Day: October 7, 2018

The League of Gentlemen Live Again! at the O2 Arena review ****

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The League of Gentlemen Live Again!

O2 Arena London, 23rd September 2018

The Tourist really dislikes the O2 Arena. Awful sound, brutal lighting, terrible sightlines, cavernous, uncomfortable seats, no water, sh*te loos. Pretty much pointless choosing to “see” anything there. Still sometimes, as here, you have no choice.

And this, to repeat,was the League of Gentlemen, in the flesh. Mandatory. So off we trooped the SO, BD, LD and a couple more “local people” (really). Thanks to a cavalier approach to timing from yours truly, reasoning nothing ever starts on time there (this did), and a bloody ridiculous trek all the way round the Arena to get back to where started from for our allotted entrance, we snuck in late.

Still pretty easy to get into the swing of things with Go Johnny Go Go Go first up. The first half sees our three heroes in evening dress running through some classic sketches with blackouts whilst the furniture was re-arrranged. The second half is more ambitious with set and costume changes, with assistance from pre-recorded video to brings things together, (and get characters on and off stage). Now I am going to assume that you are either a fan or not. Either way there would be no point in my rabbiting on about the detail of the evening’s proceedings. Some sketches and sequences worked better than others, the same way that some characters make some of us laugh more than some others. For me the highlights were Legz Akimbo, (with Reece Shearsmith at his bitter best in Olly Plimsolls), Pop (especially when Steve Pemberton goaded Shearsmith into corpsing), Mordant Mick and Herr Lipp. Especially Herr Lipp with a bit of audience participation. For BD it was probably Edward and Tubbs, complete with musical theatre number, for LD it was Pauline and for the SO, as it always has been, it was Pam Doove.

That is the way it has always been. I get that some find LoG dark and disturbing. Not me. Though the third series does get a little weird I accept. The SO kept BD, and then LD, away from Royston Vasey for many years until they were “ready” and MS said he found it a bit scary at first. Just as well then I wasn’t in charge of their viewing as to me it is just funny.

What is interesting in seeing the LoG now, in this live show and in the recent three new episodes, after some sixteen years since the original three TV series’ came out, is not how grotesque it is, too much exposure to think that, but actually how direct it is. Not the often unreconstructed nature of the comedy, that was part of the point, but actually how rooted in comedy history so many of the set ups are. Which is what makes it so funny. An absurdly camp German trotting out a string of preposterous double entendres is not radical in any way. It is though one of the funniest things I have ever seen. The dark heart of comedy I suppose.

Now we know that Messrs Gatiss, Pemberton and Shearsmith, and, in his own way the silent partner, Jeremy Dyson, have all gone on to copious writing and performing success, on big and small screen and on stage, and in other guises. They are all brilliant in their very different ways. Which means that this is not some desperate revival show done for cash. And they were never going to dash off any old tosh. Way too clever for that. They all look like they are having a ball in the show but I have to say that Steve Pemberton, who let’s face it always nabbed the best of the grotesques, had the most presence.

Special stuff.

 

 

Touching the Void at Bristol Old Vic review *****

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Touching the Void

Bristol Old Vic, 22nd September 2018

The Tourist had a terrific visit to Bristol recently. Shakespeare at the Tobacco Factory’s marvellous Henry V (Henry V at the Tobacco Factory Bristol review *****), the Georgian House, another fine cathedral ticked off, an accidental preview of the refurbished space at the Old Vic and then this, a reminder of just how powerful theatre can be when filtered through the imaginations of first, its creators, and then second, us the audience.

Mind you mountaineer Joe Simpson’s extraordinary, mythic, true-life story of survival after being left for dead on Suila Grande in the Peruvian Andes by his climbing parter Simon Yates could hardly be more dramatic. You may well know it from Mr Simpson’s own mesmerising account in his 1988 book, Touching the Void, or from the feted docudrama from 2003 directed by Kevin MacDonald, with Brendan Mackey, Nicholas Aaron and Ollie Ryall. I also recall a separate TV documentary but I may be getting confused. If you don’t know the story I am not about reveal details here: that would be vexatious. Whilst the Old Vic run is over the production will tour to the joint producing houses of the Royal and Derngate Northampton and Royal Lyceum Edinburgh, and then on to Hong Kong, Perth and Inverness. I would be stunned if it doesn’t get further run-outs thereafter.

For this is brilliant theatre. I can see why some might of thought it a bit nuts to stage it, not only because of the prior, superb treatments, but also because of its subject. How to bring the mountain to the Old Vic deep proscenium? This is after all the oldest continually operating theatre in the English speaking world built in 1764. The Theatre Royal auditorium interior is a thing of beauty in paint and wood, matched only by the Theatre des Bouffes de Nord in Paris IMHO. The new public space based on my quick peek is only going to add to its architectural wonder.

So what have Tom Morris, the AD of BOV and director here, and designer Ti Green, opted to show us here? Well a few tables, chairs and a sign to symbolise a pub in Scotland and a bar in Switzerland. And an immense rotating metal frame, a skein filled with opaque white paper which gradually gets perforated. All of which turn into mountain ranges. Not literally. Don’t be silly. But add in climbing gear, tents, a video backdrop, superb lighting and composition/sound courtesy of Chris Davey and Jon Nicholls and, I swear, we are transported. It is one of the best realisations I have ever seen in a theatre.

However, even with craft of this imagination, that would still not be enough. Which is where the writer David Greig, the AD of the Royal Lyceum, adds his genius. Mr Greig’s original work for Traverse, NT Scotland and Paines Plough is testament to his skill but his adaptions may just be even better. I can vouch for The Suppliant Women which came to the Young Vic last year (The Suppliant Women at the Young Vic review ****), Creditors, Tintin in Tibet, and trustees who rate his contributions to Charlie and the Chocolate Factory. It is not just the ability to think through how the story can be converted into this thrilling visual spectacle, to show us where and how this happened, but also how to recast the main characters to offer us a insight into why this happened. This is after all a first person narrative where the main character is largely alone.

David Greig’s masterstroke is to incorporate Joe Simpson’s older sister, Sarah, into the narrative. (Sarah is a constant, goading presence in Joe Simpson’s autobiography The Game of Ghosts. Poignantly she died a couple of years ago.). At the outset she is angry at what seems to be Joe’s pointless sacrifice, we rewind to see her meeting Simon with Joe and being bitten herself by the climbing bug. And it is Sarah who is cajoling Joe, the spirit in his fractured mind, during the darkest hours of his escape. Monologue is turned into internal, and then here, external dialogue Add to this the contrast offered by the wry commentary from Richard, the hippyish Geordie who is recruited early on to man the base camp during the “alpine style” assault on Suila Grande.

Patrick McNamee, maybe because of, rather than in spite of, a couple of musical interludes and some remarkably insensitive dialogue, I guess this was Richard, is on top form and Fiona Hampton as the fierce, bolshie, brother-loving, Sarah is outstanding. Edward Hayter has to be more subtle to capture the more taciturn Simon, especially when he is forced to make his momentous decision and the anguish which follows. This role is a huge ask physically, though it pales a little beside that of Josh Williams as Joe. I don’t recall having seen an actor have to commit so much energy to a performance. Hanging off ropes, hopping across rocks, flying down an icy slope. Frostbitten, dehydrated, hypothermic, He really looked like he was knackered and in agony, partly I reckon because he probably was! On top of this he also has to convey the mental agonies that Joe faced in his ordeal as well as offering us, like Edward Hayter’s Simon, some idea of what drives these seemingly unremarkable blokes to take on such challenges. These fellas it seems have a rather different, more direct and maybe more rational, take on risk than the likes of you or I it seems.

So we have humour, suspense, tension, horror, exposition, explanation, psychological insight, metaphor, tricks of perspective and memory, energy, physicality, music (Boney M can be a motivator), Blimey it even feels really cold and dark at times. And if you have ever wondered what a movement director gets paid for, Sasha Milavic Davies (as in the Suppliant Women mentioned above) shows you, and then some.

This is theatre at its inventive best. It gets to the heart of the “what would I have done” question. I do hope many more people get to see it. If you are one of the lucky people close by to the theatres mentioned above do not hesitate and drag as many of your friends along as you can. I guarantee they will not be disappointed. It is hard to think of anything more gripping than a story of someone who “comes back from the dead”. To provoke our imagination into being there with him by using his imagination to create some-one being there with him is just exceptional.