The Curious Case Of Benjamin Button review: A barnstorming life …lived in reverse

The Curious Case Of Benjamin Button review: A barnstorming life ...lived in reverse

The Curious Case Of Benjamin Button (Ambassadors Theatre, London)

As a seasoned theater enthusiast with over three decades of attending plays under my belt, I must say that these two productions – “The Formation of an Enormous Heart” and “Forsyte Saga” – have left me utterly captivated.

Verdict: Mighty hearty

In the words of Oscar Wilde from The Picture of Dorian Gray, it’s not a tragedy to be old, but rather, it’s unfortunate to still be young.

The central idea behind the fresh and captivating Cornish rock musical, titled “The Intriguing Enigma of Benjamin Button,” is consistent with that of the original short story by the esteemed American author F. Scott Fitzgerald (previously adapted into a movie starring Brad Pitt in 2008).

F. Scott Fitzgerald’s narrative about an American experiencing life backwards, starting from 1860 and ending in 1930, has been transformed into a generally joyful, yet occasionally troubled story, where an elderly man, aged 70, emerges into the world in the year 1918.

He was raised (or perhaps lived) in a small town in Cornwall during his childhood, got married to the one he loved in his 50s, joined the military for World War II in his 40s, became a father in his 30s, and marveled at space exploration as a young adult in his 20s.

Thankfully, the tale avoids the logistical challenges of delivering a 6ft, 70-year-old man dressed in tweed and a bowler hat.

The Curious Case Of Benjamin Button review: A barnstorming life ...lived in reverse

Instead, it is staged as if it were a boisterous lock-in at a Cornish pub, featuring a troupe of 13 actor-musicians, who together produce a biographical hoedown.

It’s more than likely that the music in the play penned and helmed by Jethro Compton bears striking resemblance to the eccentric 70s folk-rock band, Jethro Tull, due to its similarities rather than mere chance. In fact, Darren Clark’s composition seems to be a veritable symphony of traditional instruments, leaving no banjo untouched and even incorporating the infamous flute that was once associated with Jethro Tull.

The impact is not only delightful, but also grandiose and dramatic, evoking Benjamin’s childlike innocence and awe, as well as his fear and foreboding, stemming from his unspoken burden.

John Dagleish’s character, Benjamin, bears a resemblance to the ever-youthful Bernard Cribbins in spirit; even amidst moments of embarrassment and melancholy, he retains an innocent, childlike demeanor throughout his life.

Fortunately, he finds courage from a spirited red-haired tavern maid (Clare Foster) – his one true love – in a tale that employs quaint stereotypes. Among these are Benjamin’s dim-witted companion Jack (Jack Quarton), renowned for his penchant for doling out proverbs, such as ‘there are plenty of other fish in the sea’.

The musical unfolds on a wooden pier-like structure, often referred to as wharfs, that undulates dramatically, much like the sea itself.

Notably impressive, I must add: the transition from its debut at the Southwark Playhouse fringe theater last year to gracing the stage of the West End is truly commendable.

Occasionally, it may seem a tad like visiting a small, seemingly unhip town – yet it carries an enormous amount of warmth.

The Curious Case Of Benjamin Button runs until February 15, 2025; Kenrex until November 16.

Kenrex (Playhouse, Sheffield)

Verdict: A fist full of hicksville

Regarding small-town characters, it’s worth mentioning Kenrex in Sheffield, a production where the talented young actor Jack Holden portrays every resident of Skidmore, Missouri, offering an unusual and captivating performance.

This text offers a gripping portrayal of a real-life crime drama set in 1981, focusing on the baffling murder case of Ken Rex McElroy. In the local vernacular, he was often referred to as “Kenrex,” and his massive build resembled that of an outdoor bathroom. McElroy, a menacing character, resided beyond barbed wire fences and maintained a stockpile of weapons and vicious raccoon dogs. He took pleasure in instilling fear among the residents of Skidmore, a remote town with limited accessibility.

Kenrex accumulated 21 charges for grave offenses, yet he never spent a day behind bars, largely due to a crafty attorney (a la Bob Odenkirk’s Jimmy McGill from Better Call Saul). He even masterminded the marriage of an underage beauty pageant winner; and threatened or fired guns at anyone who crossed his path.

However, when he fired a few shots at more than enough frightened villagers, it seemed that his path had come to an end.

Option: The tale might benefit from being shortened to build suspense, but its exploration of truth and justice feels a bit lacking in substance.

Rather than the overall production, it’s Holden’s exceptional performance that stands out. Each character he plays has unique nuances, such as distinct body language, accents, and voices. These characters often overlap in conversations, whether they are taking place in bars, on the phone, or during church services.

The only thing missing is the menace of Kenrex himself. Mouth ajar, shoulders aslant and with ‘a real soft tread’, Holden’s bass-voiced villain didn’t quite chill my blood. But it’s hard not to be swept along by the other characters, as well as country & western songs composed and played live by Nick Cave look-and-sound-alike John Patrick Elliott.

The show, penned by Holden and Ed Stambollouian (who also serves as director), meticulously constructs a vivid and impactful social microcosm on Anisha Fields’ stage using billboards, steps, spool tape-recorders, and microphone stands. With the help of Joshua Pharo and Giles Thomas’ immersive lighting and 3D sound effects, you can almost feel the grit as Kenrex takes its final bite.

Enthralling saga of simmering upper-crust emotions

The Forsyte Saga, Parts 1 & 2 (Park Theatre, London)

Verdict: Sublime storytelling

By Georgina Brown for the Daily Mail

In a powerfully intense portrayal of John Galsworthy’s multigenerational family drama revolving around wealth, real estate, conflicts, and both negative and positive traits, it can be said that simplicity outshines in infinite measures.

Lin Coghlan and Shaun McKenna masterfully condense nine substantial novels into a compact two-part reading extravaganza, captivating audiences regardless of whether they recall Susan Hampshire’s character Fleur from the 1967 television series or Damian Lewis’s portrayal of Soames in 2002.

The initial scene unfolds in a stage adorned minimally with Victorian red drapes, carpets, and some glass lamps, with Fleur Forsyte – a contemporary character portrayed by Flora Spencer-Longhurst in fashionable slacks and a 1920s bob – serving as our storyteller. She reflects on her family’s intricate relationships, which she was born into.

In those times, women were often treated as possessions by their traditionally formal husbands, who wore black frock coats and appeared more like undertakers due to the restrictive corsets and excessive frills they wore.

In a more simplified version, we can say: Fleur’s father, Soames (played by Joseph Millson), was a man who was both detestable and pitiable, with a cold, pinched expression that hid his burning passion. He was married to the enchanting and refined Irene, a character portrayed by Fiona Hampton.

He and his Forsyte relations are aghast when she and a visionary young architect, the refreshingly expansive Bossiney (Andy Rush, left with Hampton), fall madly in love.

As an ardent admirer, I found myself captivated, much like a spark igniting in a dimly lit space – akin to the sudden flare of a match in a darkened room – by the palpable tension between them. Mercifully, my eyes didn’t bear witness to the heart-wrenching moment when Soames overstepped boundaries, acting against her consent.

In Josh Roche’s skillfully directed group performance that moves at a quick pace and with grace, feelings build subtly – both humorous and tragic, left mostly unsaid. A casual remark suggests a deeper story: “I should probably make tea for you, Soames, but I don’t think I will.” Brief conversations carry significant weight. Irene asks, “Why do you still desire me?”, to which Soames responds, “Because you belong to me.

Skillfully, the combination of dynamic light scenes (referred to as hot and cold lighting by Alex Musgrave) and a varying soundtrack (Max Pappenheim’s ever-changing soundscape) seamlessly transitions the narrative from tense confrontations to uncomfortable family events to tranquil bluebell woods filled with raw emotions.

Initially, the narrative offers a compelling solo act. However, it’s the subsequent segment that deepens and expands, as Fleur – much like her father, characterized by entitlement, obsession, and possessiveness – targets Irene’s son, Jon (played again by Andy Rush). In a manner reminiscent of a Greek tragedy, Galsworthy subtly warns us that ‘those who fail to grasp their past are likely to repeat it’.

In just two quick bites or one swift swallow, this was undeniably the most captivating and intense theater experience I’ve had this year, lasting a total of five hours. Not a single moment is wasted; it’s an absolute must-see.

Until December 7.

2024-11-08 02:21

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