Tag: Miriam Margoyles

Sydney and the Old Girl at the Park Theatre review ***

Sydney and the Old Girl

Park Theatre, 1st November 2019

After the resounding success of Madame Rubinstein at the Park Theatre a couple of years ago it was a pretty easy sell to get BUD, KCK and the SO along to the same venue to see our favourite potty-mouthed, near-octogenarian National Treasure, Miriam Margoyles’s latest theatrical outing. SATOG however, whilst, when it got going, offering the twinkly eyed MM opportunities to deliver trademark laugh out loud waspish epithets, was a very different kettle of fish to the straight comedy of Madame R, as either of its lead characters might have said.

MM played the cantakerous Old Girl, Nell Stock, holed up in her shabby east End house, with 50 year old, live at home son Sydney, played by the much admired Mark Hadfield, who, I am ashamed to say, I didn’t initially recognise. Maybe that was because to say Sydney is peculiar would be a massive understatement. He is the archetypal oddball loner and he and Mum are locked into a textbook love-hate relationship. The setting smacks of Steptoe and Son and the dialogue that writer Eugene O’Hare employs to express the toxic dynamic hints at Pinter, or, in contemporary terms, maybe a palatable Enda Walsh . Sydney holds some fairly rum, if unconvincing, opinions, about women and foreigners, and when he does go out, nurses a pint in the local whilst pretending to be with friends. Nell simultaneously detests and relishes the hold she has over him.

Nell’s mobility is limited, spends most of her time in a wheelchair, and needs constant care. Cue Irish home help Marion Fee (Vivien Parry), all round good egg and saviour to the little Catholic orphans of London. After some variable, in terms of length and quality, set up scenes, we discover that Nell is looking to cut Sydney out of her will and deny him the inheritance of the house on which he is fixated.

Which is why I had anticipated an Ortonesque payback in the second half involving some artful double crossing between the three and the acerbic humour ramped up. I was wrong, Instead the guilt which binds Nell and Sydney together, hinted at earlier with Sydney’s fear of sirens, is given a full blown reveal complete with lighting (Tina MacHugh) and sound (Dyfan Jones) effects.

I assume that it was Mr O’Hare’s deliberate intention to shift tone through his play but it left the Tourist unable to settle on plot and character. Which is a shame because when MM and MH got going in the second half, before the overwrought ending, this was a fine black comedy. Vivien Parry had less success trying to persuade us of Marion’s ambivalence. Philip Breen’s direction gives the actors time and space to deliver the lines, as does the elaborate set of co-designers, Ruth Hall and Max Jones. But despite the championing of the director and cast the play never quite hits its stride. Nothing wrong with mixing comedy and tragedy, the lodestar of best dramatists in history. It’s just that without a thorough stir the ingredients can sometimes be half-baked and a bit too lumpy to satisfactorily digest.

P.S. Would be great if the next time MM takes to this, or another London stage, it would be in a reprise of her one woman show. Ideally as unexpurgated as possible. Or better still if the production of Lady In The Van that the good people of Melbourne, MM’s adopted home, enjoyed last year could find its way here.

Madame Rubinstein at the Park Theatre review ****

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Madame Rubinstein

Park Theatre, 4th May 2017

Jez Bond and his team at the Park Theatre (with the help and goodwill of assorted North London luvvies I think) are doing an ever more successful job in my view in staging new plays and productions that people want, or should want, to see. Which is ultimately the whole point. If no-one sees a play it is a shame, if people see it but don’t really enjoy it (ponderous Shakespeare or clobber you over the head issue plays spring to mind) then it has similarly failed to deliver.

I am signed up for Twitstorm, Rabbits, Loot, What Shadows, The Retreat and Daisy Pulls it Off in forthcoming seasons here and, in contrast to some of the stuff I get to, have found it a relatively easy task of dragging along a willing chum to many of these. Whether it is the subject, the writer or the cast there is normally a clear hook to make me part with the cash. There is also a nice buzz about the place.

And so it was with Madame Rubinstein. A comedy based on the life of cosmetics magnate Helena Rubinstein, with Miriam Margoyles in the lead, was enough to persuade the SO, BUD and KCK to schlep up to Finsbury Park mid-week. And I think we were all glad we did.

Now it would be pretty easy to knock this play (many of the proper reviews have done just that), written by Australian John Misto and which MM herself was instrumental in bringing to this theatre. There is a sense that Mr Misto has tried to cram all the key events of Ms Rubinstein’s life, biopic style, into a couple of hours to the detriment of any real insight into her character. This also means the messages such as they are –  the barriers that stood in the way of Ms Rubinstein and her rival and nemesis, Elizabeth Arden, their need to re-invent their own pasts in order to sell their dreams to their consumers, the part that cosmetics played in the emancipation or otherwise of women in 1950s America – end up being diluted. And this in turn is not helped by the unrelenting focus on keeping up the gag quotient.

But when it is this funny and entertaining who cares. It is hard to imagine anyone else but Miriam Margoyles delivering the stream of one-liners that she was gifted with. But Frances Barber as Elizabeth Arden and Jonathan Forbes as long suffering assistant, Patrick “Irish’ O’Higgins, gave as good as they got. Yes the jokes are often on the obvious side of stereotypical and yes there is a campiness about the whole affair that some might not welcome. And the multiple scene changes (mostly just shifting of desk and chairs) are distracting. But we laughed. A lot. As did everyone else there.

So a top night out for all. Apparently this is sold out now but if it pops up somewhere else take a look and, as I say, if anything else piques your interest in what is coming up at the Park I think it is worth taking a punt.