Sandy Pritchard-Gordon

Sandy Pritchard-Gordon
Theatre Blog

Monday 29 January 2018

Mary Stuart at Duke of York's Theatre









In Robert Icke’s adaptation of Schiller’s Mary Stuart at The Duke of York’s Theatre, Mary Queen of Scots and Queen Elizabeth 1 are interchangeable – literally – because Juliette Stevenson and Lia Williams know both parts.  The decision as to what part they will play on any particular night is down to the toss of a coin at the beginning of the production, the result of which is portrayed in close-up via a video screen.  Clever or gimmicky?  Definitely the latter, because it ultimately highlights that destiny can change in the blink of an eye and that the two women are arguably two sides of the same coin. One Catholic, the other Protestant but when it boils down, both imprisoned by the circumstances of their birth.  Just a cruel twist of fate enabled one to become the first famous English monarch and the other to suffer at the hands of an executioner.

On the night I saw this excellent production, it was down to Juliet Stevenson to portray the doomed Mary.  Because each actor had their own separate rehearsals, each one portrays each character differently, whether in mannerism or bits of business.  The one abiding similarity is their look.  Hildegard Bechtler has dressed both actresses in matching velvet trouser suits and white shirts, which, along with their short hair likens them to identical twins.  They even appear to walk as one when approaching the stage on either side at the start, before facing one another as if looking into a mirror.

This arresting production started life at The Almeida at the back end of 2016, so Stevenson and Williams have had plenty of time to inhabit both roles.  This they do with aplomb.  The play itself centres around an imaginary meeting between the two women.  One showing an uneasy command as a reigning monarch, the other with the unerring composure of a blue-blooded would-be queen eventually accepting what fate has in store. Whether or not this fate is the worst outcome is questioned at the end of the play when Elizabeth is stripped of her androgynous garb and laced into the trappings of period costume, along with ruff, wig and make-up.  Exhibited thus, she is ready for the rest of her life to be played out in private isolation and public scrutiny, whilst Mary, stripped down to simple shift, is finally on her way to lasting contentment.  She, the Scottish queen with a heart, will no longer have to deal with worldly problems and woes.  This is all played out to the background melancholy refrain of a song by Laura Marling, so bravo to her and Paul Arditti, the Sound Designer.

As expected, there is much political argument within the play, but Director, Icke, after the initial solemn coin tossing, makes sure the action ratchets up a notch or three, with both actresses often encircling each other as predator after its kill.  Their declamations have the light and shade needed to hold the audience in their thrall and although everyone is aware of the outcome, Mary Stuart’s death is still a body blow.

My only wish is to see these two brilliant actresses inhabit the other role

Thursday 11 January 2018

Belleville at The Donmar








James Norton is becoming the go-to actor for portraying outwardly normal, caring guys who have hidden depths.  As Zack in Amy Herzog’s play, Belleville, currently playing at The Donmar, he once again brings this skill to the fore.

Zack, a doctor, is newly married to Abby (Imogen Poots).  They have decamped from America to Paris, where he has a job doing research to prevent children contracting Aids and she, once a promising actor, is now teaching yoga.  So far so good, but scratch the surface and hidden imperfections appear.  The possible frailty of their relationship is hinted at almost from the start when Abby, returning from a cancelled yoga class (no-one turned up) discovers Zack furtively holed up in the bedroom with his computer.  It’s not just that he should be at work, but that his laptop is tuned into a porn channel.  And it seems that it’s not just their marriage which might crack at the seams, for underneath her bubbly exterior, Abby is mentally fragile.  Having recently lost her mother, she is now obsessed with ringing home, day and night, to discuss her sister’s pregnancy with her father; a source of irritation for Zack, who finally hides her mobile phone. This aura of uneasiness ratchets up as the play progresses and the couple discover things about one another with which they find it difficult to cope.

The flat they rent belongs to Alioune (Malachi Kirby) and his wife, Amina (Faith Alabi), a Senegalese-French couple who live downstairs.  He and Zack often share a spliff together when their respective wives aren’t around.  Although the two men seem to have a friendly relationship, the same cannot really be said for Abby and Amina, the latter not bothering to hide her disapproval of the two Americans.  Another disquieting aspect of the couple’s ex pat life in Paris.

It is as much to do with the skill of the cast as with Herzog’s script that the cracks which are continually revealed are realistic and subtle. A flaw in Zack is highlighted when he strongly disapproves of Abby wearing a sexy see-through blouse to go on a night out with their landlords.  The reason?  She last wore it when they went out with her ex-boyfriend.  Ha, ha, could this seemingly placid and caring husband, actually have a jealous and manipulative streak?  And does Abby actually enjoy goading him?  Is their relationship toxic or are they desperately in love with one another? The way Director, Michael Longhurst steers the production ensures that the accumulation of Zack and Abby’s passive aggregations towards one another, although shocking, is believable and somewhat surprising.

Although the play belongs in the main to the magnificent James Norton and the equally accomplished Miss Poots, there is also excellent support from Malachi Kirby and Faith Alabi.  The straight through hour and forty minutes fly by and I dare anyone to slacken their concentration at all during this time.  Some may quibble that it is too melodramatic but not me!