Frozen at the Theatre Royal Haymarket review ****



Theatre Royal Haymarket, 8th March 2018

I see the Theatre Royal Haymarket is up for sale. Or rather a 70 year odd lease from the Crown Estate, a pernickety landlord, but one who has preserved the beautiful Nash terraces around Regents Park, and is slowing upgrading the built environment along Regent Street which looks a lot less sh*tty than it did 30 years ago.

I would love to buy it but I guess 20 quid won’t cut it. I assume that one of the big West End theatre companies, ATG, NIMAX or Delfont Mackintosh, will get its hands on it. I hope the new owners don’t tamper with the repertoire too much though I guess the family wouldn’t be selling up if they were minting it. A London home for that part of the RSC’s output which doesn’t get taken to the Barbican, and an opportunity for established directors and big name actors to tackle slightly more challenging work. Like Albee’s Goat last year (The Goat, or Who is Sylvia at the Theatre Royal Haymarket review *****), the less successful revival of Venus in Fur and now Bryony Lavery’s challenging Frozen. In years gone by we’ve had some Bond, Beckett, Shakespeare and Stoppard. Looking forward we have the Maly Drama Theatre of St Petersburg bowling up in all their splendour and a French/English Tartuffe.

TRH, along with the Harold Pinter Theatre just round the corner, (ATG, and hosting the transfer of the the NT production of Nina Raine’s Consent from 18th May with a new cast), the Wyndham’s (Delfont Mackintosh) and the Garrick (NIMAX) at the bottom of Charing Cross Road, as well as the Duke of York’s (ATG) and Noel Coward (Delfont Mackintosh) next door on St Martin’s Lane, are pretty much all you need in term of “proper” theatre in the West End, including most successful transfers from the subsidised sector. Maybe the Playhouse (ATG) and the Gielgud (Delfont Mackintosh) as well.

The Grade 1 listed Regency TRH though is my favourite. The stuccoed front elevation looks like the real deal with its beautiful portico with six elegant Corinthian columns. The theatre was designed by none other than John Nash and dates from 1821 having replaced the previous incumbent which was built in 1720. It acquired its royal patent in 1776 joining its namesake in Drury Lane and the Royal Opera House. We were lucky enough to see Ian Kelly’s Mr Foote’s Other Leg with Simon Russell Beale in 2015, at the Hampstead Theatre, not here, which tells the fascinating story of the TRH’s founding.

The bars in the TRH don’t look like an afterthought, loos are adequate and legroom is very good throughout. The Tourist has found plenty of lovely seats, from the 900 or so total, to suit his needs here, something he can’t necessarily say about the other theatres mentioned above. Outside of the balcony, the seats are comfy and in everything bar the very back of the stalls, and one or two by the wall in the dress circle, sight-lines are very good. The space is airy enough to accommodate the gold-leaf plastered on every surface of the beautifully maintained neo-classical interior, and the blue upholstery creates a much more balanced aesthetic when compared to bog-standard red.

So any theatre buyers reading this, by which I mean buyers of theatres, not tickets, I would snap up the TRH, however onerous the lease clauses.

What about Frozen I hear you ask. I will resist the urge to make the customary joke about kids getting a little bit confused by the absence of Queen Else belting out Let It Go. For Frozen, as I am sure you know, deals with a serial killer, Ralph played by Jason Watkins ,who sexually assaults and murders Rhona, the 10 year old daughter of Nancy, played here by Suranne Jones. Our speaking cast is completed by Nina Sosanya who plays Agnetha, the American psychiatrist who studies the case. The play essentially asks whether those who commit such crimes are born “evil” and whether they can, in any way, be forgiven.

So it is strong stuff and director Jonathan Munby and designer Paul Wills don’t pull any punches. Ms Lavery’s play was lauded when it first appeared in 1998 at the Birmingham Rep and garnered awards at the NT in 2002 and on Broadway in 2004. It hasn’t popped up again in London, perhaps not a surprise given the sIt is very well researched and emotionally powerful as you would expect though it does come over as a little calculated, with the Agnetha character slightly forced. When it is good though, it is very, very good. It is constructed initially from short monologues, later moving to dialogue between Agnetha and Ralph as she studies him, a meeting between Agnetha and Nancy and finally a meeting in prison between Nancy and Ralph himself where she offers forgiveness.

None of this would work if the audience were not totally convinced by Ralph. It probably isn’t any surprise that Jason Watkins delivered. I don’t mean to suggest that this will have been an easy role for him to inhabit, just that his TV performance as the teacher Christopher Jeffries who was wrongly accused of murder, suggested to me that his technique might prove suited. I was not however prepared for just how good he is in this. With his flattened West Midlands vowels, his false pride in his “logistical” skills, his pedantic explanation of events and his extreme temper he seemed to me to be the embodiment of the “banality of evil”. He is chilling, yes, undeniably odd, but also believably humdrum and, on the surface, quite affable. Detail after detail, his description of the van he uses to abduct his victims, the way he engages them in conversation, the appalling scene where he is displaying his paedophile videotapes, the explosions of anger in prison, leave the audience revulsed, of course, but compelled to watch more.

It is hard for Suranne Jones to match this. The play probably works better in a much smaller space. Director, and the design team, understandably want to fill the TRH stage, conjuring up projections of brain scans, assorted “frozen” images, ghostly images of Rhonda, and the like, wheeling props on and off with each scene change, as well as some unsubtle soundscapes. This all proves a little too bold I think, and Ms Jones has the most difficulty in projecting the incomprehension and grief that consumes Nancy for over twenty years, out into the audience. It is a bit easier for Nina Sosanya to highlight Agnetha’s contention that Ralph’s behaviour reflects his damaged neurological make-up, given much of this is delivered in the form of imagined scientific lectures. She also has some opportunity to show lighter moments, though we learn later on that she too is grieving over her own loss.

So no doubt this is a very good play, sympathetically delivered by a fine trio of actors. The direction might be a little heavy handed, and the space a little cavernous for what is an intense, episodic chamber piece, but it is well worth seeing. Particularly if you snap up some of the cheaper seats on the day. Just make sure everyone in your party is up to speed on the content.


Labour of Love at the Noel Coward Theatre review *****


Labour of Love

Noel Coward Theatre, 15th November 2017

The Tourist is wracked with guilt. A couple of lovely women who were sat next to him asked his opinion at the interval as to whether James Graham’s Ink or Labour of Love was the better play. He said Ink. By the time this was finished he had changed his mind. Ink is a fabulous play (Ink at the Almeida Theatre review *****), don’t get me wrong, with superb performances and a delightful set, but Labour of Love is funnier, and, in its own way, quite moving. There are one or two occasions where Mr Graham’s script goes for the easy laugh, or is slightly too blunt in terms of characterisation, but as in his other plays, all is forgiven because of the sheer level of entertainment which is delivered.

Two plays in the West End, Quiz playing in Chichester (and surely West End bound), This House embarking on a national tour next year, a commission, The Culture: A Farce in Two Acts, for Hull Truck in the pipeline and, I bet, some revivals of his earlier Finborough Theatre plays will pop up. It seems the boy wonder can do no wrong.

That’s because he has the gift. Writing consistently very funny plays, with real dramatic momentum, gentle formal innovation, about relatively recent events, which manage to examine big and important issues, (the way power is wielded in our modern democracy), and which pack in the punters, is not easy. Otherwise everyone would be at it. Yet James Graham makes it look effortless. And he is in the groove. No doubt about that.

Labour of Love charts the course of the Labour Party through the seven General Elections from 1992 through to 2017. The wheeze is that the first half shows events in reverse, the second then rolls forward again. Martin Freeman plays David Lyons, an initially ambitious Blairite, who is tasked in 1990 by Party HQ with fighting a “safe” Labour seat in Nottinghamshire, near where he was brought up. His ambitious lawyer wife Elizabeth, (well played by Rachael Stirling, given the somewhat one-dimensional hand she was dealt), initially intends being his constituency agent but is reluctant. In steps Jean Whittaker (Tamsin Greig) who was married to Terry, the previous MP before he became ill. She knows the ropes and is Nottinghamshire through and through. The MP and his inherited agent then play out, over the years, the struggles between the left and the right of the Labour party, the democratic socialists and the social democrats, against the backdrop of a Northern town that falls further and further behind through the 1990s and 2000s.

The relationship between David and Jean is alternately wittingly combative and awkwardly tender and is, eventually, consummated (don’t worry, not literally). Kwong Loke plays Mr Shen a Chinese industrialist who might prove the town’s employment salvation, Susan Wokoma is Margot Midler ,who is roped in as a local activist, and Dickon Tyrell is Len Prior, council member, old school Labour and, for a time, Jean’s second husband.

You have to feel sorry for Sarah Lancashire who was initially cast as Jean but had to withdraw on doctor’s advice. Her loss however was Tamsin Greig’s gain. And ours. Jean is an absolute peach of a role. And Ms Greig, who might be our greatest current comic stage actress, literally wolfs it up. She is marvellous. As with her Malvolia at the National before this (Twelfth Night at the National Theatre review ****) it is not just that she is a master of timing but that she can connect with the whole audience wherever she is on stage and in whatever she is saying. And, as in Twelfth Night, when the tone shifts so does she. Immediately. And we the audience follow her. Immediately. Martin Freeman is equally at home as David, in particular when he gets to deliver a rousing soliloquy, on the virtue of pragmatic Government rather than the sanctimony of permanent Opposition, which saw the audience break into spontaneous applause.

This is a joint production between Michael Grandage and Jeremy Herrin’s Headlong with the latter in the director’s chair. He may have misfired a little with Common at the National, but he is back on form here having previously brought This House to life. Lee Newby’s set is as workaday as you like and a big call out to wig and hair director Richard Mawbey, who convincingly took the leads backwards and forwards through the three decades. Also vital in plotting the history is the video and projection design of Duncan Maclean and the master sound designer Paul Arditti has some fun with the soundtrack.

Labour of Love. Labour of course, that is the subject. Labour of Love because it is pretty clear where James Graham’s sympathies lie, though he scrupulously avoids the soapbox. Labour of Love as a pun on his writing skill maybe, as this feels like it was anything but a struggle to create. And Labour of Love because David and Jean’s witty sparring has more than an air of Benedick and Beatrice about it. A popular playwright, banging out the texts, selling out the theatres, engaged with the politics of the day, making us laugh, (sometimes with the most obvious of material), and making us think. It worked five hundred years ago. It is working for James Graham now. Maybe this is the lost Love’s Labours Won.