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.
In the first of our Tales From The Dressing Room series, Penelope Keith chats candidly to JBR about the changes in the industry since her training. “Come in, come in. Welcome to the most elegant dressing room in the West End.” How could it not be? This is, after all, the famed Dressing Room No. 10 at the Theatre Royal, Haymarket. Current resident, the ever fragrant Penelope Keith, is precisely as one imagines her to be; part hectoring schoolmarm, part favourite aunt. “I like the idea of older actors passing on what they know, but don’t make me sound too much like an old fart,” she pleads, as she crosses the room and takes her seat. The room is not the most extravagantly appointed one in the West End. A large, French style dressing table occupies the right hand side where Keith’s wig sits, proudly, on a stand. Modest amounts … Read more