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Posts Tagged ‘Tom Stoppard’

Keeping It Real

Thursday, April 29th, 2010

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The Old Vic’s new production of Tom Stoppard’s play The Real Thing is the first major revival since Stephen Dillane and Jennifer Ehle played the playwright Henry and his actress wife Annie at the Donmar in 1999. Rather than Ehle, we have Hattie Morahan and Toby Stephens replaces Dillane. Both are very good.

The play has sensibly not been updated from its 1982 original setting (though apparently a discussion about VCRs has been deleted), and the central themes of how a brilliant, witty and charming man can still find himself having to grow up from his literary Peter Pan existence and confront the realities of life and love still resonate as truly as they did in earlier productions.

Annie Mackmin’s fluent, lively and often hilarious staging does an exemplary job of bringing out the elements which many other productions might ignore, such as the meta-theatricality of the whole conceit – the play begins in media res with a hugely mannered extract from Henry’s latest, House Of Cards, and continues with extracts from ‘Tis Pity She’s A Whore, which Annie is appearing in, and even rehearsals of the dire agitprop play by a left-wing former soldier, Brodie, that she champions and that Henry is dragged into rewriting.

There’s also a beautiful counterpoint to the comedy in the sense that virtually all of the characters – including Henry’s first wife Charlotte, splendidly played by Fenella Woolgar, and his daughter – find themselves abandoned and alone at some point. It’s a fascinating conceptual reading of the play, which, without making it sound unduly ‘difficult’, closely unifies it with Stoppard’s lifelong interest in language, games-playing and dramatic inversion.

This is a thoroughly compelling and intellectually satisfying reading of the play that foregrounds both the wit and the poignancy, with a more bittersweet account of the ending than I’d ever imagined from the text, or from other productions. The Monkees’ ‘I’m A Believer’ might be on the soundtrack, but what Henry and Annie presume is open for debate.

For more information, please go to www.oldvictheatre.com.

Every Good Play Deserves An Audience

Monday, January 18th, 2010

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The National Theatre’s acclaimed revival of Tom Stoppard and Andre Previn’s play-with-orchestra, Every Good Boy Deserves Favour, is now back for a limited run, and promises again to be one of the hottest tickets in town. First staged in 1977, it’s a quintessentially Stoppardian play on paradox and mistaken identity; it concerns two men in a Soviet Union country, both called Ivanov, who find themselves sharing a cell in a mental hospital. The first one is a supposed dissident who is being imprisoned for writing a letter to a paper; the second is a genuine madman who believes that he has constant access to an orchestra. The play’s intriguingly meta-theatrical nature ensures that there is a live orchestra on stage at all times, in this production the Southbank Sinfonia, to illuminate the inner workings of Mad Ivanov’s mind.

While there is the dazzling wordplay and shafts of wit that you would expect from Stoppard, there’s also a more serious undercurrent, as he explores his grim fascination with the repressive politics of the Soviet Union and the way in which language can be perverted and twisted to act as a form of imprisonment in itself. The performances are exemplary, especially Adrian Schiller (best known as the astonishingly versatile actor in the Don’t Drink And Drive adverts) and Julian Bleach as the two Ivanovs. The direction, by Punchdrunk founder Felix Barrett and War Horse co-director Tom Morris is fluid and engaging throughout, using the orchestra as part of the action to surprising and compelling effect, and some (literally) balletic violence towards the end brutally brings home the reality of the harshly repressive world that Stoppard is illuminating.

Until 17 February. National Theatre, South Bank, SE1. www.nationaltheatre.org.uk

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