'Company' at the Gielgud Theatre

'Company' by Stephen Sondheim has opened in the West End with a brand new production and some gender-swapped roles. I've never seen a fully staged production - costumes, scenery, lights - of 'Company' before but have seen an afternoon version as part of the 'Sondheim at 80' season in 2010 that starred Adrian Lester, Sophie Thompson and Haydn Gwynn, all in civvies. That was a 'traditional' version with Adrian Lester as Bobby considering marriage and commitment whereas this new version has Rosalie Craig as Bobbie and, you know what? I think it works better with a female lead.

It's a play very much of it's time - 1970 - on Bobbie's 35 birthday and all her friends are married but not necessarily happily. I can see how it would've been a breath of fresh air in 1970, challenging the traditional form of the musical with it's series of one act scenes with some narrative and a song all around the theme of marriage. Today, though, it seems a bit dated and that's where changing the gender of the lead player worked for me. Not only is there the question of settling down into a relationship (let's use that word rather than marriage) but there's also the biological clock ticking away. And, because it's updated, we also have a gay couple who are getting married (or possibly not).

I couldn't make up my mind about whether I liked the staging or not where most of the scenes took place in big neon light boxes that rolled on and off the stage effortlessly - I can't quite decide if they enhanced the production, detracted from it or were simply annoying. You have that nice big stage so use it, don't confine people in a claustrophobic box. Something that did annoy me was Rosalie Craig's red dress. Please people, give her a costume change? That red dress just really irritated me.

Rosalie Craig played Bobbie who was on stage for virtually the whole time, with friends played my Patti Lupone and Mel Giedroyc. I've seen Rosalie and Patti on stage before but this was the first time I'd seen Mel and I was quite impressed with her acting and (as you'd expect) her comic timing. It's odd to think that, as Chris mentioned, after the Sondheim nerds and theatre queens have seen the production, Mel's will be the biggest name on the bill but she's not very visible in the second half at all. I'm pleased we saw her.

The big draw for many people will be Patti Lupone, a Broadway legend who I saw in Sondheim's 'Gypsy' a decade ago. I saw her again five years ago in a short series of song and chat shows at Leicester Square Theatre. I liked her world-weary performance as the friend who's seen it all and then some, and her big song was 'Ladies Who Lunch' which was great fun.

I enjoyed the production and I'm pleased I saw it. It did rather make me want to see new productions of other Sondheim shows like 'Sunday in the Park'  and I'm sure that'll come back one day. In the meantime, enjoy 'Company'.

PS: I also liked the blue balloons that were all over the public areas of the theatre to mimic the poster for the show. Well done Gielgud!

Shakespeare at 450

Last week saw the 450th anniversary of the birth of William Shakespeare, poet and playwright. Everyone knows his name but we know very little about him, including his actual birth date. He was baptised on 26 April 1564 so, presumably, was born a few days earlier and he died on 23 April 1616. He would have had no inkling that people all over the world would still be talking about him, reading his words and seeing his plays all these years later. I wonder what he would have thought?

I've seen and read many of Shakespeare's plays and poems but not all by any means. I used to have a hardback 'complete plays' when I was at university (it had a red cover I seem to recall) as well as individual editions of the plays I was studying. Some of his plays come round again and again on the stage while others seem to be rarely touched. I haven't seen many of the history plays because I've never been terribly interested in them but I ought to see them if only for the sake of completeness.

I've seen great productions of Shakespeare plays and others that were a bit ho hum. Sometimes it's the interpretation, sometimes it's the direction or the acting. And sometimes, frankly, it's the play that's the problem. Why, for example, have the daft wooing scene at the end of 'Henry V' and am I the only person in the world that doesn't like Bottom in 'A Midsummer Night's Dream' (or any of the rustics for that matter)? I'm sure there's a very valid reason for all the things I'm not keen on in Shakespeare plays but  that won't make me suddenly like them.

I have favourite productions and sometimes I leave the theatre elated and sometimes depressed. Productions that I should have liked have been very disappointing and it's sometimes difficult to pinpoint why that is. Last year's must-see production of 'Othello' at the National Theatre with the double-header of Adrian Lester and Rory Kinnear (who won an Olivier Award for his performance) was an example of a production that left me cold. It should have been a massive favourite bit it wasn't, partly because of the staging and costumes even though the acting was excellent. I felt terribly let down by that one.

On the other hand, two versions of 'Much Ado About Nothing' live on in my mind. Firstly there was Zoe Wannamaker and Simon Russell Beale's version at the National Theatre which I will always remember for them both falling into the same pond. Then, a couple of years ago, the production billed as the 'Indian' version with that great Shakespearean actress Meera Syal who showed us no mercy by milking every possible laugh from every scene and laugh we did (even me). It most ably demonstrated that Shakespeare can be transplanted to any age or culture and it still works. I loved that production and wish I'd seen it again.

My first ever Shakespeare production was 'Hamlet' with Derek Jacobi in, I think, 1978. Other than a few panto's that was my first trip to the 'serious' theatre with 'serious' actors. Mr Jacobi was, of course, hot property at the time off the back of 'I Clavdivs'. His star status helped fill seats but I went because I was doing 'Hamlet' for 'A' level English. The most recent production that I'd praise is 'Henry V' with Jude Law who delivered an excellent St Crispin's Day speech (I saw Adrian Lester deliver this speech 11 years ago when he took the part). Jude is my king and my sword-arm is his, at least until I see another production of the play.

The most disappointing play was 'Timon of Athens' at the National Theatre a couple of years ago with Simon Russell Beale. It was a great productions, with excellent acting, direction and sets but what disappointed was the play. I'd never read it or seen it before so didn't know what to expect - I wanted to experience it raw and direct as a first time experience so I wasn't prepared for the downbeat ending. Why didn't Timon triumph over adversity at the end instead of crumbling? I don't want to see that play again.

The beauty of Shakespeare is that the plays can be interpreted in many different ways to suit the current mode and productions can mirror life in any way they want, from the prosaic to the magical. 'A Midsummer Night's Dream' and 'The Tempest' should always be done as magical in my mind, anything less is an insult to the text and to the audience. I want magic and wonder.

The current big Shakespeare production is 'King Lear' at the National Theatre with Simon Russell Beale in the title role. I saw another production of this a few years ago with Derek Jacobi (yes, the same names keep cropping up) and the excellent Gina McKee as a triumphant Goneril. You don't take her on lightly.

There's always another Shakespeare production and actors ready to step up and make their names in these classic roles. A play I'm looking forward to - and again, that I haven't seen or read before - is 'Titus Andronicus' at The Globe in a couple of months time. The Globe has a lovely big stage but the wooden bench seats are a challenge even with the cushions you can hire in the yard. Something else I'm looking forward to is a reading of all 154 sonnets by Simon Russell-Beale, Harriet Walter and others at the Royal Festival Hall. That's going to be an intense evening and I'm sure there'll be smiles and tears that night!.

There is always another side to Shakespeare and that is why he's great. There's a Sheakespeare for every age and every mode, you just need to dig. Happy birthday William, you'd be astonished at the shop at The Globe Theatre but I suspect you'd have a wry grin at the souvenirs when you walked round.

'Henry V' at the Noel Coward Theatre

We went to see 'Henry V' at the Noel Coward Theatre the other night and I thoroughly enjoyed it. I saw Adrian Lester play Henry a decade ago and now it's the turn of Jude Law to take the part. I've seen him on stage a couple of times ('Hamlet' which I enjoyed and 'Anna Christie' which I enjoyed less so, both of which were Michael Grandage productions) and this was, I think, his best and most immediate performance.

Why did I like it? Well, firstly, it was in period costume (Adrian Lester's version was in modern battle dress and modern weapons) and that worked really well. The acting across the whole cast was really good and the lighting and staging was superb. It all came together nicely to give us a really good production.

The smell of dry ice was in the air in the theatre and the stage was a plain wall painted as if grey timber that moved and opened up for different scenes but kept the background to the action largely the same. There was lots of movement on the stage so that provided some continuity.

I particularly liked Noma Dumezweni as Mistress Quickly - she really knows how to speak verse and kept all eyes on her, as did Ron Cook as Pistol, particularly when he captures a Frenchman for ransom (a truly funny scene) and when he eats leek (the leek nearly flew off the stage that night). It's probably unfair to pick those two out of an all-round excellent cast but I did enjoy their performances.

I also really enjoyed Jude Law's performance as well and the depth of his characterisation was quite impressive. Jude nailed the 'St Crispin's Day' speech

... And gentlemen in England now-a-bed

Shall think themselves accurs’d they were not here,

And hold their manhoods cheap whiles any speaks

That fought with us upon Saint Crispin’s day.

Where's my sword? I'll fight beside you my King! It was a stirring speech and, if we weren't (mainly) British, we would have rushed the stage to join his army there and then. Watch out you French, we have 'Enerey Vee!

It was odd to see the ushers walking round with 'no photography' signs (that some people ignored) that suggested this wasn't a standard 'theatre audience'. I'm not too bothered about that though, if Jude is bringing in people new to theatre and new to Shakespeare. That's a good thing really.

If you get the chance you really should see this production. Bring your sword but leave your camera at home please.

NT @ 50 = 46

As you probably know, the National Theatre is celebrating being 50 years old at the moment. There are celebratory talks at the National, documentaries on TV and radio, features here and there and even (gosh) a celebratory website.  The physical reality of the National Theatre is a 1970s concrete 'brutalist' building - before then it was based in The Old Vic.

I've attended a few of the celebratory talks with people who've played at the theatre over the years such as Imelda Staunton and husband Jim Carter, Julie Walters, Simon Russell Beale and Brenda Blethyn as well as former director, Richard Eyre. They've taken place in the early evenings in the National theatres before they open for the evenings punters. They've been great fun and a great idea.

The National Theatre is actually three theatres in the same building. It's made up of the Olivier Theatre, the Lyttelton Theatre and the Cottesloe Theatre (currently being renovated and will open in 2014 with a new name). With three theatres on the go it has the opportunity of putting on so many shows each year. My favourite theatre is the Olivier and I can't believe that it will ever change its name.  How could it?

My personal archivist pointed out the other day that I've seen 46 National Theatre productions (some more than once) in the last 10 years (and will be seeing an additional two before the year is out). So here's the last ten years of the National and me...

2003: Henry V, Jumpers, His Girl Friday, Play Without Words

I remember Adrian Lester as Henry V in a modern day Iraq-type scenario for the great war play but I don't recall anything about 'Jumpers' at all. Zoe Wanamaker was great in 'His Girl Friday' and 'Play Without Words' was sublime. We saw 'Play' with Dezur from New York and I saw the same production again last year at Sadlers Wells as part of the Matthew Bourne 25th anniversary celebrations.

2004: Jerry Springer: The Opera, A Funny Thing Happened On The Way To The Forum

Two big ensemble pieces with far more swearing in 'Jerry Springer' than is good for anyone and some good old fashioned smut in 'Forum'.

2005: The House Of Bernarda Alba, Once In A Lifetime

I still remember Penelope Wilton leading the cast of women in 'Bernarda Alba', wringing her hands at the front of the stage and putting on a brave face. I find it hard to believe it was that long ago.

2006: Pillars Of The Community, The Voysey Inheritance

Two Victorian plays in one year.

2007: The Rose Tattoo, Rafta Rafta, The Emperor Jones, War Horse

Zoe Wanamaker (again) in 'Rose Tattoo', the great Meera Syal in 'Rafta', the golden stage opening for 'Jones' and, of course, the brave horse that is Joey in 'War Horse' which I saw twice and, on one night, Steven Sondheim was a few rows in front of us, so who knows what might happen. Joey is so far from being a puppet, he is bravery personified.

2008: Much Ado About Nothing, Present Laughter, The Year Of Magical Thinking, August, Osage County

A great production of 'Much Ado' with Zoe Wanamaker and Simon Russell Beale speechifying from a deep pond on the stage, a tour de force from Vanessa Redgrave in 'Magical Thinking' and the sprawling complexity of the family drama of 'Osage'.

2009: Every Good Boy Deserves A Favour, The Pitman Painters, Burnt By The Sun, All's Well That Ends Well, Time And The Conways, Nation

'The Pitman Painters' was a revelation with art growing out of the mines of Northumberland between the wars - not quite class warfare but some powerful message nonetheless. I loved the almost fairytale nature  of 'All's Well' and the clarity of vision and writing of 'The Conways'.

2010: London Assurance, The White Guard, After The Dance, Spring Storm, Hamlet, Fela!

This was a good year, with Simon Russell Beale and Fiona Shaw playing off each other in a most disgraceful and humorous way - how dare they be that outrageously funny! Rory Kinnear's 'Hamlet' is the play that cemented him in my mind as an actor and 'Fela!' was, largely, the same as the Broadway production of the life of Fela Kuti and Afrobeat.

2011: Twelfth Night, Frankenstein, The Cherry Orchard, The Comedy Of Errors

'Twelfth Night' remains one of my least favourite productions for many reasons (read the blog if you want to know more) and 'Comedy' sticks in my mind for the failings of the moving (or, rather, non-moving) bits of the set. Not the most successful year other than the great production of 'Frankenstein' with it's revolving lead players.

2012: Travelling Light, She Stoops To Conquer, Timon Of Athens, The Last Of The Hausmanns, Scenes From An Execution

A pick'n'mix year, with 'Travelling' and 'Timon' both unsatisfactory and 'She Stoops' and 'Hausmanns' as highlights. I loved 'Hausmanns' with Julie Walters as the still-hippy mother to two grown up children with Rory Kinnear playing gay by standing on one leg.

2013: Hymn/Cocktail Sticks, Children Of The Sun, People, Othello, The Curious Incident Of The Dog In The Night-Time, The Amen Corner, Edward II 

Two plays by Alan Bennett, the powerful and moving 'Amen Corner' and my disappointment with 'Othello' (with Adrian Lester from ten years earlier and Rory Kinnear again) and the terribly disappointing 'Edward II'.

Still, I have tickets to see two more National productions in November and December - 'Emil & The Detectives' and 'The Light Princess', the Tori Amos musical. I'm looking forward to seeing both.

So there you have it, my own tribute to the National Theatre.  I wonder what's on next year ... ?

Un-noted Theatre (aka What do I say?)

I've been to a number of theatrical productions in the last six months that I didn't really know what to say about them. Not that they were necessarily bad, just that I was a bit lost.

'The Winslow Boy' at The Old Vic

I wasn't desperately keen to see this despite the great reviews but had to go. I've seen the film (or at least most of the film) which was a Sunday afternoon staple in the '70s so I was familiar with the tale of the father and his pride and honour. This was always about the father, not the boy who stole a postal order while at military college - or did he? There was some excellent acting in this production but the bottom line was that I didn't really care if the lad was a thief or not. I suspect I should have.

Henry Goodman was excellent as Mr Winslow, starting off a vigorous middle-aged man and ending in a wheelchair worn out my the trials and tribulations of the case. I was most impressed by Naomi Frederick as the suffragette sister with hints of politics in her future.

'Othello' at The National Theatre

I was really looking forward to this production (which is still running at the time of writing) with Adrian Lester and Rory Kineer in the leads as Othello and Iago. I saw a great production of the play in 2011 with Clarke Peters and Dominic West and, I suppose, I was expecting an improved version of that production. And I felt let down by the 2013 version of a military camp in Iraq or Afghanistan with Ikea-type build it yourself furniture.

My problems with the production started early on - why would a women in stretch jeans talk about her husband 'owning' her and why on earth would this be discussed with the elders of Venice? The number of unlikelies just kept mounting up until Desdemona is murdered in her panties in a plywood bed. Like yeah? I don't think so. And that is what I found disappointing about the production.

The play just didn't work for me I'm afraid. Adrian Lester has probably been waiting for the right time to play Othello (it's inevitable really) for a long time and the chance to play with Rory must be perfect but it didn't work for me.

'The Bodyguard' at The Adelphi Theatre

I'm not a fan of Whitney or of 'The Bodyguard' (I've never seen the film all the way through) but when Beverley Knight joined the cast as the female lead then that changed everything. I was introduced to Beverley ten years ago with 'Affirmation' and she was my favourite at the Paralympics 2012 ceremony singing 'I Am What I Am'.

The play started off OK, introducing the characters and giving them the right motivations for whatever was going to happen - the diva, the overlooked sister, the reluctant hero, etc - and I think that's where it all started to go wrong for me. It was rather clinical and unfeeling. It was almost as if every sign of story (I won't say plot) was whittled down to move on with another song - get the acting over with and start another song.  As I commented at half time, there was a lot of wood on that stage.

It's a great vehicle for Bev though and shows off her great voice. The stage came alight when she opened her mouth to let rip with another song, it's just a shame that the production didn't match her high calibre. At one point Beverley sings with her 'sister' and that is such a bad move - the 'sister' has a great voice for a stage musical but, next to a natural singer like Bev, she just fails.

I'm pleased to have seen it but I don't think I'll be going back.

'Edward II' at The National Theatre

I'm a fan of Christopher Marlowe who has written some of the greatest verse in the English language - and some people argue that he was Shakespeare - so I was very keen to see this production of a not often performed play. The Olivier stage at the National Theatre seemed an ideal space for it too. O how wrong I was ....

As soon as I walked into the theatre I realised there was something wrong. Namely, a rubbishy dressed stage with the back walls exposed, a cleaner still vacuuming the carpet, racks of costumes on display. And a sort of shed behind the carpet and the throne. Eh? And it went downhill from there with jerky hand-held video cameras used to (what?) effect. There's even a Benny Hill speeded up sequence filmed on the top of the theatre for some obscure reason. Um, what on earth was going on?

Edward's gay credentials were made obvious by snogging his commoner lover (who had an American accent for some reason) and his brother is now his sister in wobbly high heels. Queen Isobella's French credentials were demonstrated by having her smoke Gauloises cigarettes. Edward III stayed the same age throughout for some reason in his/her school uniform.  Um...?

The director obviously had a strong vision for this production but failed to explain it to me. I felt terribly let down.

'Much Ado About Nothing' at The Old Vic

This is the new, much publicised version of the play starring Vanessa Redgrave and James Earl Jones. I saw them in a touching partnership in 'Driving Miss Daisy' on Broadway a few years ago and someone obviously had the bright idea of casting them as jousting lovers in 'Much Ado'. And that was the first mistake.

I saw an amazing production of 'Much Ado' last year with Meera Syal as Beatrice and she milked every line for a laugh and got the rest of the cast to do the same. O how I laughed. This production raised a smile or two and that says it all for me. Sorry to be cruel, but seeing James Earl Jones shuffle around the stage in his parachute-style onesie does not make for exciting theatre. Neither does an under-dressed stage with only a large table (was it meant to be a table?) as the key piece of staging make for pleasant viewing.

I've seen several productions of the play over the years and Claudio - the lover of Hero - is always an awkward role, but this Claudio was the worst by far (I can't be bothered to look up his name). His American accent was awful and he sounded like Rocky Balboa ordering a pizza for his big scene at Hero's funeral - yes, that amount of acting and emotion. C'mon people, this is The Old Vic - get it right!

I'll leave it there I think. It's always a thrill to see Vanessa - particularly on that stage from which Laurence Olivier announced her birth, the birth of a great actress - but some productions are better than others.