Theatre Reviews

It’s the content stupid

 

Back in 1992, Bill Clinton’s campaign strategist James Carville came up with the phrase: “It’s the economy stupid”, which certainly played its part in winning him the presidential election against George H.W.Bush. Simple and effective it continues to be used by UK politicians during our electoral jamborees. Well we do like a party masquerading as an election. That same phrase can, and should, be adapted to tell theatre producers that it doesn’t matter what ‘star’ you employ to attract the punters, if the play is a dud then your investment will go astray. Ruth Wilson is a superb actress, winner of two Olivier Awards. Ivan van Hove is an innovative and daring director, his 2017 production of Network (National Theatre) was exhilarating. Jean Cocteau’s The Human Voice (Harold Pinter Theatre), the story of a woman’s heartbreak over the course of a final phone call with her former lover, a kind of theatrical essay on love and loneliness, is the type of play that leaves me wanting to cry, for all the wrong reasons.

Written in 1930, its relevance to women of the twenty first century, a woman struggling to have that one last connection with the man who has jilted her, is as important as a Barbara Cartland book. Van Hove goes for an approach that is eccentric in design – a huge glass box, and sound – an ear splitting soundtrack that includes a mash up of well know artistes. The one song he should have used is Harry Nilsson’s Without You, at least it would have given us a laugh. Instead we have seventy minutes of tears and traumatised behaviour with a predictable denouement, she can’t live without him. In between, Wilson is asked to perform miracles with a dire, dated script and a bizarre production which asks that she acts her way out of a glass tomb. Symbolism stupid. No it’s the content stupid. This work needs to be put back on the shelf to gather dust until the next reincarnation of the avant-garde movement. An inexplicable choice to stage in 2022.

And now for something completely different. Across town in Bloomsbury,  the President Hotel to be precise, Faulty Towers The Dining Experience has taken up residence once more. You eat, you drink and  get entertained by Basil, Sybil and Manuel, who serve up mayhem on a plate. My companion, who cackles rather than laughs, became the cast’s go to person to whip up a frenzy encouraging even more improvisation and impromptu ad-libbing by the talented trio. Great fun but beware those flying bread rolls. “Basil!” “Yes Dear” “Que?” Just don’t mention the war.

And Athasha Lyonnais is entranced by dance…

Three contemporary choreographers have come together to produce an absorbing showcase of dance today at the Royal Opera House. The first piece, The Weathering (Kyle Abraham) is about love, and loneliness that follows love, combining classical ballet choreography with contemporary movement (unsurprising, Abraham has worked with popstars like Beyoncé in the past). Pairs of dancers performed pas de deux, moving with affection and tenderness, before being separated and dancing on their own. The physical prowess and precision so arresting.

This was followed by Solo Echo (Crystal Pite), based on Mark Strand’s poem ‘Lines for Winter’, which was (again) learning to live alone, and to be alone. This was my favourite of the three pieces. Set to Brahms’ sonatas for piano and cello, the group of dancers moved as a cohesive unit, first like an animal and then machine. One would be rejected, break away, or collapse away from the group, and struggle to move on once alone. Its ambiguity offers lots of room for interpretation. The third piece, DGV: Danse à grande vitesse (Christopher Wheelson) wasn’t really my cup of tea. Michael Nyman’s music, had a triumphant, pompous sound. The pairings were much more traditionally gendered with more typical ballet steps and lifts. The costumes were interesting, kinda sci-fi-y, but the dance didn’t feel as challenging as the first two.

 

The Human Voice – www.haroldpintertheatre.co.uk

Faulty Towers’ –  www.interactivetheatre.com

Royal Opera House – www.roh.org.uk