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Tag: Wyndham’s Theatre

  • THEATRE REVIEW | The Price, Wyndham’s Theatre, London

    THEATRE REVIEW | The Price, Wyndham’s Theatre, London

    ★★★★ | The Price

    (C) Nobby-Clark

    There is a price to pay for everything in life, and in the new play The Price, this is true.

    Now playing at Wyndham’s Theatre in the West End, one of Arthur Miller’s least known plays is a study of two brothers who have not spoken to each other in 16 years yet each has their demons, each have paid a price for decisions they had made in life. Brothers Victor (Brendan Coyle) and Walter Franz (Andrian Lukis) have not seen each other for 16 years since their father passed away. During this time, Victor has kept dozens of his parents pieces of furniture in his attic, and he’s decided to get rid of them. So he asks 89-year old appraiser Gregory Solomon (a wonderful and definite Olivier Award in this role for David Suchet) into the home he shares with his wife Ester (Sara Stewart). Solomon is a Miller character, and Suchet injects his character with such panache, humour and vulnerability that it’s a master class of acting.

    Meanwhile, Walter suddenly shows up, having not returned any, any of Victors’ phone calls over the years. And, yes, there has been a price in not returning those phone calls, and we learn that Victor paid an even bigger price by remaining at home to care for his father when he was getting sicker and sicker. And all Ester wants is to have enough money to be comfortable, and as the going gets rough between the two brothers, Solomon offers a price for the furniture. Is the price a good one? Is there a price for being a responsible son, versus one who flies the coop and becomes successful? All of this drama takes place with the backdrop of the great depression in their past.

    The Price, which was written in 1968, is about estranged brothers facing up to the lasting effect of the Depression on their family three decades on. It’s also about not reaching your dreams, and family conflict. The set, where dozens of pieces of furniture are literally hanging on the side of a wall (by Simon Higlett), is genius. Also genius is the acting. Suchet is superb, and Coyle is at ease as the brother who may or may not have been manipulated by his sick father. Under the direction of Jonathan Church, The Price is worth the price of a ticket.

    The Price is playing at the Wyndham Theatre until Saturday, April 27th.  Book tickets here

     

  • THEATRE REVIEW | The Kite Runner, Wyndham’s Theatre

    ★★★★ | The Kite Runner, Wyndham’s Theatre

    The Kite Runner tells the story of Amir, a young boy played by Ben Turner,  growing up at the beginning of the troubles, in Afghanistan. When the Russians invade he is forced to flee with his ailing father or “Baba” (Emilio Doorgasingh) and begins a new life in the US where he finds a bride in what should be a happy ever ending. Unfortunately, Amir is also accompanied by a burdening baggage of guilt as a result of a set of lies and deceit, a secret known only by his father’s dear old friend Rahim (Nicholas Khan) who remained in Kabul.

    Amir’s mother had died during Amir’s birth, so he was brought up by Baba and father and son servants, the later Hassan (Andre Costin) of whom had developed a strong and loyal bond with Amir which is pivotal to the storyline. However, Amir betrayed that loyalty after witnessing an outrageous act on Hassan by a local gang of youths, who’s ring leader Assef (Nicholas Karimi) and Amir’s nemesis, reappears in an added twist later in the story when he is compelled by Rahim to return on a dangerous mercy mission to Kabul, now inhabited by the Taliban.

    The adaptation is brave as it’s a narration by Amir of his journey from boy to man and the tragedy that unfolds. This is a common style for Asian story telling but there is a danger that narration can be plodding and almost “sermon-esque” but Mathew Spangler seems to have struck a perfect balance between the story telling, flash-backs and cleverly choreographed crowd scenes that echoed the atmosphere and rhythms of Husseini’s novel, helped by a strong performance from Ben Turner and the supporting cast. The stage set is minimal with a kind of skateboard park half pipe that cleverly allows an illusion of height and depth for the performers to work off especially during the kite flying and action scenes, the backdrop a giant movable kite that had patterns projected on to it that complimented each scene.

    Tragedy upon tragedy lent to a relatively high tear jerk rating but this was pleasantly interspersed with humour from the characters who seemed to grow in confidence as the performance progressed and they connected with the audience.

    My only minus point about this stage version is that Husseini’s novel addressed other issues head on, shaking a fist at the revolving door of invaders that ruined what was once a beautiful country and a Mecca for travellers seeking enlightenment with a steady bustling economy and the subservient divide between Sunni and Shia, issues that were incidental and merely form a backdrop in this stage version, but were what made the novel a hot potato. However, to encapsulate the novel in its entirety on stage is too big an ask!

    I cannot sum up without mentioning the wonderful and often hypnotic percussion accompaniment from Hanif Khan that gelled the performance, beautifully done.

    I recommend this play, well written, and with strong performances throughout. I have already booked my return ticket!

     

    The Kite Runner runs at the Wyndham’s Theatre until 11th March.

  • THEATRE REVIEW | No Man’s Land, London Wyndham’s Theatre

    THEATRE REVIEW | No Man’s Land, London Wyndham’s Theatre

    ★★★ | No Man’s Land takes place over an evening of drunkenness and a morning of sobriety, as Hirst, an upper class writer, and Spooner, a down on his luck poet, exchange stories, anecdotes and reminiscences over copious amounts of scotch; and subsequently, the following morning’s breakfast. Their stories of mutual experiences, acquaintances and relationships are tainted with the distinct flavour of one-upmanship as the pair debate what may or may not be a shared history in Harold Pinter’s absurdist play.

    Picture Credit Luke Fontana (PR Supplied)

    No Man’s Land reunites Sir Ian McKellen and Patrick Stewart on the London Stage and it is not difficult to see why Pinter’s play resonates with the two lead actors, containing its long passages of complex prose to articulate their way through; and a pair of strong lead characters truly dominating the stage throughout the duration.

    With an abundance of strangely compelling verbal sparring between the two, McKellen’s magnetism and stage presence remains completely undeniable with a seemingly effortless performance which demonstrates why he is such an esteemed theatrical figure; whilst Stewart’s (appropriately) muted performance during the first act flowed into a more confident and surefooted second act, with the opportunity for him to revel in the demonstration of his craft. In the two supporting roles, Damien Molony and Owen Teal held their own as Foster and Briggs (a pair with a somewhat homoerotic undertone to their characters), stepping up to the challenge of sharing the stage with the two heavyweights. Sean Mathias’ direction gave a steady steer around Stephen Brimson Lewis’ quasi-symmetrical and somewhat charming set.

    The difficulty with the play is that the narrative is inaccessible to the Pinter novice. Pinter’s absurdist play is just that, never really explaining the set-up, the characters, their identities, or their motivations. Their role in each other’s lives remains unclear and the play leaves the audience to draw their own conclusions and reach their own interpretations. Discussions with others have produced a number of differing explanations and theories, with the post show chatter as varied as the scripted anecdotes portrayed on stage. On a personal level, a play with a straighter narrative and less deliberate obscurity would have been far more preferable. I couldn’t honestly say that I enjoyed the actual play itself; but that did not detract from the sheer joy and superb opportunity of seeing two of this country’s finest actors doing what they do best.

    No Man’s Land is more of an experience rather than a gentile evening in the West End. An intensively poetic and wordy script provides for a sometimes difficult and challenging watch for those not familiar with Pinter’s work, but whilst the play is not for everyone, the opportunity to see two titans of British theatre is well worth it, and not one to be passed by lightly.

    No Man’s Land is currently playing at the London Wyndham’s Theatre until 17th December 2016. Visit http://www.delfontmackintosh.co.uk/Tickets/NoMansLand/NoMansLand.asp for further details. Many thanks to Sheffield Theatres (www.sheffieldtheatres.co.uk) for facilitating this review.