The Years review: A whole lot of woman
The Years (Almeida Theatre, London)
As a lifelong lover of theater and a seasoned critic with over 30 years of experience under my belt, I must say that the productions at Red Rose Chain and Buxton Opera House have left me utterly charmed!
Verdict: A whole lot of woman
As a seasoned theater-goer with many years of experience under my belt, I must say that this week’s events at Islington’s Almeida Theatre have left me both intrigued and concerned. The sudden halt of their latest production, “The Years,” due to several men feeling unwell, is an unusual occurrence that I’ve not encountered during my numerous visits to various theaters around the world.
During a particularly intense portrayal of an abortion scene in a film based on Annie Ernaux’s feminist memoir (an 83-year-old Nobel Prize-winning French author), the actors Romola Garai, Gina McKee, and Deborah Findlay began to feel dizzy and weak around the halfway point. (According to reports)
So, I proceeded cautiously, carrying a bottle of Bach’s Rescue Remedy as a precaution. Indeed, the account of her clandestine abortion in 1963 is a heart-wrenching moment in Ernaux’s personal history.
In a similar vein, Garai left Almeida speechless with his account. This was partly due to the frequent use of ketchup, but more so because of blunt depictions that compared a ‘baby doll connected by its umbilical cord’.
Should your constitution be robust enough to handle such topics, and if you can momentarily set aside personal moral judgments, it becomes an intriguing, amusing, and emotional account of late 20th-century history – a perspective offered by a French woman who is remarkably candid about her life journey from youth to old age.
We meet her as a toddler, recalling the liberation of Paris in 1944 before the end of World War II.
Her teenage years spent in a convent school were filled with humorous incidents, while later she encountered harsh, unpleasant truths about sex during her stay at a ski resort.
As a fervent admirer looking back on my past, I can’t help but reminisce about the profound impact events had on me. Memories of an abortion, a decision that was as life-altering as it was personal, resurface. Similarly indelible are my recollections of political activism, where I found myself engrossed in the tumultuous student uprising in Paris during 1968. The world seemed to shift beneath our feet with the seismic arrival of the contraceptive pill – a revolutionary moment that forever changed the landscape of personal freedom and women’s empowerment.
In 1980, a marriage and family situation that was only vaguely defined ends in divorce. Later, in mid-life, there are romantic entanglements reminiscent of teenage crushes. The fear of menopause looms, along with the peculiar phantom of retirement, which persists throughout the Nineties and beyond.
As a committed observer, delving into the raw, unfiltered self-perception of women, as portrayed by Ernaux in her work, strikes me as incredibly captivating. The women at the performance I attended this week appeared to be thoroughly enjoying this exploration too.
1. They took great pleasure in the unexpectedly startling yet predominantly humorous depiction of life, as well as Ernaux’s hidden truths. (Paraphrased from your original sentence)
The narrative of her story closely mirrors a frequently traveled historical route, yet its familiarity merely enhances its relatability, much like the portrayal of the five performers who embody Ernaux’s various life stages. By using ‘we’, they suggest that this tale resonates with us all.
Under the direction of Norwegian-Dutch filmmaker Eline Arbo, Ernaux’s narrative unfolds in a masterfully arranged series of episodes. To initiate each installment, they recreate an antique photograph on a white backdrop, which later serves as a tablecloth and gets marked with wine, blood, and various stains. Eventually, this soiled cloth is hung at the rear of the circular stage, acting as a poignant symbol of mortality.
Harmony Rose-Bremner portrays the youthful versions of Ernaux as a clumsy kid, and adds scenes with music, such as the yodeling found in Pink Floyd’s The Great Gig In The Sky from the ’70s.
As a teenager, Anjli Mohindra playfully explores and creates unique physical exercises for self-gratification, which can be likened to an athletic interpretation of Kama Sutra. Later, the narrative shifts to Garai, who introduces a more unsettling phase.
McKee introduces a lighthearted touch to the carefree yet wistful phase of midlife, reconnecting with newfound sexual liberation. Later, Findlay concludes with a poignant reflection during retirement.
Collaboratively, these five women present an open, disquieting, and contemplative act which could aptly be labeled as a ‘detective-like pursuit for the woman’ (in French, ‘cherchez la femme’).
The Grapes Of Wrath (Lyttelton, National Theatre, London)
Verditc: Labour of Love
John Steinbeck’s powerful American novel, The Grapes of Wrath, has always been an expression of deep affection. Reading it demands the same tenacity and resilience as the Joad family, who were forced off their Oklahoma farm and sought a promised land of abundance in California during the Great Depression of the 1930s.
For the Joad family, in Frank Galati’s significant stage adaptation of the novel, this translates to a 2,000-mile journey with 13 travelers, which includes grandparents, the mother (Ma), the father (Pa), a pregnant daughter, and an ex-convict son who happens to pick up a former preacher along the way. Squeezed into an old, rickety car, they experience hardships such as hunger, embarrassment, disillusionment, and aggression.
Carrie Cracknell’s excellent staging significantly shortens the duration of the performance from an initial three hours and 20 minutes to just two hours and 45 minutes (with an intermission). While we should be thankful for this abbreviation, it is essential to note that the production remains somewhat repetitive due to recurring themes about California, the story of the son who was jailed, and at times, overly dramatic dialogue.
Cracknell’s cast exhibits an unyielding determination akin to the characters (who occasionally meet their demise) in Alex Eales’ perpetual purgatory-like stage setting, which echoes the grim tone of John Ford’s 1940 movie.
Particularly noteworthy is Harry Treadaway’s portrayal of Tom, the highly strung son on parole, and Cherry Jones delivers a commendable performance as Ma Joad, offering words of wisdom amidst adversity. Moreover, Natey Jones captivates with his charisma as the disillusioned preacher who still believes in humanity.
In some instances, there are deeply sorrowful moments that stand out; often discussed are the current conditions in migrant camps; and the well-known conclusion continues to be as awkwardly unsettling as before. Interspersed among these scenes, a country quartet plays American folk music, bringing a sense of joy with their lively hoedown performance.
As someone who has spent years working tirelessly and diligently, I can confidently say that this place may not seem appealing for a good time to the casual observer. But for those who possess the Protestant work ethic, it will not disappoint. I have found that hard work, dedication, and perseverance are often rewarded in the most unexpected ways, and this holds true even in this particular context. The satisfaction of accomplishing a task well done, of seeing progress made, and of knowing that one’s efforts have been put to good use can be incredibly fulfilling. So while others may pass by in search of leisure, I find joy and purpose in the steady, unwavering pursuit of my goals.
The Promise (Minerva Theatre, Chichester)
Verdict: Unpromising
At the close of last year, Pau Unwin’s final play, “The Enfield Haunting,” unfortunately received poor reception in London’s West End: a less-than-festive finale for the holiday season.
In his latest work titled “The Promise”, he recounts Labour’s remarkable post-war achievement – a 146-seat supermajority that granted them immense power to address social injustices. This empowerment led to the nationalization of coal, steel, and railway industries, transforming education systems, and establishing the National Health Service (NHS).
After Michael Sheen’s impassioned portrayal of Nye Bevan at the National Theatre, and Keeley Hawes’ groundbreaking performance of a post-War GP turned MP at the Donmar Warehouse this year, Unwin now highlights Clare Burt as the fiery-tempered Labour MP for Jarrow, Ellen Wilkinson.
A woman from Manchester, deeply committed to addressing the struggles of the working class, Wilkinson was both an asthmatic and a smoker. Her life, cut short by her early death, could have been the basis for Unwin’s play, but her poignant story is overshadowed by the crowd of unproductive figures in Westminster.
In my perspective as a devoted admirer, Clement Attlee, PM according to Andrew Woodall, is a legendary figure often associated with formal propriety. Ernie Bevin, Foreign Secretary in that context, is a sentimental fellow hailing from the West Country. Hugh Dalton, Chancellor of the same era, is known for his simmering anger and stiff demeanor, while Nye Bevan, Health Minister at that time, is often depicted as a rather priggish Welsh individual, reminiscent of a Dalek in his persistence and strictness.
In her role as the Minister of Education, Burt’s Ellen calls for bravery from everyone around her, even as she diplomatically handles the flirtatious advances of Deputy Prime Minister, Herbert Morrison, portrayed by Reece Dinsdale.
Instead, Unwin’s legacy might decline into incoherent drunken ramblings, followed by a stint in the hospital and an untimely demise at age 55 due to an unintentional amphetamine overdose.
Jonathan Kent’s production didn’t seem to benefit her performance. Although a technical issue occurred during the opening night, it was preceded and followed by the unpleasant noise of props being moved around backstage.
In a somewhat unusual and cumbersome stage setup, Joanna Parker’s design incorporates mechanized wooden platforms that ferry both actors and props, such as a whole cabinet with wobbly-legged chairs, around the stage.
At an unexpected conclusion, Martyn Ellis makes his appearance on stage, portraying Winston Churchill, mocking Red Ellen (nearing death), who lies gasping for breath in the center spotlight, surrounded by a specially designed arrangement of rose petals.
What does it all mean? There’s little evidence of anyone having asked that question.
A Midsummer Night’s Dream (Theatre In The Forest, Sutton Hoo, Suffolk)
Verdict: Tree-mendous
My dream was for a summer’s night, a balmy one, not rain-sodden, and by some fairy magic we got it for this enchanting, imaginative open-air production at Sutton Hoo, burial place of an Anglo-Saxon king 1,500 years ago, in the Suffolk countryside.
In this actual setting, a ‘spooky forest’ if you will, a stage was arranged, and Shakespeare’s cherished comedy unfolded under an impressive, towering sweet chestnut tree. As Oberon sang, “I know a bank where the wild thyme grows,” we found ourselves right there.
The scene is absolutely ideal – not only that, but the performers are exceptional too! We have seven versatile and gifted artists who take on all twenty roles, seamlessly transitioning between them without ever losing rhythm. This is an impressive display of energy and creativity in itself.
Vincent Moisy plays an exceptional role as Bottom, along with Demetrius and Mustardseed. Meanwhile, Ailis Duff shines brightly in the roles of Peter Quince, Helena, and Peaseblossom. The extraordinary puppets created for the fairies left a lasting impression.
Despite the recurring themes in A Midsummer Night’s Dream about the harshness and unpredictability of human love, which are likened to the mischievous nature of Cupid, the play is predominantly characterized by its comedic elements and jovial spirit.
Joanna Carrick is an innovative director known for her unique approach to storytelling, skillfully blending respect for traditional elements with her distinctive personal touches. While some might find the excessive use of asides, improvisations, and musical interludes too much, the enthusiastic audience’s response speaks volumes about their appreciation.
It seems unlikely that “You Were Always On My Mind” by Elvis Presley or the “Zorba’s Dance” from Greece were part of Shakespeare’s original works, but if given a chance, I believe he would have found these pieces pleasing and perhaps even incorporated them into his plays.
For twenty-five years now, The Red Rose Chain has been presenting its summer shows close to its headquarters in Ipswich; a remarkable milestone for a small-budget community theater. Here’s to many more successful seasons ahead!
REVIEWED BY TONY RENNELL
The Gondoliers & The Pirates Of Penzance (Buxton Opera House)
Verdict: Two national treasures brought to treasurable life
As a connoisseur of lifestyle and culture, allow me to share my perspective on The Gondoliers – Arthur Sullivan’s grand opus when partnered with W.S. Gilbert. This work stands out among their collaborations due to its abundance of music, making it a true testament to Sullivan’s musical prowess. The Act 1 finale is particularly noteworthy, leaving an indelible mark on the theater-going experience. Furthermore, the score seamlessly layers melody upon melody, creating an enchanting symphony that resonates long after the final curtain closes.
As a seasoned opera enthusiast with years of attending performances under my belt, I can confidently say that the National G&S Opera Company’s production at this year’s G&S Festival in Buxton is not to be missed. Having witnessed both the over-the-top Merry Widow at Glyndebourne and other productions, I can attest that the National G&S Opera Company’s rendition strikes an impressive balance between playful touches and staying true to the essence of the music.
Butteriss himself plays the Duke of Plaza-Toro, Gaynor Keeble is his Duchess, while Kelli-Ann Masterson as their daughter Casilda and Sam Marston as drummer Luiz are one of the three pairs of lovers. Tenor David Webb and baritone Charles Rice are outstanding as gondoliers Marco and Giuseppe, paired off enticingly with soprano Ellie Neate as Gianetta and mezzo-soprano Meriel Cunningham as Tessa. The Grand Inquisitor, Don Alhambra, is portrayed by Toby Stafford-Allen with relish.
As a die-hard admirer, I must say that Butteriss’s rendition of The Pirates Of Penzance at the Festival is nothing short of invigorating! His portrayal of the doddery Major General exudes both flawless delivery in the rapid patter songs and deep emotional resonance. David Webb brings a touching depth to Frederic, while Rebecca Bottone as Mabel showcases an impressive range of high notes that are truly envious in ‘Poor Wand’ring One’. Charles Rice is endearing as the Pirate King, though the role seems to underplay his vocal prowess slightly.
The Festival concludes on August 10th, however, the operas, along with “HMS Pinafore” and “Trial By Jury,” are scheduled to play at Malvern Theatres from September 5th through the 7th.
REVIEWED BY TULLY POTTER
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2024-08-02 04:05