The triumphant triumvirate returns
Last year the National Theatre, in my opinion, was responsible for best new play, Nine Night by Natasha Gordon, and best production, The Lehman Trilogy, which has now transferred to the Piccadilly Theatre for a limited run. Based on Stefano Massini’s nine-hour Homeric poem it has been adapted by Ben Power into a three-hour 150-year critical exploration of capitalism through the prism of the eponymous family. The original cast of Emanuel (Ben Miles), Henry (Simon Russell Beale) and Mayer (Adam Godley) are reunited and pick up from where they left off, each playing a plethora of roles, making their artisanal skills look effortless, which of course they are anything but.
The investment bank to which they are connected is a sullied name, their 2008 collapse leading to a global financial crisis, the aftershock of which continues to affect our lives today. Power’s adaptation is a masterclass in distilling an epic piece of writing into extraordinary and unrelenting storytelling, which is totally absorbing, each of the actors flipping from one character to another and giving the piece a rhythm and impetus that continues inexorably to the poignant final moments. Es Devlin’s evocative revolving design is simplistic in look yet so incredibly effective in creating the look of a modern office block, strewn with brown boxes, and then immediately flipping us back to mid-nineteenth century Alabama where the company was formed by the three immigrant brothers of German descent.
A panoramic screen displays time and place to ensure we keep up while the piano accompaniment adds even more pathos to what is a salutary tale. The most telling moments come when the brothers have their faith challenged as the empire grows and the biblical references, especially to Babel, give them pause for thought. The perfunctory references to slavery and other nefarious forces at work remain unexplored. This would be my one criticism of an otherwise extraordinary play in which the realisation of the American dream turns from astronomic success to insufferable nightmare. The tireless acting trio deliver nuanced theatrical craft out of the top drawer.
Meanwhile Sotira Kyriakides is fascinated by the cut…
The Talented Mr Ripley (Wilton’s Music Hall) tells the tale of Tom Ripley struggling to make ends meet in New York when he is approached by wealthy Herbert Greenleaf – who mistakenly believes that Tom is a good friend with his son Dickie – Greenleaf eagerly pays Tom’s expenses to go to Italy to persuade him to return. When he arrives, he ingratiates himself with Dickie. What starts off as playful becomes more conspiratorial.
Tom is swept away by his seductive lifestyle. The obsession with Dickie increases. Tom feels that Dickie is tiring of him and fears losing the lavish lifestyle. He kills Dickie and assumes his identity. Henceforth, a game commences of impersonating Dickie, writing letters as him to detract suspicion that he is missing or dead and suggesting Dickie’s murder was suicide, while exempting himself from blame. The pared-down lighting, sparse stage set and the ensemble cast playing many different characters add to the growing feeling of claustrophobia. They suddenly shout ‘cut’ and the scene is replayed with a different outcome, further blurring the lines between reality and Tom’s thoughts.
And Anya Aggi is blown away…
Whitney Houston, ‘nuff said. That voice, that look and that so sad documentary film. The Greatest Love of All (London Palladium) is a tribute concert by Belinda Davids. The show has gone global and this one night in London blew the audience away. Backed by The London Philharmonic Orchestra and a live band Davids is amazing, allowing those unbelievably great songs to provide a simple musical narrative. It’s hard to decide which had the greatest impact on the night. My favourite was How Will I Know, closely followed by I Wanna Dance With Somebody. Everyone was on their feet. This fitting tribute would have Whitney smiling despite her troubled life. This grand old venue was the perfect setting for a show that will return to the UK in the autumn. Don’t miss it!
Finally, Rose Goodenough feels a little washed up…
Nottingham Playhouse’s production of Shelagh Stephenson’s The Memory of Water (Yvonne Arnaud) proved to be a bit of a damp squib. The story is essentially about how we deal with the ups and downs of family relationships, which often come to the fore when the matriarch dies, seen through the eyes of three sisters who gather for their mother’s funeral. Their personality types are not particularly compatible and their memories vary greatly. It is a tepid and superficial play and the humour does little to lift our spirits. The cast, who are a very capable bunch, struggle with a weak script and the whole thing feels clunky and contrived.
The Lehman Trilogy – 0844 871 7630
The Talented Mr Ripley – run complete
The Greatest Love of All – www.thegreatestloveofallshow.com
The Memory of Water – on tour
