Tag Archives: Old Vic

THOROUGHLY MODERN MAN: Hedda Gabler, Old Vic

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Prior to attending the press evening for this production, I had been walking past the Old Vic on an almost daily basis and salivating at the thought of seeing Sheridan Smith taking the reins as the eponymous Hedda Gabler.  On all fronts, the night entirely lived up to my expectations.  At almost two centuries old, the Old Vic Theatre is the perfect establishment to play host to Ibsen’s masterpiece, which dates back to a badly received premiere in Germany in 1891.  A 1901 run on Broadway soon changed opinion, however, and the play continues to be performed on stages across the world.

Entering into the auditorium, one is initially struck by Lez Brotherston’s exquisite set.  While light and ornately furnished, the layout also effectively achievs the growing sense of doom that ultimately traps the protagonist.  Smith’s opening and closing of the drawing room doors is a symbolic and meticulously studied act throughout the performance; regardless of all else that is going on stage –she holds the attention of the house at these junctures.  In addition to the wonderful design, there is the extremely clever use of incidental music to both build and ease tension.  This, in combination with the actors’ perfectly timed dialogue and actions, provides for a very gripping spectacle indeed.

To state the obvious, Smith steals the show in her leading role.  Her portrayal is an intoxicating tour de force that invokes a combination of dislike, admiration, disgust, admiration and ultimately horror.  The crescendo towards the horrific denouement is paced remarkably well as she descends into her frenzied internal inferno.  I could wax lyrical about the entire cast but I will give only a few special mentions to my particular favourites.  Adrian Scarborough as George Tesman very much complimented Smith as the rather cumbersome and tactless oaf with a heart of gold.  That said, he was well able to rev into ‘serious mode’ when the tempo demanded it.  Darrell D’Silva took on the role of Judge Brack, whose relationship with Hedda exposes more of her shortcomings than she would care to be open about.  D’Silva achieved the right balance of an outwardly amicable gent with a tendency towards malice when required; his asides with Smith were some of the most engaging of the evening.  Finally I must commend Anne Reid for her evocation of Juliana Tesman. One of the ‘goodies’ of the cast, Reid’s acting was wonderfully innocent and warm-hearted; a perfect counter-balance to the undercurrent of menace that pervades the play.

I could go on, but I really feel this is a stage sensation that you must experience for yourself.  The run continues for a relatively limited period, ending on the 10 November.  Book now or forever regret missing out!

Written by a Thoroughly Modern Man, Mark McCloskey.

Democracy, Old Vic

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Michael Frayn is a very clever man. His plays never fail to surprise and educate me. Democracy could not be more different in tone and content to Noises Off and yet both are utterly convincing and impressive on stage.

Modern German politics is a complex topic to portray in theatre, and it certainly wouldn’t usually be a subject to attract my attention. However Frayn manages to isolate a fascinating period in this country’s tumultuous history that is rarely written about. ‘Democracy’ is centred around conflict and duality, examining the important relationship between statesman Willy Brandt and his devoted assistant, Gunter Guillaume. Frayn uses these remarkable people and events to create a gripping spy thriller for the stage. The play is predominantly set in the cabinet office, the layout is rather austere… wooden desks and dimmed lighting. I was disappointed by the lack of scene changes… the strict but simple staging remains almost identical throughout the production which feels a little static.

Paul Miller effectively translates this play onto the great Old Vic platform. The all male cast mill about the stage discussing the government situation. The Stasi traitors co-exist on stage while the German Social Democrats go about their daily business. It is a strange conceit whereby one character, Arno Kretschmann remains invisible for the duration of the play. I was most inspired by the very human natural progression of characters, as the deception sets in, the relationships form and bonds organically grow between the men.

Patrick Drury is utterly mesmerising as Willy Brandt, his expressive face and poignant eye contact command the attention of the audience; I couldn’t help but stare at this charismatic man. I really enjoyed Aidan McArdle as Gunter Guillaume, he has an infectious energy on stage and truly commits to the role appearing both humble and sneaky as the spy at the centre of the story. Together these two characters forge a tender and believable working friendship and the interplay between them is the most striking element of the evening.

If you are hoping for a reprisal of the raucous Noises Off, you will be disappointed as Democracy is dry and dense in comparison. However if you enjoy striking and intelligent theatre, this play will appeal and will shed light on an intriguing and momentous part of German history.

Democracy continues until 28 July, book here.

THOROUGHLY MODERN MAN: The Duchess of Malfi, Old Vic

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Having stood the test of time the plain fact is that The Duchess of Malfi is a great play and one that is revived quite frequently. Many productions rarely hit the nail on the head but this one does.

Upon entering the theatre the audience are confronted with the beautiful and majestic settings of the Italian Court. I subsequently spent the next 3 hours glued to my seat trying to visually devour Soutra Gilmour’s simple yet stunning creation.

The complex psyche of the Duchess is bought to life with a brutal honesty and absolute commitment of Eve Best. She gives powerful and interesting performance as the Duchess and has managed to create a simply flawless character.

Antonio is played by the talented Tom Bateman, who brings a fresh sense of excitement to the early romance between the Duchess and his character and handles the mental conflict later in the marriage with great skill and sincerity.

The third and final performance of note is Mark Bonnar’s cunning and tragic Bosola. The main link between the action onstage and the audience, Bonnar manages to ensnare the audience through the wit and charm of the character which only made me feel a deeper sense of sadness in the final moments of the play. Bonnar is on top form here.

The true simplicity of the production does Webster’s dark tale a great justice and director Jamie Lloyd a huge credit. Lloyd just understands the beauty of the piece and delivers a sublime and well executed production. You definitely get a lot of theatre for your money… weighing in at three hours long it is no small undertaking, but certainly one that I would recommend.

On another note entirely, I advise that you take some cough sweets to throw at the many overly vocal audience members that the Old Vic seems to regularly attract.

Continues until 9 June, book here.

Written by a Thoroughly Modern Man, Thomas Moore.