that but the admirable thing with this play is that nothing is pushed or over emoted. The issues come forward naturally and the audience become greatly involved. The intimate setting, brilliant acting, writing, stage design and lighting all play a key factor in allowing the audience to get lost in the production. At points I forgot I was watching as an audience member and really felt that I was at the dinner party.
The small cast of five are all equally outstanding with Alex Lowe, Lisa Stevenson, Todd Boyce and Lucy Robinson playing the roles of the parents in a heartfelt way but fully showing the flaws in their parenting techniques and world views. David Leopold is exceptional as Curtis, embodying the teenage withdrawal and innocence perfectly and conveying so much with few words and short sentences.
Praise must be given to Michael Yale for his faultless direction which established the permeating emotion to seep into every audience member. There was such intimacy but it didn't feel overwhelming, almost as if we were all flies on the wall watching the dinner party unfold. Yale's handling of the script is sympathetic, pure, relevant and intelligent.
Late Company is more relevant now than ever and the entire company manages to bring the issues forward in a stunning way. It's an engaging look at the society we live in and the how impacts of what we do, which may seem innocent, can affect people. It encourages us to look at our own actions and to make sure we face problems head on instead of avoiding them and potentially facing horrific consequences. These issues surround us at all times so there's no point pretending they're not there and Late Company has done a wonderful job at bringing them to the forefront.
Late Company runs at the Finborough Theatre until 20th May 2017
Photo credit: Charlie Round Turner
Saturday 29 April 2017
Alice's Adventures Underground, The Vaults | Review
Alice's Adventures Underground
The Vaults
Reviewed on Thursday April 27th 2017 by Olivia Mitchell
★★★★★
Alice's Adventures Underground at The Vaults underneath Waterloo station is not just a show, it's an experience. An experience which everyone should have. It's magical, mystical, unique and altogether brilliant.
Based on the books by Lewis Carroll, we travel around the whimsical Wonderland meeting a variety of characters in a number of different, fantastically designed locations. The great thing about this event is that it's always different and everyone's experience is completely unique. Depending on your choices, you follow varying routes and the multiple casts and audience members mean that everything is always different.
Upon entering Wonderland, we're ushered into a room filled with photos, chandeliers, dusty books and of course, a looking glass. A blonde haired, blue eyed girl appears and seems to have forgotten who she is, asking "who am I?" before disappearing and leading the way for our adventure to begin.
The excitement can be felt in the room as we are taken to make our first decision of the night: 'eat me' or 'drink me'. This determines which path we will take, and with 24 adventures happening at the same time, it's basically impossible to be part of the same show twice. We're given a playing card and split into suits who are each led by a performer who guides us madly through the labyrinth of wonderland.
The impressive thing about this immersive experience is how seamless it is. Not a beat is missed and each moment is so well planned that nothing is clumsy or rushed. It's mind-blowing how slick it is. The characters are crazy and mad but performed perfectly, I particularly loved Zara Plessard as the Queen of Hearts. I don't want to give too much away about the characters and story because not everyone sees them all and it's definitely best to go into this without any preconceptions but every moment is truly brilliant and the its honestly does get curiouser and curiouser at every turn.
If you get the chance to go to this magic underground then please do! You're guaranteed a theatrical experience like no other, it's bewildering, breathtaking, beautiful and an absolute must-see.
Alice's Adventures Underground runs at The Vaults until 23rd September 2017.
Saturday 8 April 2017
The Winter's Tale, Barbican | Review
The Winter's Tale
Barbican
Reviewed on Thursday April 4th 2017 by Esther Matthews
Reviewed on Thursday April 4th 2017 by Esther Matthews
★★★★
As an avid Shakespeare lover I am always a little tentative to see a new production of the classic tale but I was pleasantly surprised by Cheek by Jowl theatre companies take on The Winter’s Tale. It was simple, funny and emotional.
With very minimal set it was a little worrying to step into the theatre and find two very simple pieces on stage but that fear vanished as soon as I realised someone was sitting on the stage, back to the audience and perfectly still. There was a sense of excitement from the audience as they came in to discover this figure. As she left the stage the lights when out and the play began. The lighting and sound engineering blew me away, with a simple set you needed something to set it apart and these two things combined were it. Your mind wasn’t allowed a second to rest, there was always something new to capture your attention.
I particularly enjoyed the musical aspect of the piece. Paddy Cunneen did a brilliant job of adding in just the right amount of music to set the tone of the piece. There were live instruments being played throughout and even songs written for the play.
I particularly enjoyed the musical aspect of the piece. Paddy Cunneen did a brilliant job of adding in just the right amount of music to set the tone of the piece. There were live instruments being played throughout and even songs written for the play.
I don’t think I can pick a cast member that didn’t keep up physically and emotionally. The energy on the stage was electric from the off. Orlando James marvelled in the lead role, his energy alone could have sustained the whole piece.
My only slight worry is that the company knew the piece a little too well. There were some moments where the choreographed movement was a little too perfect, it took away from the delusion in the king’s mind. There needed to be a sense of discovery which didn’t quite happen in some scenes.
My only slight worry is that the company knew the piece a little too well. There were some moments where the choreographed movement was a little too perfect, it took away from the delusion in the king’s mind. There needed to be a sense of discovery which didn’t quite happen in some scenes.
I highly recommend seeing The Winters Tale. Director Declan Donnellan brings a modern and fascinating twist to one of Shakespeare’s latest plays and does it beautifully. So much heart is put into the production, you will be overflowing when you leave the theatre.
The Winter's Tale runs at the Barbican until April 22nd
Photo Credit: Johan Persson
Tuesday 14 March 2017
Shirley Valentine (UK Tour), New Victoria Theatre | Review
Shirley Valentine
New Victoria Theatre
Reviewed on Monday 13th March 2017 by Glenys Balchin
Reviewed on Monday 13th March 2017 by Glenys Balchin
★★★★★
I am old enough to have seen the Oscar nominated Shirley Valentine film nearly thirty years ago but never the play. Therefore I was not sure whether or not I would enjoy the one woman show without the famous Costas played by Tom Conti in the film. But I was not disappointed. Jodie Prenger shone as brightly as Pauline Collins had thirty years ago as Shirley Valentine.
For the duration of two hours Jodie Prenger marched and swaggered to dominate the stage and all the time cleverly engaging and drawing in her the audience. You totally forgot she was on her own as she brought the other characters to life on stage. I would certainly recommend this show to my friends but with the caveat that they are women of a certain age.
The play itself is about a bored and disillusioned Liverpudlian housewife who is trying to find her identity and get back her “unused life”. Her adventures starts when her best friend invites her to go to Greece on holiday with her. She takes up the offer of a trip as she feels dissatisfied, neglected and ignored by her husband and family, now that her children have flown the nest. She goes to Greece for a two week holiday but decides to stay and as she feels no one would miss her at home.
Don’t be mistaken into thinking this is a Greek tragedy, it is a heartfelt emotional comedy with Jodie Prenger performing with impeccable comedic timing to make you laugh and cry at the same time. Willy Russell is amazing in understanding the psyche and intellect of women. This comedy may have been written three decades ago, 1986 to be exact, but is still just as relevant today, which in a way is a sad thing for me to have say, as you would have thought that we would have moved on. On saying that the age of the leading lady probably would now be older and there certainly are more opportunities for women these days to follow, as long as they have the right encouragement at home.
As for depicting the era I thought the kitchen set was a throwback of my Mum’s kitchen in the eighties when I was growing up so, for me it was a real nostalgic trip down memory lane. I thought it was a good decision to keep to the original decade of when the play was written rather than updating to the current day. The special effect when Jodie Prenger cooks eggs and chips during the play added an authentic touch plus Jodie really knew how to work the kitchen so fully believable.
My only criticism on not depicting the 80’s accurately would be Jodie’s hair which was more the fifties style rather than over permed shaggy haircut or that of the late Lady Diana’s hair style. The music could have been more eighties and when she was in Greece a little bit more Zorba but that may have distracted from the performance.
There is no doubt that Prenger owns the stage and mesmerises her audience with her larger than life personality which carries this revival of Shirley Valentine from the opening to the curtain call. To give an amazing performance like Jodie delivered must be attributed to the way she has been directed by the legendary Glen Walford, who has skilfully nurtured Jodie’s talent to enable her to deliver a fast-paced performance which does not falter nor lose energy from the fast paced monologue.
My first thought of seeing Shirley Valentine is that it would feel out-dated, not funny and never equal the performance of Pauline Collins, so I was very happy to say that I have been proven totally wrong. The Willy Russell script has clearly stood the test of time, and Jodie Prenger was absolutely sensational in the part. It was a great night at the theatre it made me laugh but at the same time I came home thinking about my own “Unused Life”.
If you are a woman of a certain age then this show is a must for you, it will make you laugh, give you great pleasure and happiness a real nostalgic trip back to the eighties.
Shirley Valentine runs at the New Victoria theatre until March 18th 2017 before continuing on its UK Tour
Shirley Valentine runs at the New Victoria theatre until March 18th 2017 before continuing on its UK Tour
Saturday 11 March 2017
The Diary of a Teenage Girl, Southwark Playhouse | Review
The Diary of a Teenage Girl
Southwark Playhouse
Reviewed on Wednesday 8th March 2017 by Olivia Mitchell
Reviewed on Wednesday 8th March 2017 by Olivia Mitchell
★★★★★
Adapted for film in 2015 and based on the 2002 graphic novel by Phoebe Gloeckner, The Diary of a Teenage Girl tells the story of Minnie, a teenager in San Francisco in the 1970s and her scandalous affair with her mothers boyfriend Monroe. There's drugs, sex, drama and a whole lot of growing up. This a fresh, shocking and overall moving piece of theatre done wonderfully in the intimate space of the Southwark Theatre.
Rona Morison's fantastic performance is central to the whole production and she executes each moment with ease and brilliance that is both innocent and experienced at the same time. Morison's performance is detailed and nuanced at times and just full out in your face crazy at others but each moment and movement seems well thought out and gets the story across smoothly and inventively.
The rest of the small cast give equally as wonderful performances, working together to create a disquieting parade of unsatisfactory adults. Rebecca Trehearn's portrayal of Minnie's lost, Bohemian mother is erratic but thoughtful and her time on stage brings a freshness to the production. Jamie Wilkes as Monroe comes across as more self-loathing and alone than a sexual predator and throughout the blame for Minnie's harsh coming of age is not really placed on him. Instead the focus is on the coming of age itself.
Cleverly mixed into the performance are projections of Gloeckner's original illustrations which are charming and witty. The story telling is powerful with the actors putting their all into each moment and being helped along with lighting and staging.
James Nicholson's sound is done super effectively, with uncomfortable noises accompany the harsher moments of the story and portraying the torment the characters feel.
At 90 minutes straight through, this is an extraordinary look into the dramatic development of a young woman. The audience are taken on a whirlwind ride from start to finish, full of stand out performances, humour, sadness and quirkiness. All in all its a brilliant production, extremely crude at points but absolutely wonderful and crazily enjoyable.
The Diary of a Teenage Girl is at the Southwark Playhouse until March 25th
Photo credit: Darren Bell
Monday 6 March 2017
Hamlet, Almeida Theatre | Review
Hamlet
Almeida Theatre
Reviewed on Saturday 4th March 2017 by Olivia Mitchell
Reviewed on Saturday 4th March 2017 by Olivia Mitchell
★★★★★
Shamefully, most of my Shakespeare knowledge has come from school English lessons so I'm not the most educated on the Bard but I jumped at the chance to see this highly anticipated production of the great tragedy Hamlet. At almost four hours long you might think you'll lag towards the end but this production is so well done that you'll be gripped and wide awake throughout!
Andrew Scott of Sherlock fame takes on the mammoth feat of playing the iconic, Hamlet. You need skill, stamina and sincerity to carry this very long play and Scott has all of these in spades. He holds the play up and commands every moment, showing a thousand different emotions and really taking the audience on a crazy, dramatic journey. Each word he speaks is filled with emotion. From quiet whispered moments to loud shouts and screams, he manages to involve the audience and create a real sense of intimacy. His performance is absolutely outstanding.
Peter Wight is brilliant as Polonius; nosy and sneaky but still likeable. Jessica Brown-Findlay as Ophelia transforms from joyful innocence to grief-stricken craziness wonderfully and gives a truly moving performance in her final scenes. Juliet Stevenson's Queen and relationship with Angus Wright's Claudius are very convincing and just shocking enough. They work very well together, showing a lot of character development throughout and using the text in new and exciting ways.
Hildegard Bechtler's set is simple but crazily effective. It seems to become more opaque as the play moves on, with the clever use of curtains and screens becoming ingrained in and crucial to the performance throughout. Along with Tom Gibbons' sparse and overwhelming score a sense of drama and being trapped/followed is ever present.
Robert Icke has created a truly brilliant production. From explosive moments to moments of silence, the audience are kept gripped and the four hours goes by in a tick. The performance is humorous and shocking at the same time whilst embodying the eerie intensity that Shakespeare is so well known for. Every crevice of the play has been fully thought through and the character work from rehearsals is clear in every moment on stage.
This is an impeccable production from a stupendously talented and well rounded cast. The show has been brought into the modern world perfectly and effectively. There's light and shade, humour and sadness, love and hate and so much more. Truly brilliant!
Hamlet runs at the Almeida Theatre until April 15th. The production is currently sold out but it's well worth queuing for a return ticket!
Photo by: Manuel Harlan
Sunday 5 March 2017
Swifties,Theatre N16 | Review
Swifties
Theatre N16
Reviewed on Wednesday 1st March 2017 by Esther Matthews
Reviewed on Wednesday 1st March 2017 by Esther Matthews
★★★
Swifties…To start, I didn’t hate it. Overall I could see what the script writer and director were trying to do however somewhere in the mix something went slightly wrong.
Swifties, based on the French play The Maids written by Jean Genet, follows the lives of two girls who claim to be Taylor Swifts “Biggest Fans” and how their attempt to murder the superstar doesn’t quite go the way they wanted. Isabella Niloufar and Tanya Cubric were brilliant as the plays main characters. Their portrayal of two slightly mad teens was humorous but terrifying at the same time. They are ones to watch out for in the wider theatre circle.
Theatre N16 is situated above a pub in Balham, it was the perfect setting for a play like this. The theatre itself was very small with only a handful of chairs to sit on making your experience very inclusive and intimate. The set was very minimal with simple lighting which pulled you into the scene. As an audience member sometimes big sets and props can capture your attention but the actors managed to keep you captivated throughout.
I had a problem with the script. There didn’t seem to be any structure to it. The girls did a good job at improvising but overall the script lacked good dialogue and felt slow. The Maids is rarely done in large venues or professional theatre but I think it is a very relevant story with many important themes. In the current social climate this is the kind of work that needs to be noticed. It highlights the trouble that we as a nation have with race, gender and social media/celebrities.
For such a small stage the director did a good job. Luke Davies has had rave reviews from his previous production and if this play transferred to a larger venue I can understand what his vision would be.
I would recommend seeing Swifties, there are good and bad points to make about this production. It certainly leaves you with questions.
Swifts runs at Theatre N16 until March 11th
Thursday 2 March 2017
Ugly Lies The Bone, National Theatre | Review
Ugly Lies The Bone
Lyttleton Theatre, National Theatre
Reviewed on Wednesday 1st March 2017 by Olivia Mitchell
Reviewed on Wednesday 1st March 2017 by Olivia Mitchell
★★★
Unless you've ever been on a tour of Afghanistan as a soldier, I would assume it's pretty impossible to ever know what it must be like. To experience pain, death and sadness so up close must be truly horrific and coming back to a family and community who have changed and moved on without experiencing that? I can't imagine.
Ugly Lies The Bone, a new play by American playwright Lindsey Ferrentino, aims to shed light on this as well as exploring virtual reality therapy which trials show, has been successful in reducing pain levels in those who have suffered serious injuries.
The play tells the story of Jess played by Kate Fleetwood, who has come home after three tours of Afghanistan to her Florida town in the heart of Nasa county. Awfully disfigured and struggling to deal with the constant pain, she must learn to adjust to her life which is not as she remembers it.
In a bid to move on with her life she agrees to take part in an experimental virtual reality therapy programme which aims to reduce her pain levels. She is taken into a virtual world of snow capped mountains and delicate, falling feathers where she begins to experience life without pain again.
Over the course of 90 minutes we watch the story of Jess and those around her adapting and recovering both mentally and physically.
Kate performs the cynical, frustrated character very well, showing the struggles very truthfully through a stunning performance. Ralf Little is also wonderful as the bumbling Stevie who is facing an internal struggle of his own.
For me, I found the play fell a little flat. Because we didn't get to see Jess before her injuries it was hard to see any character development and therefore hard to see how the virtual reality therapy worked. Overall there was just not enough character development and I felt that there was not enough solid dialogue or storyline to make the audience empathise with them.
The set and stunning design are brilliant and really do immerse the audience in the virtual world but I would have loved a stronger storyline to back it up. The whole cast give extremely solid performances but no real plot means there isn't a final resolution and overall there is a flatness.
Ugly Lies The Bone is on at the National Theatre until June 6th.
Photo: Mark Douet
Tuesday 24 January 2017
Gaslight (UK Tour), New Victoria Theatre | Review
"Gaslight is full of suspense and has palpable moments of edge of the seat tension"
Gaslight
New Victoria Theatre
Reviewed on Tuesday 23rd January 2017 by Melanie Mitchell
★★★
Written by Patrick Hamilton, Gaslight, which places its roots firmly in melodrama, was first performed in 1938 and has been revived frequently since. The story of power, control and manipulation in a relationship, is as relevant now as it has ever been. Anthony Banks' production which relies heavily on the small cast is well staged and Banks manages to bring humour to this otherwise bleak drama.
The events unfold in the eeriness of the gas lit drawing room in Jack and Bella Manningham’s Victorian house. The set and lighting are amazingly atmospheric, adding perfectly to the sense of fear and anticipation felt by the audience. With only one room used throughout there is not the usual impact brought along by scene changes but the well dressed set provides a wealth of new and exciting things to look at.
Kara Tointon is perfectly cast as Bella, playing the part of the emotionally abused wife, with an absolutely believable fragility and vulnerability accompanied by moments of innate feistiness. It is clear why Tointon is becoming the star of stage she is destined to be and it is very enjoyable to watch her in such a dark drama compared to her recent, lighter role of Maria Von Trapp in The Sound of Music Live.
Rupert Young gives an outstanding performance. He is completely despicable as Jack Manning the coercive, cruel and calculating husband. His manipulative, menacing character is truly hateful.
Charlotte Blackledge is completely believable as Nancy the conniving, jealous maid who has her sights set on something better.
Elizabeth the loyal Housekeeper is played by Helen Anderson who brings a sense of warmth and humour to the part.
Keith Allen is a triumph as Inspector Rough, bringing just the right amount of wit and humour to the role without making it farcical.
This psychological thriller, with palpable moments of edge of the seat tension is a real must see production.
Friday 13 January 2017
The Kite Runner, Wyndham's Theatre | Review
The Kite Runner is a heartfelt, compelling and painfully beautiful story of betrayal, guilt and redemption.
The Kite Runner
Wyndham's Theatre
Reviewed on Thursday 12th January 2017 by Olivia Mitchell
★★★★
Based on the 2003 novel of the same name, The Kite Runner is a story of family, friendship, betrayal, guilt and redemption, told beautifully in a brutally honest and poetic way.
Set in Afghanistan on the brink of war, The Kite Runner follows friends Amir and Hassan as they discover the cost of betrayal against the backdrop of a kite flying competition which tears their friendship apart and leaves both forever changed.
The story itself is very simple to follow but there are a number of intricacies within it, such as the turbulent relationship with Amir and his father as well as the ins and out of Hassan and Amir's loyalty to one another. The simplicity with which it's told on stage creates an authentic feeling and allows the focus to remain on the characters and their complex lives. Barney George's set manages to enhance the script whilst creating a visible flow on stage.
The piece is more of a series of events rather than one story from beginning to end but it still manages to flow in a poetic and beautiful way. Matthew Spangler has created a truly stunning adaptation. Each moment is extremely powerful and the audience could be felt physically holding their breath; especially when Hassan is terribly and violently attacked by Assef.
Played chillingly by Nicholas Karimi, Assef is the embodiment of darkness. He initially appears to be your normal, taunting bully but it soon becomes clear how twisted and evil he is. Karimi gives a horrifyingly realistic performance.
Ben Turner's performance as Amir is painful but beautiful to watch. It is easy for the audience to feel his every emotion as he struggles through dealing with his grief and guilt. Andrei Costin as the naive and loving Hassan works perfectly with Turner and the story feels like watching real life play out in front of ones eyes.
The Kite Runner will certainly leave a mark on everyone who sees it. It really is a lesson in dealing with the consequences of our actions. This play, lasting almost three hours is worth every second. Truly provoking, emotional and powerful.
Saturday 3 December 2016
Peter Pan, National Theatre | Review
The Olivier Theatre, National Theatre
Reviewed on Friday 2nd December 2016 by Olivia Mitchell
★★★★
Reviewed on Friday 2nd December 2016 by Olivia Mitchell
★★★★
The story of 'The Boy Who Never Grows Up' is one which we all know. Since J.M Barrie's original story and production there have been countless re-imaginations of Peter and Wendy's adventures in Wonderland, each trying to add their own spin to the story. With a such a Classic it can be hard to make the distinction between a play and a panto but the National Theatre's production has done that perfectly and created a fresh and exciting version of Peter Pan which is sure to be enjoyed by children and adults alike!
Madeline Worrall captures Wendy Darling's character wonderfully, with moments of childishness as well as of maturity and practicality. Wendy, is this production is much more free spirited than I've seen previously; she doesn't just follow Peter's every whim but seems to weigh up every decision she makes. She's independent whilst still having childlike qualities; a lovely contrast to Peter himself, played by Paul Hilton.
Peter is not the charming, sweet boy we usually think of. He is much darker and more frantic; a mix between Drop Dead Fred and The Mask (maybe that's because of all the green though!) At first I was unsure of this portrayal but Hilton's Peter really grew on me and I understood why he had such a cocky and arrogant side and was able to sympathise with him much more in his moments of despair than if he had been sweet throughout.
Of course motherhood is a key theme in the story of Peter Pan but in this production it is really magnified, especially through the choice of having Captain Hook played by a woman (Anna Francolini who replaced an injured Sophie Thompson.) Francolini is dark and menacing as Hook. Her gold teeth glistening like knives, her gothic get-up and of course her hook, all create a truly threatening character. The character of Hook is deconstructed slowly throughout the play, with snippets of her humanity showing all through, making her somewhat melancholy. I got the feeling that Hook would have liked to be a mother but as she is stuck in Neverland and evil has been drilled into her, she knows she never could be. This was a revelation to me as I had never seen Hook as anything other than the evil antagonist.
The stand out scene of the whole show for me was when she was roused up and dressed by Smee in a revealing scene where she transformed from a frail, balding lady to the strong, menacing Hook she shows the world. Although Hook was suitably scary, I found myself drawn to her and wanting to know more and more about her.
Another stand-out character was Tiger Lily played by Lois Chimimba. Tiger Lily is a feisty girl who's been raised by wolves and knows her way around. The wolves themselves would have terrified a 10 year old me- they're very reminiscent of The Wheelers in Return To Oz coming onto the stage erratically with masks and crutches.
The only character I didn't feel attached to was Tinkerbell, played by Saikat Ahmed. He was too aggressive and not at all likeable. Although it was heartbreaking when he drank the poison, there was just something about him which made me feel uneasy. I loved the made up language used for Tink and the whole premise felt very solid but I personally was not a fan.
I loved the theatricality of the production. It was wonderful to see how all the 'magic' was being done. Seeing the counter-weights and 'fairy strings' on stage didn't distract from the magic at all but made the whole thing even more enjoyable to watch. The use of music is another highlight of the production. Whilst it is clearly not a musical, it is also not just a play. The songs added are not randomly thrown in for decoration but to add to the characters and emotions, the duet/vocal duel between Hook and Wendy was raw and rich and exciting to hear.
Overall this production is lively, colourful, exciting and rich. It takes the classic story and elevates it to a new level of wonder and fantasy without taking it anywhere near the pantomime realm. This is a creative and refreshing production which is magical for children and touching for adults. The whole production is a visceral spectacle which is not to be missed!
Peter Pan is playing at the National Theatre until the 4th February. Tickets can be booked at: https://www.nationaltheatre.org.uk/shows/peter-pan
A huge thank you to #LDNTheatreBloggers for having me at the show; make sure you check them out on twitter @TheatreBlogs and their website: http://theatrebloggers.co.uk/!
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