Christopher Luscombe’s very funny version of the Beatrice/Benedick show complete with magnificent, period set (Simon Highlett), some fabulous costumes, Nigel Hess’ delightful music and Jenny Arnold’s joyful movement. Setting the play in the post-World War 1 period works nicely; the sense of changing times is entirely appropriate. It’s a gentle but frisky time and you can almost hear the approach of the flappers.
Breen squeezes every bit of comedic possibility from the play. The repertory company, so good in the dramatic and enthralling Oppenheimer, prove to be equally skilled in the bawdy comedy department. There are sly asides, vicious insults, dirty double entendres, rowdy gags, silly accent routines, fart jokes, catch-phrase jollity, physical comedy, costume comedy, sight gags, clowning – you name it, it can be found in Breen’s lucid, fast-moving and hugely enjoyable production.
Front and centre, shouldering a Herculean workload of complicated, dense dialogue, is Ralph Fiennes in absolutely cracking form. He has unflagging energy and although he rattles the text at a remarkable speed, he gives full value to each word and makes clear, uncomplicated sense of every passage. He is phenomenal, like a bolt of electricity confined to the stage. Simon Godwin’s stunning production makes Shaw’s play, a philosophical tennis match of volleyed ideas and ideals, burst with wit, innovation and utter delight.
There is no ghost, effectively no gravedigger scene, and the first two acts of the play have been telescoped so as to remove much of Hamlet’s delays and equivocations. Hamlet learns of his father’s murder by letter rather than a walk on the wilder side of the ramparts. What remains is a play of action rather than reflection, in effect a ‘Revenge Tragedy’, but one driven by adolescent angst and resentment of all forms of authority rather than by political or strategic calculations.
Beautiful – the Carole King Musical has now opened in London at the Aldwych Theatre. Here’s a summary of what the major critics had to say. Book tickets to Beautiful – The Carole King Musical. Stephen Collins BritishTheatre.com ★★★★★ Everything about the production seems fresher, lovelier and livelier than on Broadway. It’s a feast for eyes and ears and, when it is done, the feeling of elation is irresistible. I can count on one hand the number of musicals which have tempted me to dance along with the final tune, after the bows, but this show is another. And at its heart is the phenomenal Katie Brayben. This is the kind of musical one can see every week and not regret spending the time or money in so doing. Fundamentally fabulous and perfectly executed. Michael Billington The Guardian ★★★ Fans of the singer-songwriter Carole King may be happy just to … Read more
The throbbing, majestic and luminous heart of this production comes from Katie Brayben’s faultless, radiant and absolutely triumphant turn as Carole King. Brayben recreates the feel, the sound, the look of Carole King in a completely authentic and resonant way – she feels like the natural woman.
Stand and Deliver is a curious piece of theatre, now playing at the King’s Head in Angel. There are some very funny moments reminiscent of Carry On, some football humour that many fanboys across the country will enjoy, and a dash of 1980s nostalgia in the form of some fantastic chart toppers, but ultimately, as a piece of theatre, it does not hold together in present form.
The Miniaturist night at The Arcola Theatre is a wonderful evening of brand new short plays by some of the UK’s top young writing talent. But ultimately, the night does leave one wondering where and when these works might be performed again. If performed only on a night such as this, does that mean, as play texts, they can possibly stand alone?
