Tag Archives: Lucy Briers

Flooded with Meaning

ROSMERSHOLM

Duke of York’s Theatre, London, Saturday 13th July, 2019

 

Duncan Macmillan’s new adaptation of Henrik Ibsen’s 1886 play is flooded with pertinence.  Never mind nineteenth century Norway, many of the lines come across as direct commentary on the state of our nation today, eliciting wry laughter from the audience.  Ibsen-Macmillan make satirical quips, mainly through the mouthpiece of Kroll, a conservative, while sending up that character too.  The public, we are told, vote for feelings not for facts – which accounts for the current mess we’re mired in.

As with all Ibsen, it’s the characters’ personal problems that bring about their downfall.  Dark events in their past always surface and take their toll.  In this one, it’s a year since the suicide (by drowning) of John Rosmer’s wife.  Rae Smith’s elegant, stately set bears the marks of flood damage caused by her body clogging the watermill, the stains as much as a spectre as the memory of the act itself.  Proceedings are beautifully lit by Neil Austin, with daylight starkly streaming through the windows, and lamplight dimly glowing on the murky ancestral portraits that glare down on events.

Tom Burke strikes a plaintive note as widower John Rosmer.  Having lost his faith, he is torn between opposing factions in the upcoming general election, both of which see his pastorhood (if that’s a word) as a vindication of their stance… Burke shows strength in his grief, even if his Hamlet-like indecisiveness causes him to waiver and dither.  Rosmer is clearly in the thrall of his late wife’s best mate and erstwhile nurse, Rebecca West, a thoroughly modern young woman, clawing her way up from nothing and asserting both her independence and her will.  As Rebecca, Hayley Atwell is a Marvel (pun intended).  The former Agent Carter from the Captain America films gives a sparky performance – we like her immediately, and when the Truth comes to light, and she makes impassioned defences of her questionable actions, we admire her, even if we don’t agree with her.  It’s easy to see how Rosmer is enchanted.

Giles Terera is nothing short of superb as sardonic Governor Kroll.  Assured to the point of smarminess, he makes witty observations that mask his ruthlessness and objectionable politics.  There is sterling support from Lucy Briers as housekeeper Mrs Helseth, and Peter Wight puts in a memorable turn as bedraggled radical Ulrik Brendel, more like a homeless Michael Foot than a Jeremy Corbyn.  Finally, Jake Fairdbrother’s tabloid newspaper editor Peter Mortensgaard makes a brief but effective appearance.  The play has no love for newspaper owners nor those who believe what they read in the papers – again, the prescience of the piece is uncanny.  Or perhaps it’s just dismaying to note that society has not moved on in a century, people have not improved – and it’s the same the whole world over.

A stunning production with more laughs than you might expect, culminating in personal tragedy, the net having tightened around the characters until they feel they have no other option.  The final moment is brilliantly realised.  Perhaps director Ian Rickson is also addressing global issues here.  Unless we radically change our ways, we will very soon find ourselves in deep water.

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Hayley Atwell and Tom Burke (Photo: Johan Persson)

 


Tudor Looking Glass

WOLF HALL

The Swan, Stratford upon Avon, Tuesday 28th January, 2014

 

When I heard the RSC were adapting Hilary Mantel’s novels of doorstep proportion, I wondered if they had bitten off more than they could Tudor, but then I saw that it was Mike Poulton who was doing the adapting – he gave us a very enjoyable Canterbury Tales several years ago – so I knew we were in safe hands.

The first instalment covers much the same ground as Shakespeare’s very late play Henry VIII (or the first series of gaudy TV drama The Tudors).  There is a sense of knowing, even foreboding about the enterprise; we know on whose side history’s favours will fall so there is plenty of nudge nudge wink wink dramatic irony at play.

It is also very funny.  There is wryness to the dialogue and the characters are on the whole plain-speaking.  We do not have to wade through dense verse or po-faced metaphor.  The action is immediately accessible and with a three-hours running time, it needs to be!

Central to it all is Thomas Cromwell, a kind of go-to guy par excellence.  His colourful past has given him the skills necessary to get just about anything done.  And so he climbs the precarious ladder of Henry’s court.  When we first meet him he is in the employ of the infamous Cardinal Wolsey (usually depicted as more of an out-and-out villain in this type of thing).  Paul Jesson is very funny as this worldly clergyman.  By contrast, John Ramm’s Thomas More is shown less warmly, very different from the admirable and unswerving man of principle in Robert Bolt’s A Man For All Seasons.

The whole cast is very strong but I’m going to be churlish and single out a few for special mentions.  Daniel Fraser is sweet as Cromwell’s son Gregory, playing youth and innocence convincingly despite his full-grown adult frame.  Pierro Niel Mee is bloody hilarious as Cromwell’s rat-catching French servant Christophe, and Nathaniel Parker is effortlessly majestic and charismatic as King Henry.  I also enjoyed Oscar Pearce’s bejewelled fop George Boleyn and Lucy Briers’s Hispanic intensity as Katherine of Aragon.

The costumes are perfect, conveying the period in lieu of scenery and there is atmospheric music from composer Stephen Warbeck.

Cromwell hardly leaves the stage, which means we get to see his public, at-work face and his private grief, in an excellent turn by Ben Miles.  Jeremy Herrin’s direction keeps the action moving.  Cromwell only has to turn on his heels and the scene has changed, and there are some lovely touches and understated moments.

The show ends on a bit of a cliffhanger, compelling you to come back for the sequel.  And I most definitely shall!

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He’s ‘Enery the Eighth he is, he is – Nathaniel Parker (Photo: Keith Pattison)