Semi-Annual Theatre Review: Part One

*blows dust off the theatre review notebook*

Sorry for being late with the theatre round-up. The good news is that we've taken beaucoup advantage of living (almost) in the West End. The bad news is that my memory may be a bit rusty (although not when in comes to Under a Black Flag. No, you, my friend, will always be a painful neuron path).

So, since the last roundup, waaaaay back in December, we've seen:

Great Expectations, based on Charles Dickens's novel, Royal Shakespeare Company, Stratford-Upon-Avon
A large ensemble cast and some imaginative, if bare bones, staging. I was very impressed at how they managed to stay at once faithful yet obviously abridge much of Dickens's words to make the story fit into three hours. Unfortunately, it was freezing cold in Stratford and my husband had a bad head cold, and it's the latter two items I remember the best about this trip. Still, Stratford is very pretty at Christmas time, with lots of festive lights everywhere.

A Christmas Carol, starring Patrick Stewart (and only Patrick Stewart)
When the late and not in the least lamented Ducktastic closed early, it left room for a last minute addition of Patrick Stewart's tour-de-force one-man reenactment of A Christmas Carol. I saw Stewart perform this over ten years ago in Los Angeles, and it's still an amazing night of theater. This was our Christmas Eve present to ourselves, and it put us in just the right festive mood. So while between this and Great Expectations it was a very Dickens Christmas, really, what other author is as appropriate for celebrating in England?

Once in a Lifetime, by Moss Hart & George S. Kaufman, at the National Theatre
What better way to start a new year in London than by watching a Hart & Kaufman play about my old home town? The tale of a naif in Hollywood may be an old chestnut now, but some film industry stereotypes, it seems, are just as true today as they were then. The Hollywood sets and costumes stunned with their Art Deco gorgeousness. However, I remember being vaguely bored with the production.

Resurrection Blues by Arthur Miller, directed by Robert Altman, at the Old Vic
The critics' knives came out for this production, although the cackling glee in most of the reviews make me wonder if the play was reviewed on its own merits or if it was merely an excuse to indulge in schadenfreude. Kevin Spacey is not having a well received stint as the Artistic Director at the Old Vic, although I, if not the British press, give him full props for staging this play. Yes, it's not Arthur Miller's shining hour. But it's still Arthur freaking Miller! And directed by Robert freaking Altman! And the cast wasn't too shabby either: Maximilian Schell, Matthew Modine, James Fox. Jane Adams, one of my favorite actresses of all time, was brilliant. And Neve Campbell, although still channeling Julia Salinger, didn't disgrace herself. No, it wasn't a great play. But I found it interesting, and thought-provoking, and overall far better than the poisoned pens made it out to be.

Billy Elliot, score by Elton John
One of the hottest tickets in London when it opened, and still selling strongly. Although based on a non-musical film, this is old-fashioned musical theatre, with a cast of dozens and songs ranging from rock n' roll to ballads to union chants. And since it is about a young boy who discovers he is a gifted dancer, there's flashy choreography as well. The musical follows the film's story pretty closely, although a ghostly mother is added for maximum heart tugging, and an amazing pas de deux between the boy Billy and his grown-up self really hits home the theme of the play. I enjoyed Billy Elliot, but I wasn't bowled over. I expected something almost transcendent from the hype, but it was just a nice solid piece of musical theatre, nothing more, nothing less.

The Woman in White, Andrew Lloyd Webber, composer
When The Woman in White was ending its run, they put £20 tickets on sale. I snatched up two of them. I was curious about the show, as I love Victorian Gothic novels. However, my husband is far from an Andrew Lloyd Webber fan (can't get him to see Evita, no matter how spectacular the reviews) so I knew seeing it at full price was not an option. He grudgingly agreed to accompany me at bargain prices.

I should listen more often to my husband.

The Woman in White was our least favorite theatre outing until recently supplanted by good ol' Under a Black Flag. The music was ALW circa Phantom of the Opera. Melodic, but overly familiar yet not memorable. The story annoyed me: the wussy heroine gets her man, while the gutsy heroine gets to be the spinster aunt. Perhaps that made the 19th century readers of Wilkie Collins' book, upon which this is based, feel that all was as it should be in the world. However, my 21st century self felt cheated and angry on the gutsy heroine's behalf.

The most amazing aspect of this production was the scenic design: computer-generated 3D projection on moving walls created grand county homes, sweeping countryside vistas, London streets and The Lady in White's version of the ALW trademark dropping chandelier/crashing helicopter: a train rushing right at the audience.

But a big pah! on the wussy heroine and hero. With a side of sweeping scorn.

A Man For All Seasons starring Martin Shaw
I loved this production of Robert Bolt's play. Martin Shaw played an intelligent, principled and highly likeable Thomas More, who refuses to condone Henry VIII's divorce of Catherine of Aragon and ultimately dies for it. An easy to digest history lesson, with stirring performances. One of my favorite plays of 2006 (so far).

Honour, starring Diana Rigg, Natasha McElhone and Martin Jarvis
The story is familiar: A couple, married for over thirty years, finds their marriage in turmoil when the man falls for a hottie young enough to be his daughter. But the acting set this apart. Diana Rigg was amazing as the titular character, Honour, who long ago gave her promising career as a poet to be a wife to Martin Jarvis's academic pundit. Natasha McElhone, as the gorgeous young journalist who bags Jarvis as both an interview subject and as a lover, was left standing in Rigg's acting dust, badly outclassed.