I could have better spared a better man!

Full of contradictions and emotional roller coasters, Shakespeare’s master pieces Henry IV Parts1 and 2, were performed for the Barbican audiences entertainment yesterday and I was lucky enough to be there to experience it - warts and all...  We were off to a cracking start as Henry IV encouraging his Lords and whipped them up into a lather of enthusiasm to ride forth and conquor the Holy Lands.  Then the lights dimmed and the bubble burst as a stage manager came out and explained that there were technical difficulties involving stage hydraulics...

Jasper Britton as Henry IV

Half an hour later (and technical difficulties not overcome) we were back from the foyer (full of graduates in gowns with proud relatives) to the Eastcheap establishment of Mistress Quickly.  There’s lots of upping and downing movements from a large bed (centre stage) with accompanying groans. Then two scantily clad women jump out and run off and out pops Prince Hal in boxer shorts.  “Sorry for the delay folks” he grinned, “I was having technical difficulties”.  Trust the RSC to make a problem an opportunity; we all loved it!  Next, Falsvtaff jumps out from his hiding place at the foot of the bed and the play is off on its upward trajectory of fun, poignancy – thrills and intrigue.

Antony Sher (Falstaff) and Alex Hassell (Prince Hal)

Jasper Britton is a brilliant, emotionally volatile and doting father to Alex Hassell’s Prince Hal.  Throughout Henry IV 1 and 2 Henry and Hal play out their emotional tug of war comprised of duty and ego.  Henry is riven with self doubt and guilt about his usurpation of the throne.  Hal is just young and carefree and appears to ignore the pain he is causing his father by his rebellious lifestyle.  Both actors manage to win the audience to their own sides throughout the afternoon and evening, as neither is wholly right nor wholly wrong!  

Alex Hassell (Prince Hal) Jasper Britton (Henry IV)

Falstaff knits the whole narrative together and manages to be lovable, evil, gross and funny but ultimately tragic.  Shakespeare plays with the audience and this interpretation (and with the help of brilliant actors) brings out the subtly of the script – taking us with Falstaff and Hal through their trials and tribulations always managing to wrong-foot our assumptions.  Interwoven with these two superb characters are the men and their women folk who act out the subplot of civil uprising.  

Jennifer Kirby (Lady Percy) Trevor White (Hotspur) Leigh Quinn (Lady Mortimer) Robert Gilbert (Lord Mortimer)

Shakepeare’s plays, as always, are multilayered and running alongside the politics and battles are the intricacies of the lives of those caught up in the slipstream.  Mistress Quickly is one such character and Paola Dionisotti plays the part as though born for it (no insult intended) and indeed, as with Antony Sher’s Falstaff, it seems impossible after this that any other actor could be Mistress Quickly.  She is caught up and tossed around by the course of events and manipulated like a ragdoll by Falstaff.  Paola accentuates this vulnerability by seeming to be frail and defeated even when at points she is futilely trying to stand up for herself.  

Paolo Dionisotti (Mistress Quickly Antony Sher (Falstaff)

By the end of the day we are watching the transformation of the adolesent into a man.  Sir John Falstaff facing a future without hope of influence, knowing he is forbidden to come within 10 miles of his former protegé.  It has to be but a big part of us does not want it to be...

All in all an excellent play-day out at the Barbican - where acts of God are routinely taken in their stride. All hail Prince Hal!

Visions of Angels… City of angels, Donmar Warehouse

Rosalie Craig as Gabby/Bobby

From the very start City of Angels picks you up and takes you on a visceral journey of sex and ‘tecs to the heart of film noir.  I loved it from start to finish, and so did the people surrounding me.  Superlatives like “beautiful”, “fantastic”, and “gorgeous” where muttered around me by an audience only just containing it’s enthusiasm: a near riot of approval!

Samantha Barks

It was a class act from tip to toe with an edgy energy that didn’t flag at any point!  Jazz song and dance, ‘smack!’, the writers letters dynamically added to the scene as he wrote, ‘biff!!’ and to cap it all ‘XXXXXX’ rewrites - actually - acted backwards by the cast whenever the writer did an edit.  “The best backward acting in the West End” as my husband ventured…

The writing by David Zippel was slick and pacey performing a difficult balancing act between two inter-twined narratives: both dependent on each other. Director Josie Rourke showed ingenuity and restraint in mastering the challenge of these parallel worlds, in which most of her cast had to perform two roles each. 

Tam Mutu & Hadley Fraser

The set design of Robert Jones showed once again how the limitations of the Donmar space can actually bring out the very best – his set had more hidden doors than a haunted house and was used as part of the narrative.

Robert Jones amazing set

Needless to say, the music of Cy Coleman was also positively beautiful – from uplifting jazz to stage-standards in the same league as his score for Sweet Charity.

Add to that a cast of top draw actors who can also sing and dance and you are starting to get the picture: this was a production I’m sure Cy, David and Larry Gilbert would have been proud of.

The premise of the show is that the Writer is not only writing a Film Noir but crosses over the fiction, reality divide and interacts with the lead character within his own film.  Their relationship and how this impacts on the writers real life leads to both funny and poignant scenes and to the show’s conclusion.  

Rebecca Trehearn & Rosalie Graig

It seems unfair to single out any of this superb cast for special mention but Hadley Fraser as the conflicted writer Stine and Tam Mutu as his heroic alter-ego Stone were especially impressive whilst Rosalie Craig was a knockout as the writer’s long-suffering, wise-cracking wife and then the detective’s lost love; slinky singer Bobbi.

 

Katherine Kelly as Aluara/Clara

Katherine Kelly was an alluring Aluara/conniving Carla - a classy, classic noir blonde - whilst young Samantha Barks has talent to burn with looks and presence that seem sure to set her on course for a very long career. Nor should I neglect Rebecca Trehearn who alternated between Stone’s secretary and Stine’s studio assistant/bit on the side – another great voice with an, almost intimidating, stage presence… so much energy!

Kadiff Kirwan, Sandra Marvin, Jo Servi and Jennifer Saayeng

The Angel City Four also provided superb vocalisations throughout so a special tip of my new Liberty Hat to Kadiff Kirwan, Sandra Marvin, Jo Servi and Jennifer Saayeng: if you guys are planning any gigs at Ronnie Scotts… we’ll be there!

City of Angels is an emotionally clever, witty, stylish and a thoroughly uplifting theatrical experience. If you can get a ticket don’t hesitate and I really hope it gets the West End transfer it deserves! I feel privileged to have seen so much class in the intimacy of the Donmar but this show deserves a wider audience.