Off-WEST END
REVIEWS
Theatres reviewed on this page
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Donmar
Warehouse
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Royal Court -
Jerwood Theatre - Downstairs
Royal Court
– Jerwood Theatre – Upstairs
Soho Theatre and Writers Centre
ROYAL COURT – JERWOOD THEATRE - UPSTAIRS
Sloane Square, SW1
TWO VENUES: Theatre 'Upstairs' &
Theatre 'Downstairs'
BOX OFFICE: (020) 7565
5000
CONSTELLATIONS
by Nick Payne
Now playing at the
Royal Court Thetare Upstairs until 11th
February
Although it lasts
barely more than an hour, Constellations is a strangely satisfying and
meaningful play.
In the early
scenes, it feels more like an intellectual parlour game as a man and a woman
work their way around a square stage reliving the same brief scenes of pre-mating
three or four times in succession, like an artist’s sketches for a much
more substantial final work.
Each
variation shows a different tone and, as a result, outcome. However, for those
of us in an audience surrounding the playing space, it all appears rather
pretentious – more an acting exercise than a play.
Gradually we
gather that the text is (repeatedly) following the arc of a relationship
between two thirtysomethings, Marianne and Roland
according to a series of artificial, self-imposed rules.
Starting at
first meeting and progressing through a couple of years, we eventually get a
deep understanding of the two characters thanks to observing a
playwright’s Attempts at Their Lives to pluralise Martin Crimp.
Their
allocated vocations are hardly coincidental. Roland works as a beekeeper while
Marianne (or Mary) is a cosmologist whose speciality is in exploring multiverse
(sic) theory. This is the idea that there are an infinite number of universes
and therefore everything possible has happened and will happen again somewhere,
some time.
Nick Payne
then plays with these ideas in an assortment of ways. Tom Scutt's
set consists of a back square with honeycomb motif while hanging
above are numerous white balloons, each presumably symbolising a planet
or even universe.
The
relationship is typically calm, neutral and stormy in succession, with
behaviours and lines sometimes between man and woman swapped for effect.
Intriguingly,
perhaps every eighth scene is much darker both in terms of lighting and mood so
that a separate theme develops out of time, another physicist's concept that is
eventually pulled apart.
Eventually,
the evening is expertly drawn together so that without noticing viewers who
were originally nonplussed and then amused find themselves affected in a very
different fashion by a really subtle and insightful piece of writing.
Michael Longhurst directs with great detail applied to
characterisation and gets tremendous performances from two actors currently
making a big splash on film.
Rafe Spall and, in the more demanding
role, Sally Hawkins prove that they can act brilliantly in front of live
audiences as well. Indeed, Miss Hawkins might just find herself up for
consideration when awards season rolls around.
Reviews by Philip Fisher for Theatreworld Internet
Magazine
ROYAL COURT - JERWOOD THEATRE - DOWNSTAIRS
Sloane Square, SW1
TWO VENUES: Theatre 'Upstairs' &
Theatre 'Downstairs'
BOX OFFICE: (020) 7565
5000
Reviews by Philip Fisher for Theatreworld Internet
Magazine
]
Earlham Street
WC2
BOX OFFICE: 0844 871
7624 (No booking fee)
Reviews by Philip Fisher for Theatreworld Internet
Magazine
To book call: 0844 871 7632
Reviews
by Philip Fisher for Thatreworld Internet Magazine
66 The Cut
SE1
BOX OFFICE: 020 7928
6363
THE CHANGELING
by Thomas
Middleton and William Rowley
Now playing
in the Young Vic’s Maria Studio until 25 February
Revenge Tragedy is a
strange genre that is not always done well. The trick is to maintain a level of
seriousness amidst the absurdity of the plotting and amorality of the
protagonists.
The Young Vic's Deputy
Artistic Director, Joe Hill-Gibbins does just that,
getting his due share of laughs without ever letting the drama dissolve into
unintended comedy.
Designer, Ultz has converted the Maria Studio into a space that looks
like a downmarket school gym or, more accurately for those that have ever seen
one, a real tennis court. The costumes and props are modern, adding to audience
accessibility.
The audience surrounds the
players on two levels, most caged in like the inmates in one of the evening's
main locations.
Hill-Gibbins
has cut the text to less than two hours, which ensures a racy and exciting
cavort. This does though sometimes provide continuity issues, not always helped
by actors being obliged, bravely and energetically, to double roles.
The plot circles around
beautiful Beatrice-Joanna, a wealthy heiress with a mean streak. Jessica Raine, currently the darling of prime time TV as she stars
in Call the Midwife, makes the heroine into a more cynical character than is
usually the case.
Though promised by her
father, Howard Ward as Vermandero, to one man in
marriage she lusts after another, Kobna Holdbrook Smith's Alsemero. Where
most intended brides in such plays use guile and good fortune to escape their
fate worse than death, this feisty female has other plans.
In order to dispose of
Duncan Wisbey as the harmless but charmless Alonzo de
Piracquo, the lady enlists the assistance of a worthy
whom she detests. Daniel Cerqueira is perfect as
calm, “honest” (in the Iago sense of the
word) De Flores, whose skin flakes horribly. His devotion is sincere and
Joanna, as she is familiarly known in this version, commissions him to free
her.
His chosen weapon is a
bowl of punch, the first indication that this production will be a foodie's
delight, though the zenith is reached in one of those bed scenes so popular in
the seventeenth century.
These scenes in a mad
house are then juxtaposed with others in a madhouse, which do not always blend
too cohesively with the main plot but do draw imaginatively on the ingenuity of
all involved.
The evening’s
highlight is the wedding scene, played as a speeded up disco travesty that has
to be seen to be believed.
While this might be a
cut-down, heavily adapted version of the original, it is hugely satisfying
thanks to that elusive balance of comedy and tragedy. With Jessica Raine as the draw card, there is no doubt that tickets will
be hard to come by but if you can get one, prepare for an evening like nothing
else currently playing on the London stage.
Philip Fisher for Theatreworld Internet Magazine
SOHO THEATRE & WRITER'S CENTRE
21 Dean Street
London W1
BOX OFFICE: (020) 7478
0100
(24 hrs - no booking
fee)
Reviews by Lucy Popescu for Theatreworld Internet Magazine
16b Jermyn Street
(off Lower Regent Street)
BOX OFFICE: 020 7287
2875
(occasional
reviews)
For more details or individual advice/help - email: GPowner@aol.com