VIEWPOINTS – 2015 London Theater Trip: A Recap

As some of you may know, I recently returned from a London theater trip. As a devout theater and performing arts fan, I was in heaven. London rivals my hometown of New York in terms of the sheer quantity, quality, and diversity of performances at one’s disposal at any given time. In 12 days, I managed to fit in an impressive 30 shows (often seeing up to three shows per day, including weekdays!) that represented a healthy cross section of the performing arts — theater, dance, classical music, cabaret, stand-up comedy, performance art — playing at the time. On the whole, it was a rather memorable trip, with some thrilling highs, as well as a couple of pleasant surprises. Luckily, the duds were few and far between. Here are my brief thoughts on each of those performances.

 

Performance 1

'Everyman' Play performed in the Lyttelton Theatre at the Royal National Theatre, London, UKTuesday, May 12th at 2:00pm

EVERYMAN

Adapted by Carol Ann Duffy

(National Theatre/Olivier Theatre)

 

So long Nicholas Hytner, hello Rufus Norris. With this overly stimulating Norris-directed “Everyman” starring Chiwetel Ejiofor in the title role, the National Theatre commenced a new chapter in its storied history (This is the first production Norris has directed at this vital company since being appointed its artistic director).  Despite the production’s in-your-face directorial excesses, it was the quiet existential moments that stuck with me. Ejiofor made for a magnetic, charismatic foil for the Big Man above and humanity itself. Okay, one down, twenty-nine more shows to go!

***

 

Performance 2

gypsyTuesday, May 12th at 7:30pm

GYPSY

Music by Jule Styne, lyrics by Stephen Sondheim, book by Arthur Laurents

(Savoy Theatre)

 

That evening, I eagerly strolled across the Waterloo Bridge from the South Bank towards the Savoy. Certainly one of the very high points of my theatergoing in London, this “Gypsy”, a transfer from the Chichester Festival, featured one of the greatest performances I’d seen in recent memory. Imelda Staunton as Momma Rose was a force of nature of the likes I hadn’t seen since, well, her brilliant Mrs. Lovett in the last West End revival of “Sweeney Todd” (another Chichester Festival production) a few years back. It goes without say that her “Everything’s Coming Up Roses” and “Rose’s Turn” were revelatory. However, it was Ms. Staunton’s sensitive, intelligent line readings throughout that made me see Rose anew. And if the rest of the production did not reach her heights, so what?

*****

 

Performance 3

sunny-afternoonWednesday, May 13th at 2:30pm

SUNNY AFTERNOON

Music and Lyrics by Ray Davies, book by Joe Penhall

(Harold Pinter Theatre)

 

After the exhilaration that was Imelda Staunton in “Gypsy” the previous night, it was with some trepidation that I approached my next show, a matinee performance of “Sunny Afternoon”. This year’s winner of the coveted Oliver Award for Best New Musical, “Sunny Afternoon” is a rollicking jukebox musical that recounts the story of the Kinks – from the band’s humble beginnings to its triumphant, if hard-won, success. Although, the musical bears a strong resemblance to “The Commitments” down at the Palace, another West End musical with a similar storyline and working class backdrop, this is very British show proudly stands up on its own. The cast was one of the hardest-working I’ve come across in the West End, featuring one fierce performance from leading man, John Dagleish.

***1/2

 

Performance 4

alice's adventuresWednesday, May 13th at 6:00pm

ALICE’S ADVENTURES UNDERGROUND

By Les Enfants Terribles

(The Vaults)

 

In many ways, the current craze in New York over immersive theater had its origins in London. Before conquering New York with its popular “Sleep No More”, Punchdrunk pioneered its brand of next generation immersive theatrical in London. In concept, Les Enfants Terribles’ “Alice’s Adventures Underground”, staged in the vaults deep beneath Waterloo Station, has a lot of unique things going for it. For example, this “Alice” is far more linear and thus user-friendly than the frustrating (some might say) open-ended nature of Punchdrunk adventures. However, in execution, I missed Punchdrunk’s sense of style and attention to detail. It’s hard to be immersed in a world when you see the seams showing.

**1/2

 

Performance 5

Beyond Caring at the Yard theatre, London.Wednesday, May 13th at 8:00pm

BEYOND CARING

By Alexander Zeldin

(National Theatre/Temporary Theatre)

 

Emerging from the vaults underneath Waterloo Station, I made my way back to the National to see Alexander Zeldin’s tough yet delicate devised theater piece “Beyond Caring” (courtesy of the Yard Theatre) at the theater complex’s temporary theater space. I must say, this was one of the most exciting surprises to emerge from my London theater binge. Through Zeldin’s excruciating attention to detail and a quintet of stunningly real, carefully crafted performances, the play powerfully illustrated the realities of life as zero hours contract workers in UK. A sustained spell was cast over the audience for nearly two uninterrupted hours. I hope this special show finds a future life.

****

 

Performance 6

golemThursday, May 14th at 2:30pm

GOLEM

By 1927

(Trafalgar Studios)

 

Being a fan of the innovative “The Animals and Children Took to the Streets”, I was very much looking forward to 1927’s next high-tech concoction, “Golem”. Sad to say, I was disappointed … and not just because I was drenched from a recent downpour and running late into Trafalgar Studios for the mid-week matinee. Perhaps the wonder of the company’s visual flair had worn off on me. Or perhaps this repetitious and monotonous, though visually gorgeous, show just wasn’t very good. In any case, I felt that “Golem” lacked the soul and heart that its predecessor had in abundance. Unfortunately, at 90 minutes, the show felt 30 minutes too long.

**

 

Performance 7

the twitsThursday, May 14th at 7:30pm

ROALD DAHL’S THE TWITS

Adapted by Enda Walsh

(Royal Court/Downstairs Theatre)

 

Despite the disappointment of “Golem”, I hopefully jumped onto a train headed for the essential Royal Court in Sloane Square. For me, the appeal of Roald Dahl’s tales has always been their slyly subversive characters and happenings. Well, in this stage version of “The Twits”, especially as adapted by bad boy playwright Enda Walsh, the outright nastiness of the titular characters was front and center – to the delight of children and adults alike in the audience, myself most definitely included. The Royal Court also spared no expense on realizing the Twits’ decrepit, rotting world; the show was a true visual knockout.

****

 

Performance 8

david-hoyle-abracadabra-holly-revellThursday, May 14th – late night

DAVID HOYLE’S ABRACADABRA

Written and performed by David Hoyle

(Bethnal Green’s Working Men’s Club)

 

In a mischievous mood after “The Twits”, I hightailed it from Sloane Square way out to Bethnal Green (in the East End) to catch the genre-defying alternative performance artist David Hoyle. Mr. Hoyle has been described as a “cabaret terrorist, savior, and avantguardian”. These are all apt descriptions. That (late) night, I attended one of his five overtly political “Abracadabra” performances at the surreal Bethnal Green’s Working Men’s Club. Although I profess not to have the inside scoop into British politics, the energy in that crowded basement was palpable, and Mr. Hoyle proved to be a most consummate and authentic performer.

***

 

Performance 9

tate modernFriday, May 15th at noon

IF TATE MODERN WAS MUSÉE DE LA DANSE?

Curated by Boris Charmatz

(Tate Modern)

 

Another major highlight of my trip was an epic undertaking entitled “If Tate Modern Was Musée de la Danse?”. The question posed was this – if the Tate Modern was a museum for dance, what would it be like? If it’s anything like what I witnessed, it would be smashing. Every floor of the Tate Modern was utilized, including the mammoth Turbine Hall, to accommodate performances varying in scale (from the intimate to the epic) and level of participation (from spectator-only to full-on dance party). And what a treat it was to experience some of the greatest examples of 20th Century choreography against some of the 20th Century’s most important pieces of visual art.

*****

 

Performance 10

high societyFriday, May 15th at 7:30pm

HIGH SOCIETY

Music and lyrics by Cole Porter, book by Arthur Kopit (additional lyrics by Susan Birkenhead)
(Old Vic)

 

On a high from my experience at Tate Modern, I slowly made my west on the South Bank towards the historic Old Vic to catch that evening’s performance of Cole Porter’s “High Society”. Although this musical adaptation flopped on Broadway (that production introduced a young Anna Kendrick to the public and produced a Tony nomination for her), this was a buoyant and highly enjoyable revival, thanks to musical theater veteran Maria Friedman’s smart, sensitive direction. The show was performed in-the-round, making for a refreshingly intimate experience. The success of this production depended on its inherent belief in the material. All the actors, particularly the fabulous Kate Fleetwood, acted as if the stakes were sky high, despite the breezy Cole Porter material.

***1/2

 

Performance 11

dark roomFriday, May 15th at 10:45pm

THE DARK ROOM – ARENA SPECTACTULARRRGH

Written and performed by John Robertson

(Udderbelly Festival)

 

I then wandered into a late night offering at this year’s Udderbelly Festival on the South Bank was John Robertson’s “The Dark Room”, one of the most uniquely hilarious shows I’d come across in a long while. Mr. Robertson’s sado-masochistic ode to 1980’s computer text adventure games (think “Zork”) relied on heavy audience participation and, yes, humiliation. Doesn’t sound like fun? Well, it was, and then some. Mr. Robertson’s affection for the genre he so brilliantly parodies and his easy command of a room of spectators saved this act from being an unfunny and relentless geekathon. In fact, it’s comic brilliance.

****

 

Performance 12

women on the vergeSaturday, May 16th at 2:30pm

WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN

Music and lyrics by David Yazbek, book by Jeffrey Lane

(Playhouse Theatre)

 

The next afternoon, I found myself at the musical adaptation of Pedro Almodóvar “Women on the Verge of a Nervous Breakdown” at the Playhouse Theatre. As some of you may know, the musical didn’t fare very well when it premiered on Broadway a few years ago, despite an A-list cast and creative team. Director Bartlett Sher has been given a second chance to reboot the material for its West End outing. Overall, I would say he’s succeeded. Gone were the annoyingly forced Spanish accents and the overly-complicated staging and busy set design. Sher’s focus on the characters and the inspired work by his cast (splendidly led by Tamsin Greig and Haydn Gwynne) have strengthened the show.

***1/2

 

Performance 13

man and supermanSaturday, May 16th at 7:00pm

MAN AND SUPERMAN

By George Bernard Shaw

(National Theatre/Lyttelton Theatre)

 

That evening, I found myself, guess where, back at the National of course! Rarely have three and a half hours flown by more quickly than in this exhilarating revival of George Bernard Shaw’s “Man and Superman” at the National (in the Lyttelton). Shaw plays can be a long slog, but in the hands of Ralph Fiennes and company, the ideas fly with such visceral velocity and passion that it’s hard not to be caught up in Jack Tanner’s moral dilemma. My only qualm was the unattractive computerized backdrop (which actually malfunctioned during the performance I attended), but really that’s neither here nor there.

****1/2

 

Performance 14

Communicating Doors imogen stubbs rachel tuckerSunday, May 17th at 3:30pm

COMMUNICATING DOORS

By Alan Ayckbourn

(Menier Chocolate Factory)

 

On each of my recent trips to London, I’ve managed to catch at least one Ayckbourn play. This time, it was a sparkling revival of his 1994 time traveling play “Communicating Doors” at the Menier Chocolate Factory. Both the first-rate cast, led by Rachel Tucker (fresh from her head-turning stint in Sting’s “The Last Ship” on Broadway) and Imogen Stubbs, and director Lindsay Posner have given this production a warmth and glow that has stayed with me well after the curtain has gone down. A disarming charmer.

****

 

Performance 15

The Play That Goes WrongSunday, May 17th at 7:00pm

THE PLAY THAT GOES WRONG

By Mischief Theatre company members Henry Lewis, Jonathan Sayer, and Henry Shields

(Duchess Theatre)

 

How far can you take physical comedy? As it so happens, pretty far, as exemplified by “The Play That Goes Wrong”, this year’s Olivier Award winner for Best New Comedy. Although the show squeezes every last ounce of physical and visual comic gags out of its tireless cast, one only wishes there was more substance beneath all the funny business. However, as a feat of pure physical comedy, it’s very hard to beat the shenanigans of this hilarious, hard-working show.

***

 

Performance 16

rohMonday, May 18th at 1:00pm

ROYAL OPERA HOUSE LUNCHTIME RECITAL

Performed by the Southbank Sinfonia

(Paul Hamlyn Hall)

 

One of the great perks of being in London are the multitudes of free museums and events. One of those events are the weekly Monday lunchtime recitals hosted by the Royal Opera House in the gorgeous Paul Hamlyn Hall. At this recital, the young Southbank Sinfonia played Beethoven’s Symphony No. 2 and Beethoven’s Symphony No. 8. These were conducted by Jonathan Santagada and Michele Gamba, respectively. Although much of their conducting work was tentative and unimaginative (to be expected of developing conductors), it was a pleasure to here these vibrant symphonies performed live, let alone for free.

**1/2

 

Performance 17

"'Carmen Disruption' Play performed at the Almeida Theatre, London. UK"Monday, May 18th at 7:30pm

CARMEN DISRUPTION

By Simon Stephens

(Almeida Theatre)

 

White-hot playwright Simon Stephens (who recently won the Tony for Best Play for the Broadway edition of “The Curious Incident of the Dog in the Night-Time”) seems to be ubiquitous these days. Not only has his terrific “Heisenberg” just opened at the Manhattan Theatre Club with an absolutely smashing Mary-Louise Parker, he also has another new play running at the Almeida in London, entitled “Carmen Disruption”. Although I really tried to like this spin on Bizet’s opera, much of it seemed like an exercise to complicate and over-dramatize characters and situations that simply aren’t very interesting. Kudos, though, to the crack design team and the game cast.

**1/2

 

Performance 18

bridget christieMonday, May 18th at 9:30pm

BRIDGET CHRISTIE: AN UNGRATEFUL WOMAN

Written and performed by Bridget Christie

(Soho Theatre)

 

British comedian Bridget Christie’s latest comedy act, “An Ungrateful Woman”, was a big hit at last year’s Edinburgh Festival. By the time I saw it, the show had transferred to London’s hip Soho Theatre and provided a nice tonic to the heaviness and opaqueness of “Carmen Disruption”, which I had seen earlier that night. The show, with its strong feminist bent, slyly worked its agenda to the forefront like a ninja. Before I knew it, Christie had me eating out of her hand like one of her many devotees. Oh, and she had really interesting things to say about the recent elections!

***

 

Performance 19

Henry-The-Fifth1Tuesday, May 19th at 10:30am

HENRY THE FIFTH

By Ignace Cornelissen, translated by Purni Morell

(Unicorn Theatre)

 

The Unicorn is one of the UK’s premier theaters for young audiences, and a visit to its impressive Southwark home to attend their adaptation of Shakespeare’s “Henry V” (called “Henry the Fifth”) proved why. Not only was this “Henry” accessible to audiences of all ages, it also featured a clear, sophisticated staging (even in so-called adult standards) and engaging performances. This was an ideal example of how children’s theater is meant to be done. Well worth getting up early for!

***

 

Performance 20

as you like it globeTuesday, May 19th at 2:00pm

AS YOU LIKE IT

By William Shakespeare

(Shakespeare’s Globe)

 

Staying on the South Bank, I walked through Southwark to attend a performance of “As You Like It” at Shakespeare’s Globe. This was a solid, if not inspired, production of one of the Bard’s greatest comedies. Blanche McIntyre’s staging, aided by some deeply felt acting, was a deeply traditional one, and it took its time to bask in the glorious language. This being one of Shakespeare’s most static plays, however, the lengthy production couldn’t avoid a few tedious longueurs along the way.

***

 

Performance 21

light-shining-in-buckinghamshire-national-theatre-londonTuesday, May 19th at 7:30pm

LIGHT SHINING IN BUCKINGHAMSHIRE

By Caryl Churchill

(National Theatre/Lyttelton Theatre)

 

That evening, I ventured further west on the South Bank until I once again hit the National Theatre, this time to see Caryl Churchill’s “Light Shining in Buckinghamshire”. Ms. Churchill has long been one of Britain’s most political and daring playwrights, and “Light Shining” is certainly no exception. Boldly directed by Lindsey Turner and stunningly designed by Es Devlin, this production urgently swept me into the world of 1640s England (around the time of the ideologically revolutionary Putney Debates). If you aren’t familiar with British history, the whole affair may be lost on you, but if you take some time to acquaint yourself with the history and the players, it’s powerful stuff.

***1/2

 

Performance 22

oppeheimerWednesday, May 20th at 2:00pm

OPPHENHEIMER

By Tom Morton-Smith

(Vaudeville Theatre)

 

On the heels of their incredibly successful stage adaptation of Hilary Mantel’s “Wolf Hall”, the Royal Shakespeare Company has produced another new work, Tom Morton-Smith’s epic, muscular play “Oppenheimer”. As you can imagine, the subject of this biographical play is J. Robert Oppenheimer, one of the masterminds behind the atomic bomb. As magnetically portrayed by John Hefferman, the Oppenheimer we are presented with is complex, charismatic, and utterly human. Recognition must also go to director Angus Jackson and his hardworking ensemble for masterfully reigning in this large play into a smart, dynamic, and theatrically and intellectually fulfilling experience.

***1/2

 

Performance 23

the hard problemWednesday, May 20th at 7:30pm

THE HARD PROBLEM

By Tom Stoppard

(National Theatre/Dorfman Theatre)

 

One of the shows I was most looking forward to on this trip was the world premier of Tom Stoppard’s latest play, “The Hard Problem” (directed by the outgoing artistic director of the National, Nick Hytner). The subject at hand is nothing less than that of human consciousness and morality. Heady and ambitious stuff you might ask – but we are talking about Stoppard here. Although “the Hard Problem” is lesser Stoppard (the show fails to catch dramatic fire, even at 90 minutes), the ideas presented here are a lot more stimulating than a lot of the stuff that passes for theater out there. Hytner’s production was clean and well-paced and much of the acting compelling.

***

 

Performance 24

TIGERLILLIES_Arnold.PoeschlWednesday, May 20th at 9:30pm

THE TIGER LILLIES: THE VERY WORST OF THE TIGER LILLIES

By the Tiger Lillies

(Wonderground)

 

From one genius to the next: Later that night, I wandered into the carnivalesque grounds of the Udderbelly Festival to catch the Tiger Lillies at the Wonderground. The Tiger Lillies did not disappoint with a set that included many of their greatest hits and some of their more obscure early pieces. What’s really exciting about this performance was that not once did their intensity waver, even with the generous two hour running time. Astonishingly, even in this world of sensory overload, they managed to shock, move, and sometimes disgust – often times in the same song. These songs makes one see and hear the world differently, and that’s the highest praise I can give an artist.

****

 

Performance 25

hay feverThursday, May 21st at 3:00pm

HAY FEVER

By Noël Coward

(Duke of York Theatre)

 

On a perfectly glorious Thursday afternoon, I of course found myself at the theatre once again. This time, the culprit was Lindsay Posner’s inspired, pitch-perfect staging of the aptly titled “Hay Fever” by Noël Coward at the Duke of York’s (courtesy of Theatre Royal Bath). Led by Felicity Kendal as Judith (in a truly divine performance), the zany Bliss family was done proud by a sparkling cast that was clearly having a great time up on the stage. Now, I’d love to see a sequel entitled “The Sycamores vs. The Blisses”!

***1/2

 

Performance 26

Bend-It-Like-Beckham-theatreThursday, May 21st at 7:30pm

BEND IT LIKE BECKHAM

Music by Howard Goodall, lyrics by Charles Hart, book by Paul Mayeda Berges and Gurinder Chadha

 (Phoenix Theatre)

 

That evening, I made my way to the Phoenix Theatre (I had not been at the theatre since a 1999 performance of “Blood Brothers”!) for an early preview performance of the musical adaptation of “Bend It Like Beckham”. Although a lot of it was certainly charming — some of the performances were really quite good, especially the lovely Natalie Dew’s performance in the leading role of Jess – some of the show suffered from a somewhat cloying and clichéd book. The pop score, though, was exquisitely orchestrated and very easy on the ears. The show also ran close to three hours, which I am assume will be fixed by the time opening comes along.

***

 

Performance 27

merchant of veniceFriday, May 22nd at 2:00pm

THE MERCHANT OF VENICE

By William Shakespeare

(Shakespeare’s Globe)

 

For my second visit to Shakespeare’s Globe on this trip, I attended a performance of “The Merchant of Venice” starring Jonathan Pryce as Shylock. Much like the production of “As You Like It” that I saw earlier that week, Jonathan Munby’s somber, beautifully-costumed production was rock solid – lucid, deeply felt, and very effective. Although Pryce was commendable for his oddly likeable Shylock, it was Rachel Pickup’s layered, quietly confident performance as Portia that really stuck with me.

***1/2

 

Performance 28

beaux's strategemFriday, May 22nd at 7:30pm

THE BEAUX’S STRATAGEM

By George Farquhar

(National Theatre/Oliver Theatre)

 

That evening back at the National, I had the rare opportunity to see George Farquhar’s 1701 restoration comedy, “The Beaux’s Strategem”. As directed by Simon Godwin, the brisk production never flagged but never really reached the giddy heights you would expect of such a farce. Nevertheless, the set was handsomely functional and the cast attractive (including an irresistible and dashing Samuel Barnett).

***

 

Performance 29

les mizSaturday, May 23rd at 2:30pm

LES MISÉREABLES

Music by Claude-Michel Schonberg, lyrics by Herbert Kretzmer, with original text by Alain Boublil and additional material by James Fenton

(Queen’s Theatre)

 

Although I did not originally have a show scheduled in this slot, I couldn’t help finding my way to the Queen’s Theatre box office to purchase tickets to the Saturday matinee of the one-and-only original production of “Les Misérables” (London is the only place you can currently see the iconic original staging).  Despite a technical glitch that stopped the show for a couple of minutes and a Valjean that phoned it in (the otherwise attractive Peter Lockyer), I once again found myself swept up and tremendously moved by the story, music, and powerful stagecraft.

****

 

Performance 30

pirates of penzanceSaturday, May 23rd at 7:30pm

THE PIRATES OF PENZANCE

By Gilbert and Sullivan

(English National Opera)

 

The final show of my whirlwind London trip was Mike Leigh’s joyous, colorful, and somewhat surreal new production of Gilbert and Sullivan’s “The Pirates of Penzance” for the English National Opera. For this charming operetta to work (as with all Gilbert and Sullivan works), the production needs the complete commitment of its cast to buy into the logic of the crazy world created by the G&S. That they did with giddy aplomb — I’m sure in no small part due to Mr. Leigh’s guidance. As conducted by David Parry and sung by a superb lineup of singer-actors, the performance sounded superb.

***1/2

Categories: Broadway, Cabaret, Dance, Music, Off-Broadway, Opera, Other Music, Theater

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