Interludes

VIEWPOINTS – London theater notebook: A recap of a comprehensive theater trip across the pond

• By drediman
• March 15, 2024
• No Comments

I recently had the opportunity to travel across the pond to London to indulge in the capital’s rich theater scene, immersing myself in a whirlwind itinerary of fifteen shows spread across six days, encompassing a diverse lineup that included dramas, musicals, the classics, comedy, and even immersive theatrical experiences. Far from feeling fatigued, I emerged from this comprehensive survey satisfied and excited about the current state of London’s storied theater scene. Read on for my detailed thoughts.

Distinctly British musicals

In terms of new musicals, I was able to attend a couple of productions that — despite their stylistic differences — invariably came across as distinctly British. Over at the Gillian Lynne Theatre was the West End transfer of last year’s Olivier Award-winning musical Standing at the Sky’s Edge (RECOMMENDED). Featuring a soulful rock score by Richard Hawley and book by Chris Bush, the panoramic musical tells three stories set decades apart in a single flat in Sheffield. More a play with music that uses songs as a means for commentary rather than moving the narrative forward (along the lines of the exquisite Girl from the North Country), the musical distinguishes itself as a fierce, often gritty love letter to the city of Sheffield and the people who inhabit it. As far as entertainment value is concerned, perhaps the most successful of the musicals I saw during the trip was the smashing Operation Mincemeat (HIGHLY RECOMMENDED) at the Fortune Theatre. Giddily devised by members of the comedy troupe SplitLip, the work is a hilariously tongue-in-cheek depiction of the unlikely covert operation that had a hand in winning World War Il for the Allied Forces. Dizzyingly witty and resourcefully yet ingeniously staged — indeed, the whole thing represents ensemble work at its finest — Operation Mincemeat is one of the great success stories of the season. Lastly, over at the intimate Arts Theatre, I attended The Choir of Man (RECOMMENDED), which like Operation Mincemeat, is another crowd-pleasing musical with a Fringe background. As an unabashed, high spirited celebration of modern masculinity and fraternal bonding, the piece has shaped up to be the male version of the hit “girl power” musical Six. But instead of an original score, it uses music from the popular songbook to draw audiences into its world of rowdy pub culture. Overall, The Choir of Man strikes me as jukebox musical done right, eschewing conventional plot altogether in favor of creating and sustaining an infectious and ultimately emotionally resonant atmosphere.

Riffing on the well-trodden

In terms of drama, two of the more commercially successful new works — both nominated for Olivier Awards this season — were ones that riffed on well-trodden existing material. Firstly at the Noel Coward Theatre there’s the West End transfer of the National Theatre’s The Motive and the Cue (HIGHLY RECOMMENDED) by Jack Thorne. In short, the play chronicles the growing pains of the high profile 1964 Broadway production of Hamlet starring Richard Burton as the Danish prince and directed by the legendary Shakespearean actor John Gielgud. As a love letter to the theater — and more specifically the elusive alchemy that results in the most memorable productions — it makes for compelling, often moving theater. Despite the unshakeable “highbrow” air that surrounds the play, the endeavor is lifted by the commanding yet imminently human cat-and-mouse performances by Johnny Flynn and Mark Gatiss as Burton and Gielgud, respectively, as well as Sam Mendes’s steady direction. Then there is the obviously commercial venture that is Stranger Things: The First Shadow (RECOMMENDED) at the Phoenix Theatre. Although I have mixed feelings about the movie-going aesthetic director Stephen Daldry was going for, there’s no denying the awe-inspiring spectacle that comes with this prequel to the popular Netflix series (the Broadway-bound work is allegedly the first of a planned prequel trilogy). But for what it is, it’s hugely entertaining stuff. Like a well-oiled melodrama, The First Shadow regularly induced gasps in its pursuit of B-movie glory.

Bold new dramas

Then there were the bolder dramatic offerings, which challenged audiences, imploring them to lean in. Jez Butterworth has made a name for himself for penning meaty, testosterone driven plays like Jerusalem and The Ferryman, often to award-winning effect. In his latest work The Hills of California (RECOMMENDED) — currently playing in the West End at the Harold Pinter Theatre — the playwright has written what is essentially a feminist play. As if making up for lost time, The Hills of California — in plot, think of it as a British version of Gypsy — is populated with richly-drawn women. Although not quite on the same caliber as his gripping previous works, the somewhat unwieldy play is still an accomplished piece of theater — from the excellent performances to the large cast to Sam Mendes’s expert direction. Also in the West End at the Garrick Theatre is the return of For Black Boys (RECOMMENDED) by Ryan Calais Cameron. Taking obvious inspiration from Nozake Shange’s For Colored Girls, Cameron’s ensemble-based work — newly cast for the current London engagement — is a comprehensive and illuminating look at Black masculinity from a uniquely British perspective (as such, it makes for an interesting companion piece to the strangely all-White The Choir of Man). Despite not reaching the same poetic heights as Shange’s seminal work, the powerfully-acted For Black Boys nonetheless makes for muscular, necessary, and ultimately shattering theater. Then over at the National Theatre, Tim Price’s Nye (RECOMMENDED) takes on an unlikely subiect for dramatization — trailblazing British politician Nye Bevan, the controversial figure primarily known for founding the N.H.S. As directed by Rufus Norris, the play is accessible and told as a stylized, swirling fever dream that chronicles Bevan’s life. At the center of it all is Michael Sheen in the title role, who gives a tremendous, tireless performance that elevates Price’s by-the-books theatrical biography.

The classics, viscerally revived

No theater trip to London would be complete without making the requisite trip to see a Shakespeare play or other theatrical works from the era. Of the classics currently on the boards of London’s theaters, the Ralph Fiennes-led Macbeth (SOMEWHAT RECOMMENDED) is indisputably the hot ticket of the bunch. Although not quite the home run that many Shakespeare fans had hoped for, it’s nonetheless a solid take on the “Scottish Play”. Despite being billed as a unique immersive staging (the production is being presented at Dock X, a cavernous warehouse-like space in Canada Water), director Simon Godwin’s staging is surprisingly pedestrian and would fit perfectly well in a traditional proscenium theater. Thankfully, Fiennes’ performance is hugely watchable. It’s a charismatic take on the title role whose lashing quality and stage-prowling antics actually channel Richard Ill more than that it does Macbeth, but that’s neither here nor there. Far more successful was the Shakespeare’s Globe revival of John Webster’s relentlessly violent Jacobean revenge play The Duchess of Malfi (RECOMMENDED) at the Sam Wanamaker Playhouse, which is currently celebrating its 10th anniversary (a staging of Webster’s 1614 work actually opened the venue). Directed by Rachel Bagshaw with a firm grasp of the text, the production makes beguiling use of projected titles and skin-crawling live musical underscoring. It also features highly physical, deliciously pulpy performances that heighten the inherent sensationalism of the work. And being mostly lit by the warm illuminating glow of candlelight, the production registers as a nostalgic nod to theatrical practices of the past, while maintaining a welcome contemporary edge.

Adventurous immersive theater

In terms of immersive theatrical experiences, the current talk of the town is arguably Phantom Peak (HIGHLY RECOMMENDED). Located in Canada Water (just around the corner from the aforementioned Macbeth with Ralph Fiennes), the grassroots undertaking successfully brings to life an open gaming world — a western/steampunk-themed town where looks are not what they seem. Merging immersive theater with the point-and-click gameplay of the computer games that many of us grew up, Phantom Peak gives participants full agency in how they spend their time in the town (there’s even a saloon and restaurant for the weary) and how events unfold. While the production values don’t have the polished, sophisticated sheen of Punchdrunk’s offerings, the experience is arguably more satisfying, with various quests — or “trails” — for the entire family to engage in. Then there’s The Gunpowder Plot (RECOMMENDED) located adjacent to the historic Tower of London. While lacking the complete open gameplay afforded by Phantom Peak, the unique experience gives audiences the opportunity to interact with live actors (albeit on a limited basis), as well as determine one of two different endings based on the group’s actions. What separates The Gunpowder Plot (as well as its sister production in London, the immersive take on Jeff Wayne’s The War of the Worlds) from its competition is the tasteful way it incorporates satisfactory VR technology in its storytelling. Overall, by putting you at the center of the action, the experience is a fun and immersive way to learn about pivotal historical events.