Other Desert Cities at the Old Vic
Once the home of the National Theatre, the Old Vic is currently under the long-standing-but-nearing-its-end artistic direction of Kevin Spacey. The current season, starting with Other Desert Cities by Jon Robin Baitz, is being presented in the round. One of the strengths of this play as seen on Broadway was its beautiful set: a Palm Springs dream home. While seeing a production in the historical jewel box that is the Old Vic was near the top of my list of theatrical must-do's, the possibility of seeing this play with a bare set wasn't enticing enough to make me buy tickets until they announced the cast, after which it became a must-see. UK theatre dames Sinead Cusack and Clare Higgins made me take note, but it was the addition of Martha Plimpton in the lead role that made me buy.
The theater setup actually wasn’t completely in the round, but more of an alley space, allowing for the requisite Christmas tree and a mid-century fireplace with other furniture pieces nicely rounding out the set. I did feel that the staging played slightly to one side, which wasn’t terrible until the final scene/speech that was completely played to the main house side (we unfortunately were seated on the proscenium stage). The cast was top notch with everyone besting their counterparts on Broadway (I can’t wait to see Clalre Higgins in A Delicate Balance on Broadway in the fall!). The play though still has its faults, with the big secret coming so late that it almost seems preposterous. Still, it was worth seeing this fantastic cast.
The Animal and Children Took to the Streets, 1927 at the National Theatre
It's hard to justify seeing a show at the National Theatre since almost all of their own productions are taped for NT Live cinema viewings. Luckily, this production by 1927 was making its third visit to the National in its mid-size Lyttelton Theatre. 1927 specializes is combining live theatre and animation (and the occasional musical number). With two actors doubling roles and another on piano, the cast deftly keeps in synch with the animation even though the human actors largely stand in place (either in front of one of three white panels or within cutouts in them). The amusing, but slow-paced, story concerns a bad neighborhood in a fictional city where wild children run amok at night. The city’s efforts to tame them unfortunately snag a good little girl whose neighbor spends his long-saved vacation money to save her and impress her mom. The technical work far outweighs the story, but is imaginative enough to make the show worth it.
Phantom of the Opera at Her Majesty's Theatre
Blithe Spirit at the Gielgud Theatre
I haI had already seen Angela Landsbury in this Noel Coward classic on Broadway, but couldn't resist seeing her very funny turn as Madame Arcati again. And, it gave David a chance to finally see one of his favorites actresses in person in what may be her last stage performance.
The production is basically the same as on Broadway, but it is a delight in every way. Landsbury is heaven, as to be expected, but the rest of the cast, including Charles Edwards of Downton Abbey fame, is perfection as well. Elvira is cast young, but Jemima Rooper's quirky energy works so well she nearly steals the show. So great to see this one and Angela again!
1984 at the Playhouse Theatre
The Almeida Theatre was one of several smaller companies (including the Menier Chocolate Factory, the Royal Court, and the Young Vic) that I had my eye on for this trip. Most were between shows (or didn't have anything on of interest), but luckily this acclaimed production of George Orwell's novel moved directly from Almeida's own theatre to the West End with only a month in between runs. A co-production with the Nottingham Playhouse and frequent Almeida collaborator Headlong (together also producing American Psycho the Musical and the acclaimed play Chimerica), this adaptation starts slow with scenes from the book (or Winston writing his story) interspersed with a book club (in the distant future?) discussing the novel. Things don’t really take off until Winston’s secret is discovered. His hideaway with Julia is only seen on video up until this highly theatrical moment in which the set is completely broken down (their secret room is revealed upstage behind the shop/library set) with a clean, white space remaining. The torture scenes that follow are brutal with nice gory effects. But, the whole thing doesn’t necessarily amount to much even though the weird book club is back at the end in an attempt to tie things together thematically. I wish this version focused more on the actual story (Julia seems like she's barely even in it!) instead of the themes.
Miss Saigon at the Prince Edward Theatre
Miss Saigon was my very first Broadway show so how appropriate that this brand new production ended up being one of my first shows in the West End. I dare say that this new staging actually trumps the original! And, the cast is fantastic! Jon Jon Briones as the Engineer deserves the final bow with his thrilling, can’t-take-your-eyes-off-him turn as the slime ball with big dreams and just a little heart. The newly discovered Eva Noblezada (reportedly playing only 4 performances a week) as Kim is no Lea Salonga, but her voice is a powerhouse nonetheless. Unfortunately, she isn’t quite up to the acting of the other principals. Still, this production is incredibly moving and had probably the longest standing ovation I’ve ever seen in a theater!
Privacy at the Donmar Warehouse
Getting tickets to a show at the Donmar Warehouse (the tiniest of all West End theaters at approximately 250 seats) proved to be the most challenging part of the trip. Had I realized that everything sells out at the Donmar long before the shows actually open (or are even cast) and despite how they're reviewed, I would have bought tickets when they first went on sale (which was long, long before I knew what would be playing at most of the other companies I was interested in). Thankfully, I was able to get tickets through their weekly online offer for front row seats for 10 pounds. Our front row tickets turned out to be in the circle (balcony) on the right side, which for this show proved to be excellent since there is quite a bit of “audience participation” and we were able to see it all! These seats also provided a great view of Benedict Cumberbach seated second row center.
Privacy dramatizes how a playwright was hired by the Donmar to write a play about privacy. Part documentary, part expose, it revolves around various aspects of privacy ranging all the way from personal views of oneself (there are funny scenes of the "playwright" with his therapist) to the data harvesting done by Google/Apple to huge global issues like the NSA/Edward Snowden controversy. The first act is light and fun and very entertaining with the audience asked to keep their phones out, send selfies, do searches, etc. The amount of data our phones collect about us and the way that Google actually tailors search results to an individual is eye opening stuff. The second half though gets really serious (we are told to put our phones away!) and revolves mostly around national security. Much of the dialogue comes from the statements of actual people with all of the cast except for the main actor playing numerous real people. There is a twist in the second act, which was somewhat suspected, that unfortunately dampens one’s view of what unfolded during the first act. Overall, this one didn’t get me too worked up.
The Drowned Man: A Hollywood Fable, Punchdrunk and The National Theatre at Temple Studios
Being huge fans of Punchdrunk's Sleep No More in New York City, we were ecstatic when their latest production, in conjunction with the National Theatre, extended long enough for us to see it (we were initially led to believe the space would already be closed for redevelopment; thankfully it was easy to exchange the tickets we had already purchased for another National Theatre show).
Playing out over 4 floors, the characters in The Drowned Man are either small-town hicks or Hollywood fame-seekers. Like Sleep No More, the rooms are decorated to the hilt with some of my favorites including the two trailer parks, various movie sets, and a creepy "outdoor" funeral scene. I spent most of my time following the closeted gay actor character and witnessed a great musical number covering multiple sets in a huge movie studio. The two main story lines both feature a love triangle and a murder, but the other characters are just as, if not more, interesting. David and I got separated early on (it's actually ideal to view a Punchdrunk show solo). He was disappointed that he didn't get to see any male nudity (I sure did!). The best part of the show though was the wrap party that acts as the finale. The entire audience (I’m guessing at least twice as many as at Sleep No More) fits into the same space to watch a huge, energetic dance number. I love Punchdrunk!!!
Antony and Cleopatra at Shakespeare's Globe Theatre
We wanted to take in something at the Globe and had planned to cheap it out with 5 pound tickets to become "groundlings," standing in the "'yard" that comprises the first level of this outdoor recreation of the original Globe theater. But, once Eve Best (best known to Americans as Dr. O'Hara on Nurse Jackie) was announced as Cleopatra we decided to splurge on a wooden bench in the first row of the middle gallery (we also splurged on the much needed cushions offered for rent!).
Never having seen Antony and Cleopatra, I didn’t realize how much humor there is in the first act (at least in this production). With unbelievable stage presence, Eve Best is a delight as Cleopatra, making her a true "drama queen." Obviously injured and wearing an ankle brace throughout, Best still delivered a highly physical performance (an understudy on book covered another actor who slipped in the rain during the previous performance). The second act is a bit of a downer and much slower paced, but it is still great to go back in time at the resurrected Globe!
Tosca at the Royal Opera House
I made a conscious decision to branch away from theatre in London for at least one night and the Royal Opera seemed like the perfect option. This revived production of Tosca has been somewhat controversial with cast replacements in both sets of singers covering the run. Russian Oksana Dystra, in her ROH debut, sings Tosca beautifully, but is definitely lacking in the acting department. Marco Vratogna (replacing Thomas Hampson) and Roberto Alagna nicely round out the principal roles in this first company. The sets, like the opera house surrounding it, are absolutely gorgeous. And, the two intervals are just as fun when spent in the multilevel, glass and metal enclosed champagne bar that used to be the Covent Garden flower market. A fine way to spend our last night in London!
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