Water at The Tricycle
The Tricycle has come up with some real gems in the past, but somehow ‘Water’ misses the mark. It has great innovative touches and uses new technology like computers, video and such. But perhaps these detract from the content of the play which flits about in time and lost me more than once. The content is admirable. Like the Royal Court’s ‘Heretic’ it addresses, amongst others, the issue of global warming and also personal relationships. But the result is somewhat bitty and a play that doesn’t carry you along with it has to be deemed somewhat of a failure. That said, it did get some quite complimentary reviews, so maybe it’s me that missing something! However, don’t be put off the Tricycle – whatever it shows it remains one of London’s best little theatres.
Jeannette Nelson, Theatre Critic
Jeannette is a bit of a culture vulture who enjoys art exhibitions, cinema and classical music, but her main interest is the theatre. For several years she ran theatre discussion groups for which her MA in Modern Drama together with teaching skills stood her in good stead. She prefers to concentrate on the many off West End and fringe productions as well as that real treasure of the London theatre scene, the National.
Intelligent Opera at the King’s Head, London
The Laurence Olivier award for best opera in 2010 went not to a production at Covent Garden or the ENO but the Operaupclose’s ‘La Boheme’ which started life in a small room above the Cock Tavern in Kilburn, transferred to the excellent Soho Theatre in Dean Street, and then back for more sell-out performances at the Cock.
The Company has produced several more small operas in the space of very few months. Most of them are at London’s only fringe opera space, the King’s Head in Islington and currently showing is an absorbing Pagliacci, not only beautifully sung but wonderfully acted as well. I wouldn’t be surprised if the Olivier award for 2011 didn’t go to the same company, that is unless the big guns get lobbying. 
Check out the King’s Head’s website for the full programme of innovative and intelligent operas.
Jeannette Nelson, Theatre Critic
Jeannette is a bit of a culture vulture who enjoys art exhibitions, cinema and classical music, but her main interest is the theatre. For several years she ran theatre discussion groups for which her MA in Modern Drama together with teaching skills stood her in good stead. She prefers to concentrate on the many off West End and fringe productions as well as that real treasure of the London theatre scene, the National.
Two LONDON plays – Mogadishu and Frankenstein
Currently playing at the Lyric, Hammersmith is an excellent first play by former teacher Vivienne Franzmann, called Mogadishu.
Set in a sink school, it is fast moving, witty and poignant. The central character is a liberal teacher (always write about what you know!) who is wrongly charged with assault and racial abuse. A group of excellent young actors play the schoolkids in whose hands her fate lies. Unlike other reviews I’ve read of this play, I’m not about to give away the plot – if it were a book it would be a real page turner. This is certainly one to catch
http://www.lyric.co.uk/whats-on/production/mogadishu/
The National’s Frankenstein has to be one of the most written about productions of the year so far and has the added twist of the two leads alternating in the roles of Dr Victor Frankenstein, the mad scientist, and his creation, often in B horror movies referred to as the monster, but here, in a text more in keeping with Mary Shelley’s novel, simply called the creature.
Everything you may have read about Benedict Cumberbatch or Jonny Lee Miller is true – they are truly superb in the lead roles.
The lighting is electrifying, as is the set and the production, directed by Danny Boyle. My quibble is that the adaptation of the text by Nick Dear is a little clunky and some of the acting of the rest of a cast somewhat wooden. But nothing can really take away from the power of the piece.
Not surprisingly it has sold out, even for the next set of performances, but will be shown as a one-off in selected cinemas as now happens quite frequently with National Theatre productions.
Worth trying to catch, it really is some experience
Jeannette Nelson, Theatre Critic
Jeannette is a bit of a culture vulture who enjoys art exhibitions, cinema and classical music, but her main interest is the theatre. For several years she ran theatre discussion groups for which her MA in Modern Drama together with teaching skills stood her in good stead. She prefers to concentrate on the many off West End and fringe productions as well as that real treasure of the London theatre scene, the National.
London Theatre Review: The Heretic
Richard Bean’s ‘The Heretic’ showed great promise in the pre-opening hype, just like so many plays these days of which a great number disappoint. I’m happy to say that this play lived up to the hype; well, almost. The first three acts were superbly crafted, funny, and rang so very true.
The heretic is Diane played by Juliet Stevenson, an academic who does not agree to be swallowed up in the maelstrom of global warming enthusiasts. Instead she sticks to the rigour of her scientific findings in her limited field where she can find no evidence of rising sea levels. There are many highlights, and so many memorable quips, but the prize must go to a filmed interview with her, and Maldives politician and Jeremy Paxman for Newsnight. Or perhaps to the scene which involves her choice of union representative, a toy polar bear.
The last two acts flag a little and get a bit silly. But only a bit. I criticize really in the context of the brilliance of the first three.
The play is shortly ending its run at the Royal Court. But there is perhaps hope that like that theatre’s last runaway success, Clybourne Park, it may transfer to the West End.
Jeannette is a bit of a culture vulture who enjoys art exhibitions, cinema and classical music, but her main interest is the theatre. For several years she ran theatre discussion groups for which her MA in Modern Drama together with teaching skills stood her in good stead. She prefers to concentrate on the many off West End and fringe productions as well as that real treasure of the London theatre scene, the National.
In Balance 