When the RZ first visited London in Spring 2004, he happened, by chance, to see the English National Opera’s legendary production of The Mikado. Having just seen Jerry Springer the night before, he was asking for recommendations at the TKTS booth and a lovely camp fellow pointed out that nobody should ever miss a British production of G&S. How right he was - the RZ scored front row seats for a song and had the show ruined for him forever, as no other production he has seen since lived up to that night.
Needless to say, a chance to revisit the Coliseum for this year’s short (9 performances over three weekends) revival was one he refused to miss. While his seat wasn’t as good, the orchestra suspiciously smaller, and the audience a bit noisier, Jonathan Miller’s production (slavishly reconstructed here by David Ritch) is still every bit as funny, stylish, and entertaining as before (with the added bonus of surtitles this time!)
For those short on the G&S canon, The Mikado is set in a rather Victorian representation of “Japan”. Nanki-Poo (Robert Murray), a wandering minstrel with a secret, falls in love with Yum-Yum (Sarah Tynan), a beautiful schoolgirl. Unfortunately, Yum-Yum is set to marry Ko-Ko (Richard Suart), the town’s tailor who becomes Lord High Executioner to prevent his own beheading for violating Japan’s laws against flirting. When word comes down from The Mikado that an execution must occur to ensure the laws are being upheld, Nanki-Poo agrees to die in exchange for 30 days with Yum-Yum. Hilarity and panic ensue as we find out Nanki-Poo is heir to the throne and due to a mix-up at court, is set to marry the foul and demanding Katisha (Frances McCafferty). Saying more would be a spoiler (such as a 100+ year old show can have), and watching Gilbert’s madness unfold and resolve itself is a joy to be experienced rather than described.
And then there’s the mandatory update to “I Have A Little List,” Ko-Ko’s song about those who should die if he ever has to perform his duties. Changed regularly to fit the day’s headlines and sensibilities, Richard Suart writes his own material, and has perhaps outdone himself this year with references to David Cameron, Facebook, Northern Rock, and bringing the show to a near halt with the Archbishop of Cantebury’s recent comments on Sharia.
Given that the first production of this staging occurred 20+ years ago and many of the cast have been repeating their roles for any number of the revivals, opportunity abounds for empty, stale performances. Thank goodness that (as other critics have mentioned) that a rival production ran in competition ten minutes away, as the performances remained fresh (as it should anyways - nine performances are not hard to fake your way through!) and Stefanos Lazaridis’ raked art-deco set of doom was thoroughly well dusted.
The RZ has only a few grievances with this production, primarily administrative. First, while the ENO deserve props for making a free cast and crew list available, the members of the company’s singing chorus are not listed in either the free handout or the paid programme (though the dancing chorus are). Likewise, for a company that receives tens of millions of pounds in subsidy, why are the ENO’s programmes £4.50? Even the most expensive West End offerings are £3-3.50 at last check. Last, while Mr. Suart is indeed very funny, it’s rather tasteless to leave A4 photocopies advertising his book all over the seats of the theatre. This is the opera, something advertised as classy, high culture, not the circus.
That said, most people don’t care who’s in the singing chorus, won’t buy a programme anyway, and can throw out the book advert. And right they should (the last two) - with a top ticket of £83 for weekend performances, this Mikado is perhaps the most expensive show yet reviewed by the RZ, but one that should not be missed and indeed stay on everybody’s theatre-going list.
Where: Coliseum Theatre
When: 15, 21, 23 Feb, 04 Mar @ 19:30, 23 Feb @ 14:30, 2 Mar @ 15:00
How Much: £10-£83 (prices change by date, check the ENO website for details)
Concessions: Students on “Access All Arias” can get upper circle for £10, dress circle for £20, and stalls for £30 by booking on the phone or at the BO. Sky Arts have a subsidy that varies production to production at ENO, check the ENO Website for the special number to call.
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RZ Unofficial “Worth Paying”: £55 to match the majority of West End top tickets.
RZ Other Thoughts: An excellent production of a legendary show, but likewise a testament to the money pit that is the opera. For those who will not be able to attend this run (or don’t have the money to buy non-student passes), an official DVD is out in Region 1 featuring this production’s original 1987 cast, including Eric Idle as Ko-Ko, and also includes a behind the scenes documentary in the bonus features.
Tuesday, 12 February 2008
Monday, 11 February 2008
REVIEW: "Sweet William"
There are two kinds of theatre fans in this world: those who are fans of Shakespeare and those who do not exist in the eyes of the former. Indeed, how could one fail to be charmed by the language, the sweeping epics, and the legacy left behind by the Bard? To be completely honest, the RZ finds it pretty easy. He would rather sit through a repeat visit to An Audience with the Mafia than go to a production of Shakespeare, and the only time he has ever found himself engaged at all by the master was watching Slings & Arrows - and even then it was the acting and the set-up rather than the words which blew him away.
That said, classical actor Michael Pennington had an entirely different and wholehearted appreciation for the man, leading him to devise and perform the new one-man show Sweet William, now running at the home of the Dyson Airblades...er...Trafalgar 2.
Pennington’s tale is an intertwined blend of his own life and experience with the material with that of Shakespeare’s. From his first visit to Macbeth to forming a politically charged troupe, Pennington relates to and through the great texts, coming in and out of characters related to the times and events in the discussed lives.
And that’s about it, really. It’s hard to go into great detail about such a simple show, other than to point out that it’s obvious from beginning to end how passionate Pennington is about his source material. Despite his age, he maintains an approachable warmth and vigour through two acts with only a chair to accompany him.
And because there’s so little to comment on, it’s a rather easy judgement to call to make. Shakespeare enthusiasts will feel at home with this production, and while non-enthusiasts are unlikely to be converted (the RZ wasn’t), it’s a more entertaining lecture than the far more sensationalised pap mentioned above.
Both groups, however, should be outraged at the Ambassador Theatre Group for having the gall to charge £27.50 for this production. One man, a chair, and a single lighting preset doth not such a high price justify, and as one of the RZ’s companions pointed out, one could see a musical for that (or two or three fringe productions elsewhere). The show is touring, however, and will undoubtedly be cheaper at the Kingston Rose or Greenwich Theatre (it’s playing one of them....)
Where: Trafalgar Studios 2
When: M-Sa @ 19:45, Th/Sa @ 15:00 until 16 Feb.
How Much: £20 Mon. Eve, £27.50 all other performances
Concessions: Book by phone and mention “ATG Email Offer” to get £20 tickets. Students and usual suspects can likely get day seats as well.
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RZ Unofficial “Worth Paying”: £12.50. It would be worth top price at a smaller venue with a more reasonable price.
RZ Other Notes: Readers who have not seen the brilliance that is Slings & Arrows (a Canadian TV series about a Shakespeare festival) are deprived and should rush to the nearest R1 DVD store of their choice to pick up the new and highly affordable boxset. Also, both of the RZ’s companions commented on Trafalgar’s use of Dyson Airblade hand driers, officially making Trafalgar Studios the trendy place to use the loo in the West End.
That said, classical actor Michael Pennington had an entirely different and wholehearted appreciation for the man, leading him to devise and perform the new one-man show Sweet William, now running at the home of the Dyson Airblades...er...Trafalgar 2.
Pennington’s tale is an intertwined blend of his own life and experience with the material with that of Shakespeare’s. From his first visit to Macbeth to forming a politically charged troupe, Pennington relates to and through the great texts, coming in and out of characters related to the times and events in the discussed lives.
And that’s about it, really. It’s hard to go into great detail about such a simple show, other than to point out that it’s obvious from beginning to end how passionate Pennington is about his source material. Despite his age, he maintains an approachable warmth and vigour through two acts with only a chair to accompany him.
And because there’s so little to comment on, it’s a rather easy judgement to call to make. Shakespeare enthusiasts will feel at home with this production, and while non-enthusiasts are unlikely to be converted (the RZ wasn’t), it’s a more entertaining lecture than the far more sensationalised pap mentioned above.
Both groups, however, should be outraged at the Ambassador Theatre Group for having the gall to charge £27.50 for this production. One man, a chair, and a single lighting preset doth not such a high price justify, and as one of the RZ’s companions pointed out, one could see a musical for that (or two or three fringe productions elsewhere). The show is touring, however, and will undoubtedly be cheaper at the Kingston Rose or Greenwich Theatre (it’s playing one of them....)
Where: Trafalgar Studios 2
When: M-Sa @ 19:45, Th/Sa @ 15:00 until 16 Feb.
How Much: £20 Mon. Eve, £27.50 all other performances
Concessions: Book by phone and mention “ATG Email Offer” to get £20 tickets. Students and usual suspects can likely get day seats as well.
----------------------
RZ Unofficial “Worth Paying”: £12.50. It would be worth top price at a smaller venue with a more reasonable price.
RZ Other Notes: Readers who have not seen the brilliance that is Slings & Arrows (a Canadian TV series about a Shakespeare festival) are deprived and should rush to the nearest R1 DVD store of their choice to pick up the new and highly affordable boxset. Also, both of the RZ’s companions commented on Trafalgar’s use of Dyson Airblade hand driers, officially making Trafalgar Studios the trendy place to use the loo in the West End.
Sunday, 10 February 2008
REVIEW: "Brief Encounter"
(Post #2 for today. Please read below for more.)
Site Specific (or at minimum Site Inspired) theatre is quite the rage in London these days - Punchdrunk are the toast of the town, and as Masque of the Red Death comes to the end of its third extension the reopening of Shunt’s vaults are coming forward in the news. For those of us, however, without such avant-garde inclinations, Kneehigh Theatre have taken over the main screen at the Cineworld Haymarket, restoring it to its original live performance roots and bringing forth an inspired adaptation of Noel Coward’s classic film Brief Encounter.
Brief Encounter shows the darker side of Coward’s canon, with its ill-fated lovers separating at the end of their relationship as the play begins. What follows is the stormy, tumultuous burst and ebb of love between a research surgeon (Tristan Sturrock) and apathetic housewife (Naomi Frederick) set against a pair of more fortunate budding relationships in the train station cafe where the two first meet. The production revels in the show's age, with the serenades of early World War II and dance hall tuners bridging the scenes (all by Coward and in the original film), and while we know how things will end, we are reminded that the journey itself is far more important.
Regarding the novel usage of space, Kneehigh have truly made the Cineworld their own. With the band and minor characters dressed as period usher(ette)s, the audience is serenaded while being seated, and each act features a quintet setting the mood and scene. Kneehigh also pay tribute to the work’s original media, using projected backgrounds for moments of internalisation as well as a variety of clever foreground films including an end-of-interval satire on classic cinematic commercials. Neil Murray’s bridge and tower set effectively convenes a variety of locations, and one can almost feel the dirt in the railway platform’s air.
Despite a second act which could use a five to ten minute trim, Brief Encounter is a magical evening out and one well worthy of the hype surrounding the production. Tickets are going fast, so book while you can.
Where: Cineworld Haymarket
When: Tu-Sa @ 20:00, W/Sa @ 15:00, Su @ 16:00. Open run.
How Much: £25/29.50 until 2 March, £35/39.50 After.
Concessions: Cineworld Unlimited cardholders can get £5 off during previews when booking in person or over the phone.
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RZ Unofficial “Worth Paying”: £25. Excellent but lacks the repeat visit factor necessary to earn a fuller value.
RZ Other Notes: Someone needs to tell the house ushers (not the ones who double as actors/musicians) to back off of the customers. On the night he went, the RZ was approached no less than four times by programme sellers (twice by the same one). To top things off, he was sent in the wrong direction by the house supervisor when entering the auditorium. While the latter can be forgiven (the whole thing must be rather new to everybody onsite), the former almost caused the RZ to complain to a manager or SEE. Yes, this is where the house makes its money but enough is enough.
Site Specific (or at minimum Site Inspired) theatre is quite the rage in London these days - Punchdrunk are the toast of the town, and as Masque of the Red Death comes to the end of its third extension the reopening of Shunt’s vaults are coming forward in the news. For those of us, however, without such avant-garde inclinations, Kneehigh Theatre have taken over the main screen at the Cineworld Haymarket, restoring it to its original live performance roots and bringing forth an inspired adaptation of Noel Coward’s classic film Brief Encounter.
Brief Encounter shows the darker side of Coward’s canon, with its ill-fated lovers separating at the end of their relationship as the play begins. What follows is the stormy, tumultuous burst and ebb of love between a research surgeon (Tristan Sturrock) and apathetic housewife (Naomi Frederick) set against a pair of more fortunate budding relationships in the train station cafe where the two first meet. The production revels in the show's age, with the serenades of early World War II and dance hall tuners bridging the scenes (all by Coward and in the original film), and while we know how things will end, we are reminded that the journey itself is far more important.
Regarding the novel usage of space, Kneehigh have truly made the Cineworld their own. With the band and minor characters dressed as period usher(ette)s, the audience is serenaded while being seated, and each act features a quintet setting the mood and scene. Kneehigh also pay tribute to the work’s original media, using projected backgrounds for moments of internalisation as well as a variety of clever foreground films including an end-of-interval satire on classic cinematic commercials. Neil Murray’s bridge and tower set effectively convenes a variety of locations, and one can almost feel the dirt in the railway platform’s air.
Despite a second act which could use a five to ten minute trim, Brief Encounter is a magical evening out and one well worthy of the hype surrounding the production. Tickets are going fast, so book while you can.
Where: Cineworld Haymarket
When: Tu-Sa @ 20:00, W/Sa @ 15:00, Su @ 16:00. Open run.
How Much: £25/29.50 until 2 March, £35/39.50 After.
Concessions: Cineworld Unlimited cardholders can get £5 off during previews when booking in person or over the phone.
---------------------
RZ Unofficial “Worth Paying”: £25. Excellent but lacks the repeat visit factor necessary to earn a fuller value.
RZ Other Notes: Someone needs to tell the house ushers (not the ones who double as actors/musicians) to back off of the customers. On the night he went, the RZ was approached no less than four times by programme sellers (twice by the same one). To top things off, he was sent in the wrong direction by the house supervisor when entering the auditorium. While the latter can be forgiven (the whole thing must be rather new to everybody onsite), the former almost caused the RZ to complain to a manager or SEE. Yes, this is where the house makes its money but enough is enough.
THOUGHTS: "A Prayer For My Daughter"
(Going rapid-fire here, four shows in a week and behind on updates...)
The RZ is one of those wacky types of people who will go to a show just to see a new venue and its use of space. In this case, his first exposure to the Young Vid is the odd reshaping of the auditorium for Thomas Babe’s A Prayer For My Daughter. Using a v-shaped auditorium and strip stage (which almost certainly has a proper term that the RZ can’t remember), Dominic Hill’s direction fails to invoke the desired effect of a claustrophobic police station in a 1970’s New York summer.
Indeed, Hill’s stage picture (coupled with Giles Cadle’s designs and Bruno Poet’s lighting) is strange and unnecessary given the story: two corrupt police officers bring in a gay junkie couple of distinctly different ages on murder charges. Alcoholic!Cop has a parallel story revolving around a suicidal daughter calling from various locations around the Bronx. As time starts running out, the goal becomes clear: extract a confession from one of the hoods first and deal with family crisis second. From here, a mess of psychological intrigue and dialogue unfolds as the cops and crooks are separated, spar verbally, philosophise, and throw around the word daughter and the associated relationships lending a twisted angle to the proceedings.
Despite the messy and underused designs, the play shines through: the audience are captured by the events and mental (mis)state of the characters, and while the cast can’t always keep their accents, they fill their roles well.
While some will be turned off by the graphic use of drugs and full frontal male nudity (or full rear male nudity depending on which side of the V you’re sitting in), fans of plays like The Pillowman will be taken in by the layered depth of this work.
Where: Young Vic
When: M-Sa @ 19:30, W/Sa @ 14:30. Through 15 March.
How Much: £25 General Admission
Concessions: Students for £10, other groups get £5 off.
------------------
RZ Unofficial “Worth Paying”: £17.50
RZ Other Notes: The restaurant at the Young Vic is rather nice, not too expensive, and makes a mean tofu burger and excellent chips.
The RZ is one of those wacky types of people who will go to a show just to see a new venue and its use of space. In this case, his first exposure to the Young Vid is the odd reshaping of the auditorium for Thomas Babe’s A Prayer For My Daughter. Using a v-shaped auditorium and strip stage (which almost certainly has a proper term that the RZ can’t remember), Dominic Hill’s direction fails to invoke the desired effect of a claustrophobic police station in a 1970’s New York summer.
Indeed, Hill’s stage picture (coupled with Giles Cadle’s designs and Bruno Poet’s lighting) is strange and unnecessary given the story: two corrupt police officers bring in a gay junkie couple of distinctly different ages on murder charges. Alcoholic!Cop has a parallel story revolving around a suicidal daughter calling from various locations around the Bronx. As time starts running out, the goal becomes clear: extract a confession from one of the hoods first and deal with family crisis second. From here, a mess of psychological intrigue and dialogue unfolds as the cops and crooks are separated, spar verbally, philosophise, and throw around the word daughter and the associated relationships lending a twisted angle to the proceedings.
Despite the messy and underused designs, the play shines through: the audience are captured by the events and mental (mis)state of the characters, and while the cast can’t always keep their accents, they fill their roles well.
While some will be turned off by the graphic use of drugs and full frontal male nudity (or full rear male nudity depending on which side of the V you’re sitting in), fans of plays like The Pillowman will be taken in by the layered depth of this work.
Where: Young Vic
When: M-Sa @ 19:30, W/Sa @ 14:30. Through 15 March.
How Much: £25 General Admission
Concessions: Students for £10, other groups get £5 off.
------------------
RZ Unofficial “Worth Paying”: £17.50
RZ Other Notes: The restaurant at the Young Vic is rather nice, not too expensive, and makes a mean tofu burger and excellent chips.
Thursday, 7 February 2008
THOUGHTS: "RENT Remixed" Closing
(Second post today, read below for more.)
So the RZ bit the bullet and went to the production of doom for a third time. It just seemed like the right thing to do - having been in the front row for the first production, he was in the back of the circles for the last. And what do you know, this time it almost clicked. Perhaps it was Jesse Wallace not being as vulgar and in-your-face as Denise Van Outen. Perhaps it was having a Mimi who could sing without gasping like she were drowning and fading into the ensemble. Or maybe it was just not caring anymore. The production retained its major flaws in structure and text, but taken as a concert of Larson's songs, it was a passable and dare the RZ say, entertaining evening. While it fails as a production of a cohesive musical, the RZ still feels there is enough interesting material here to justify aural preservation but doubts a legit CD will ever come.
Meanwhile, as far as the West End Disaster Watch goes, the internet is eagerly anticipating April's opening of Gone With The Wind, and the RZ's first preview ticket is thankfully purchased and at the ready. For the musically deprived otherwise, Stratford East have a Barbican transfer opening soon, an in-house production doing the same, and Hackney Empire are working through a musical about Sister Wendy, the great art-show Nun. Indeed, there are good times ahead.
So the RZ bit the bullet and went to the production of doom for a third time. It just seemed like the right thing to do - having been in the front row for the first production, he was in the back of the circles for the last. And what do you know, this time it almost clicked. Perhaps it was Jesse Wallace not being as vulgar and in-your-face as Denise Van Outen. Perhaps it was having a Mimi who could sing without gasping like she were drowning and fading into the ensemble. Or maybe it was just not caring anymore. The production retained its major flaws in structure and text, but taken as a concert of Larson's songs, it was a passable and dare the RZ say, entertaining evening. While it fails as a production of a cohesive musical, the RZ still feels there is enough interesting material here to justify aural preservation but doubts a legit CD will ever come.
Meanwhile, as far as the West End Disaster Watch goes, the internet is eagerly anticipating April's opening of Gone With The Wind, and the RZ's first preview ticket is thankfully purchased and at the ready. For the musically deprived otherwise, Stratford East have a Barbican transfer opening soon, an in-house production doing the same, and Hackney Empire are working through a musical about Sister Wendy, the great art-show Nun. Indeed, there are good times ahead.
REVIEW: "You've Been A Wonderful Audience"
Old comedians never die. Rather, they wind up in sappy works on the irony of laughter and the ultimate tragedy of death. In a play more suited for afternoon radio, You’ve Been A Wonderful Audience looks at the meaning of friendship and value of respect and old-time comedy at the end of life.
Produced by Drowning Fish, Wonderful tells the story of Tony (Martin Wimbush), a well known comedian in hospice being visited by Paul (Mark Katz), a young professional and admirer and Hugh (Peter Saracen), his long time friend and performing partner. The contrast between the three is immediately obvious: Tony is the suave, gentlemanly pro; Paul the rough cynical voice of a new comedic generation; and Hugh the loser, significantly less loveable offstage than on and the receiving end of torment from both. Still, the bonds of loyalty are fierce, even as Tony and Hugh diverge in terms of lifestyle as the latter is forced to confront his own demons, annoyingly whining all the way, in order to bring comfort to the former.
Billed as a tragicomedy, the ending will be of surprise to nobody, and indeed comes some fifteen minutes after the audience is ready for it. The comedic portion elicits a few grins and chuckles, but is far from brilliant, as if we are seeing the lowest echelon of the comedic duos popular in the 1950’s and 60’s: Rowan and Martin these two are not. Jeremy Bond does his best to fill the tiny Baron’s Court theatre, but he lets the pacing drag. Some wise trimming of Andrew Syers’ book would have helped, as would cutting incidental music composer’s Richard Supple’s introductive ditty which plagiarises the verse melody from “Comedy Tonight”.
Needless to say, this play was not to the RZ’s taste. However, those fond of the Hallmark Channel will enjoy this play greatly (if they can get over its at times questionable use of profanity).
Where: Baron’s Court Theatre @ The Curtain’s Up Pub
When: M-Sa @ 20:00
Cost: £12 General Admission
Concessions: Usuals for £10
-------------------
RZ Unofficial “Worth Paying”: £5
RZ Other Notes: This is a rather noisy venue, but an interesting one nonetheless. This would be an excellent theatre for one-man shows, stand-up, etc. And props to Drowning Fish for providing free programmes, though a listing of actor and role would be greatly appreciated in future.
Produced by Drowning Fish, Wonderful tells the story of Tony (Martin Wimbush), a well known comedian in hospice being visited by Paul (Mark Katz), a young professional and admirer and Hugh (Peter Saracen), his long time friend and performing partner. The contrast between the three is immediately obvious: Tony is the suave, gentlemanly pro; Paul the rough cynical voice of a new comedic generation; and Hugh the loser, significantly less loveable offstage than on and the receiving end of torment from both. Still, the bonds of loyalty are fierce, even as Tony and Hugh diverge in terms of lifestyle as the latter is forced to confront his own demons, annoyingly whining all the way, in order to bring comfort to the former.
Billed as a tragicomedy, the ending will be of surprise to nobody, and indeed comes some fifteen minutes after the audience is ready for it. The comedic portion elicits a few grins and chuckles, but is far from brilliant, as if we are seeing the lowest echelon of the comedic duos popular in the 1950’s and 60’s: Rowan and Martin these two are not. Jeremy Bond does his best to fill the tiny Baron’s Court theatre, but he lets the pacing drag. Some wise trimming of Andrew Syers’ book would have helped, as would cutting incidental music composer’s Richard Supple’s introductive ditty which plagiarises the verse melody from “Comedy Tonight”.
Needless to say, this play was not to the RZ’s taste. However, those fond of the Hallmark Channel will enjoy this play greatly (if they can get over its at times questionable use of profanity).
Where: Baron’s Court Theatre @ The Curtain’s Up Pub
When: M-Sa @ 20:00
Cost: £12 General Admission
Concessions: Usuals for £10
-------------------
RZ Unofficial “Worth Paying”: £5
RZ Other Notes: This is a rather noisy venue, but an interesting one nonetheless. This would be an excellent theatre for one-man shows, stand-up, etc. And props to Drowning Fish for providing free programmes, though a listing of actor and role would be greatly appreciated in future.
Monday, 4 February 2008
THOUGHTS: "Angry Young Man"
(Time for catching up after a busy weekend.)
Ben Woolf's Angry Young Man is a slick, professional production about the British perception of Eastern European immigration. With four actors in identical suits splitting the roles, our hero (and I use the term loosely) Yuri comes to London to get a job as a surgeon, but through a set of unfortunate mishaps finds himself confronting skinheads, conspiracy theorists, and wishful leftists who claim to be sympathetically fighting for equality while really just as racist as those on the opposite side of parliament.
The play is distancing as Yuri is played by three actors, forcing the audience to engage the material intellectually rather than emotionally, though leaps in logic are required to navigate some large plot holes. The cast (all members of MahWaff Theatre Company) are solid, but the whole thing felt as thought it was running on auto-pilot.
As someone who has dealt with the "joys" of immigration, it's easy to sympathise with Yuri, but at the same time it's amazing how street-unwise this character can be and I found myself rather unaffected throughout. Someone complaining about "those damn immigrants", however, may take something away from this piece and feel-good types will be inspired to re-examine their perspectives, even for just a few minutes. It is unlikely, though, that Angry Young Man will cause said viewers to stop wishing their barrista at Costa would learn to speak goddamn English (perhaps a new line for Avenue Q playing up the road?).
Where: Trafalgar Studios 2
When: Closed
Cost: £15 Monday Eve., £18.50 all other performances
Concessions: N/A
------------------------
RZ Unofficial "Worth Paying": £10. Good but not great.
RZ Other Notes: Angry Young Man was originally going to be paired with another one-act from Woolf. but it was canceled due to massive cast illness - something not uncommon in the London theatre community this winter.
Ben Woolf's Angry Young Man is a slick, professional production about the British perception of Eastern European immigration. With four actors in identical suits splitting the roles, our hero (and I use the term loosely) Yuri comes to London to get a job as a surgeon, but through a set of unfortunate mishaps finds himself confronting skinheads, conspiracy theorists, and wishful leftists who claim to be sympathetically fighting for equality while really just as racist as those on the opposite side of parliament.
The play is distancing as Yuri is played by three actors, forcing the audience to engage the material intellectually rather than emotionally, though leaps in logic are required to navigate some large plot holes. The cast (all members of MahWaff Theatre Company) are solid, but the whole thing felt as thought it was running on auto-pilot.
As someone who has dealt with the "joys" of immigration, it's easy to sympathise with Yuri, but at the same time it's amazing how street-unwise this character can be and I found myself rather unaffected throughout. Someone complaining about "those damn immigrants", however, may take something away from this piece and feel-good types will be inspired to re-examine their perspectives, even for just a few minutes. It is unlikely, though, that Angry Young Man will cause said viewers to stop wishing their barrista at Costa would learn to speak goddamn English (perhaps a new line for Avenue Q playing up the road?).
Where: Trafalgar Studios 2
When: Closed
Cost: £15 Monday Eve., £18.50 all other performances
Concessions: N/A
------------------------
RZ Unofficial "Worth Paying": £10. Good but not great.
RZ Other Notes: Angry Young Man was originally going to be paired with another one-act from Woolf. but it was canceled due to massive cast illness - something not uncommon in the London theatre community this winter.
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