Bob Fosse and Jerome Robbins: two geniuses who sound as horrible to work with as they were inspiring to watch. Two artists whose choreography is tightly locked into the DNA of the silver-plated shows they helped create. Unpicking their movement from those landmark Manhattan musicals is tough – Robbins’ West Side Story gangboys who stake a leaping, finger-clicking claim on the streets; Fosse’s … [Read more...]
Propwatch: the celery in Berberian Sound Studio
Some props have extended stage careers. Swords debut shiny and new in Romeo and Juliet and keep clattering away until they’re finally battered to bits in Coriolanus. Tankards roll sturdily from Henry IV to A Chaste Maid in Cheapside. Others? One night and you’re over. That’s showbiz, baby. In Berberian Sound Studio at London's Donmar, the celery and carrot, the cabbage and water melons, all … [Read more...]
Propwatch: the beer in Sweat
We don’t see the sweat in Sweat. It dries grimily on the skin, sinks into workclothes, or is sluiced off at home. In Lynn Nottage’s Pulitzer-winning drama, set in America’s rusting rust belt, sweat is the index of manual labour at the steelworks, effort and vigilance distilled to salty droplets. On your feet all day, straining back and bunions – yet aircon is reserved for management, who can sit … [Read more...]
Scream
My pal went into the Donmar’s Measure for Measure expecting a fight. She’d read that Josie Rourke’s production presents the cut-down text twice. The first, set at the time of Shakespeare’s 1604 premiere, where deputy governor Angelo attempts to coerce soon-to-be-nun Isabella into sex to save her brother’s life. The second, set today – same plot but with a female minister harassing a young … [Read more...]
Propwatch: home comforts
The pineapple icebucket in Home, I’m Darling; toothbrushes in Home; the doll’s house in Aristocrats; nothing in Pericles. I’ve been thinking a lot about what makes a home in the last year or so. That need for a place of safety, in which you have a stake, is pressing – but hard to find. All those phrases run through my mind, warming or mocking depending on the day. There’s no place like home. … [Read more...]
Propwatch: the fans in The Way of the World
There’s no limit to how much bad acting you can do with a fan, if you’re in a folderol frame of mind. Point it for emphasis, snap it shut in high dudgeon. Make peekaboo eyes over the top or flutter it for the full coquette. It can easily become camp. Anyone who doesn’t enjoy costume drama onstage will be no fan of the fan. But it doesn’t have to be this way. Most of the props that sashay into … [Read more...]
Yaël break
You’d know a Yaël Farber production at 100 paces. The air sweetly smoked and full of noises. The lighting crepuscular but sharded with moonlight. The movement deliberate, registering the actors’ full body weight. And that’s all before anyone speaks a word. Becoming intimate with a director’s style and sensibility is a theatregoing pleasure. It’s not the author who delivers the screed or the … [Read more...]
My American dreams
Some people plunge into pantomime for their festive entertainment. I went to America. Not real America, but pretend, demi-dystopian America, courtesy of two musicals – Assassins and City of Angels – and a scintillating reboot of The Merchant of Venice set in Las Vegas. Three versions of damaged, damaging America – its greed and desperation, its delusional entitlement and self-making desire. Happy … [Read more...]