Movies

Churchill and Stalin’s Drunken Antics in Moscow

BBG News

Churchill In Moscow (Orange Theatre Tree, Richmond) 

Verdict: War of words 

Veteran playwright Howard Brenton enjoys bringing historical events to life with authentic human characters.

Known primarily for his 1980 play “The Romans in Britain,” which led to Mary Whitehouse filing a lawsuit against the National Theatre for allegedly staging an “improper act,” due to a scene depicting a Roman soldier brutally attacking an unfortunate Celt.

Forty-five years on, Brenton continues his theatrical endeavors, though not as radically as before. His newest production centers around Winston Churchill’s trip to Moscow in 1942, with Roger Allam and Peter Forbes taking the leading roles.

In a second attempt at portraying a historical figure (since “The Churchill Play” in 1974), Brenton presents Winston, played by Allam, who alerts Stalin, portrayed by Forbes, about a delay in the second front in France, which could potentially ease Hitler’s offensive against Russia.

Brenton creates two distinctly portrayed dominant characters, which are filtered through the perspective of fictional women interpreters. Churchill, known for his sharp intellect and short temper, embodies an aristocratic figure. Stalin, given a Western-inflected dialect, hails from humble origins.

In both instances, Brenton manages to irritate them, especially when they’ve had too much vodka and Georgian wine. Unlike Jon Culshaw who fully transforms, Allam only slightly changes his voice, maintaining a plummy bass that resembles Churchill. He sports a convincing bald wig and adopts a dignified posture reminiscent of a statesman.

In a passionate fan’s perspective, his verbosity feels like an overbearing invasion, compared to Forbes’s brusque, bullish demeanor that I can only liken to the infamous Stalin. While he may be adorned with a more imposing mustache, reminiscent of a walrus, it’s his luxurious mane that truly sets him apart and leaves an indelible impression.

Tom Littler’s robust staging provides a literal up-close view of history, softened by a hint of vaudeville humor. Translators Jo Herbert and Elisabeth Snegir offer respite from the grandstanding of the main characters. Alan Cox brings laughter as the flustered British ambassador, trying to hide Churchill’s indiscretions.

As a devoted admirer, I find that Soviet interior design holds a unique charm, characterized by a ceiling light reminiscent of a satellite dish. And oh, the melodies wafting through the scenes, they’re none other than the stirring tunes of Communist parade anthems – a captivating echo of the era.

The tickets are now limited to refunds only, however, the performance might gain a richer Soviet-style grandeur should it ever be moved to another location.

 

Outlying Islands (Jermyn Street Theatre, London)

Verdict: Paradise quashed 

In another nearly war-time setting, this story unfolds on a secluded Western Island of Scotland in 1939. Two youthful bird researchers find themselves deployed here to investigate the native puffin colony.

The play, penned by Scottish author David Greig in 2002, gradually transforms into a tale reminiscent of the Garden of Eden, as our two birdwatchers develop affection for the attractive niece of the island’s stern Presbyterian farmer.

Greig’s play is richly layered with various subjects, such as the courting rituals of puffins, human intimacy, ancient spiritual beliefs, and the British military conducting anthrax experiments. It’s also suggested that the attractive character, Ellen, may harbor unique affection towards Laurel and Hardy.

However, Jessica Lazar’s rendition effectively highlights the play’s central, sensual theme. Whitney Kehinde subtly exudes an alluring charm as Ellen, Bruce Langley plays the leading naturalist with a sly, geeky charm, and Fred Woodley Evans portrays his character with palpable sexual anxiety.

Kevin McMonagle growls, taking on the grim demeanor of a farmer, lamenting movie theaters as “spaces of shadow, erected where houses of worship once stood.

Churchill In Moscow runs until March 8; Outlying Islands runs until March 15.

 

ALSO PLAYING 

The Years (Harold Pinter Theatre, London) 

Verdict: HERstory 

By Georgina Brown

This extraordinary work frequently showcases playful and captivating elements, as it skillfully combines the personal autobiography of author Annie Ernaux, spanning from infancy to becoming a grandmother, with the broader narrative of womanhood throughout the 20th century – encompassing events such as the air raids of 1940 to the advent of the digital era. Essentially, it presents a unique blend of HERstory and HIStory.

In front of a white backdrop, one of the five actresses portraying Annie at different life stages assumes a position reminiscent of an old photograph.

As a lifestyle expert reflecting upon the past, I find myself momentarily assuming the solemn demeanor of a young Annie, six years old yet bearing the weight of the world. The older versions of myself stand by, their eyes glistening with memories, but today we’re not just reminiscing about our childhoods; we’re delving into the unspoken, the untold stories. We speak of Jewish children, the same age as Annie then, who were boarding trains bound for Auschwitz – a stark reminder of the darkest chapters in human history.

Gradually, Annie navigates various life stages, encountering milestones such as her first menstruation, losing her virginity, carrying a child, and entering menopause. Along this journey, she feels the mixed emotions of bewilderment, excitement, pain, sorrow, and heartache that each phase brings.

With progress — the Pill, fish fingers, tights — comes increasing girl power and autonomy.

In this production, the decor and costumes are primarily black-and-white, with some exceptions for certain props. Dramatically, Romola Garai’s character Annie experiences a miscarriage in her kitchen following an illegal abortion. Interestingly, during both performances I attended, these emotionally intense scenes resulted in the performance being paused momentarily so that audience members could receive medical assistance.

In a fitting representation, an evenly split apricot symbolizes the humorous and pivotal realization experienced by Anjli Mohindra’s character, Annie, regarding her clitoris.

This is not a show for the squeamish or the prudish.

My preferred moment (and quote) arises when Annie, portrayed superbly by Gina McKee in her middle age, is brimming with anticipation about spending an afternoon with her partner. The line that stands out is: ‘I dare not turn on the vacuum cleaner for fear of missing a call!’

Later she and Garai, both fully clothed, make love noisily on a chair.

The trend of aerobics in the 80s still brings laughter; it’s equally entertaining to see Deborah Finlay play Annie, seeming out of place as she listens to her 40-year-old sons talk about BlackBerries and broadband, making her feel like an ancient figure.

Eline Arbo skillfully reimagines and guides the acting, coaxing remarkably detailed and subtle portrayals from an exceptional quintet of performers. Absolutely recommended viewing.

Until April 19. 

 

This unsettling opera flunks the “family-friendly” test impressively, yet it delivers a powerful impact, with its profanity, simulated adult content, themes of incest, and suicide scenes.

Festen (Royal Opera House) 

Verdict: A bit like being sandbagged 

In our household, we use a specific benchmark for evaluating movies, TV shows, stage performances, musicals, and even pantomimes: “Is it suitable for Mom?” This means, does the content pass our mother’s approval.

This opera is definitely not Mum-friendly (fortunately I went with a friend).

As soon as the play begins, a barrage of explicit content unfolds, including simulated sexual scenes, suggestive themes of incest, racial slurs, brutal violence, and suicidal tendencies – just to mention a few elements.

As a diehard admirer, I’ve been captivated by the transformative adaptation of Mark-Anthony Turnage and Lee Hall’s masterpiece, Festen. Inspired by the chilling 1998 Danish film of the same name directed by Thomas Vinterberg, they’ve skillfully crafted a unique version that strays in various directions from its cinematic predecessor.

Helge, a thriving hotel owner, along with his cherished spouse Else, extended invitations to their hotel for the celebration of Helge’s 60th birthday, welcoming both relatives and close friends.

At dinner, different family members take turns giving speeches, beginning with eldest son Christian, who openly discusses the sexual abuse he and his late twin sister Linda endured at the hands of Helge.

The opera played continuously offers a dry wit, with portions supplied by toastmaster Helmut as he strives to maintain order during the events.

The crucial moment arrives as the younger sister, Helena, reads aloud a letter she found, where Linda corroborates Christian’s claim that their father’s abuse led her to take her own life.

In a moving rendition by Marta Fontanals-Simmons, the spirit of Linda seems to materialize before Christian. This encounter leaves both Christian and the audience with the comforting sentiment from Julian of Norwich: “Everything will turn out alright.

The following day, as the guests prepared to depart, Helge, who seemed to bear the marks of a scuffle with Michael, bid farewell as though no incident had occurred. It became clear that the family’s harmonious exterior was once more in tact.

As an ardent admirer, I can’t help but be captivated by the masterpiece that is Turnage’s composition. It’s a demanding work, requiring a refined palate from its listeners, yet the music, raw, expressive, and poetic in turns, manages to keep the narrative flowing. Even incorporating those ordinary tunes often sung at social gatherings adds a unique twist that keeps me hooked.

A large ensemble of 25 principal characters, along with additional singers, actors, and chorus members, put considerable pressure on the production crew – directors like Richard Jones, set designers such as Miriam Buether, and costume designers including Nicky Gillibrand. However, they impressively rise to the challenge, delivering a stunning, creatively designed performance.

I’d like to give credit to each outstanding performer: Allan Clayton as Christian, Stephane Degout as Michael, Clare Presland as Pia, Gerald Finley as Helge, Rosie Aldridge as Else, Natalya Romaniw as Helena, Philippa Boyle as Mette, Thomas Oliemans as Helmut, and John Tomlinson as Grandpa.

The following individuals all gave remarkable performances: Allan Clayton (Christian), Stephane Degout (Michael), Clare Presland (Pia), Gerald Finley (Helge), Rosie Aldridge (Else), Natalya Romaniw (Helena), Philippa Boyle (Mette), Thomas Oliemans (Helmut) and John Tomlinson (Grandpa).

In both cases, the meaning remains consistent but the phrasing is slightly different for variety.

And Edward Gardner gets crackling results from the orchestra and William Spaulding’s chorus.

REVIEWED BY TULLY POTTER 

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2025-02-14 03:31

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