Tag Archives: Andreas Grieger

The Importance of Being Earnest
★★★★

Tabard Theatre

Importance of Being Earnest

The Importance of Being Earnest

Tabard Theatre

Reviewed – 9th June 2019

★★★★

 

“it is ultimately the cast’s joyful delivery that decorates this production with festoons of colour”

 

Despite the initial success of Oscar Wilde’s “The Importance of Being Earnest”, its opening coincidentally marked his fall from grace at the height of his career. Wilde would write no further comic or dramatic work and his notoriety caused the West End premiere to be pulled. Even the ensuing Broadway run closed after just sixteen performances. It is a sad paradox that mirrors those firmly embedded in his writing but, fortunately for theatre audiences worldwide, the play survived and has stood the test of time; to become what has been described as “the second most known and quoted play in English after Hamlet”.

This familiarity can be a curse as well as a blessing for directors. David Phipps-Davis’ production at the Tabard Theatre, however, certainly falls into the latter with its lovingly faithful and light-hearted joyride through the lives and double lives of these mischievous characters. Yes, we may be on very safe ground, but the cast of eight keep us on high alert throughout with their expertly subtle handling of the text. Nothing seems overplayed, which allows space for the nonsense and illogicality to leap out of the dialogue.

The bizarre plot ridicules Victorian sensibilities, but here, set three decades later in the twenties, it loses none of the punch. It is the story of two bachelors, John ‘Jack’ Worthington and Algernon ‘Algy’ Moncrieff, who create alter egos named Ernest to escape their tiresome lives. Attempting to win the hearts of two women, the pair struggle to keep up with their own stories and become tangled in a tale of deception, disguise and misadventure.

Samuel Oakes as ‘Algy’ and Tim Gibson as ‘Jack’ have a natural onstage chemistry, bouncing off each other while pitching the dialogue with the ease of a juggler. Throwing their lines into the air, they never let any of them drop. Lady Bracknell is similarly natural, played with a welcome understatement by Non Vaughan-O’Hagan who neatly highlights the snobbery and materialism without resorting to caricature. Melissa Knighton captures the curt crispness of Gwendolen’s unassailable pretension in a strong professional debut performance. Kirsty Jackson occasionally slips into jarring histrionics as the hopeless romantic, Cecily, but otherwise endears us to her mad-as-a-hatter waywardness. Jo Ashe sparkles as her governess, Miss Prism, refreshingly unveiling a softer side with flirtatious asides that belie the prudish veneer. The apple of her eye is Canon Chasuble, played by Dean Harris who never fails to put a smile on your face when he wanders, bumbling, onto the stage. And to cap it all Paul Foulds gives a star turn as the valet, the butler, the gardener, the chauffeur and Mr Gribsby – the solicitor who turns up to arrest Algernon for unpaid hotel bills – a ‘lost’ character reinstated by Phipps-Davis from an early draft of the script.

Lacking the darker undertones of Wilde’s earlier work, this interpretation is playful and stylised but measured out strictly within the confines of respectability. While Leah Sams’ costumes are as colourful as the language, the inbuilt irreverence sometimes appears monochrome. But it is ultimately the cast’s joyful delivery that decorates this production with festoons of colour.

 

Reviewed by Jonathan Evans

Photography by Andreas Grieger

 


The Importance of Being Earnest

Tabard Theatre until 23rd June

 

Previously reviewed at this venue:
The Lady With a Dog | ★★★★ | March 2018
Sophie, Ben, and Other Problems | ★★★★ | April 2018
Sirens of the Silver Screen | ★★★ | June 2018
Sexy Laundry | ★★★ | November 2018
Carl’s Story | ★★★★ | March 2019
Harper Regan | ★★★★ | May 2019

 

Click here to see more of our latest reviews on thespyinthestalls.com

 

L'Incoronazione di Poppea

L’Incoronazione di Poppea
★★★★

Cockpit Theatre

Incoronazione di Poppea

L’Incoronazione di Poppea

Cockpit Theatre

Reviewed – 30th January 2019

★★★★

 

“every person involved demonstrated a high level of vocal and acting skills”

 

First performed in Venice in 1643, L’Incoronazione di Poppea (The Coronation of Poppea), tells the story of Poppea, mistress of the Roman Emperor Nero (Nerone), in her pursuit to become Empress. This production of one of the first operas to use historical events and figures manages to engage a modern audience through timeless themes and talented vocal performances.

Although there are central characters, this work is best described as a strong ensemble piece. All ten performers engage well with each other, displaying believable levels of emotion as well as physical connections. There are no awkward gaps between scenes, with performers making seamless entrances and exits.

It’s difficult to pinpoint a standout performance as every person involved demonstrated a high level of vocal and acting skills. However, the scenes and duets between Poppea and Nerone must be mentioned for their intensity and passion, excellently delivered by Kathleen Nic Dhiarmada and Helen May. Joana Gil as Drusilla brings a welcomed level of comedy and light, particularly during her early scenes with Eric Schlossberg as Ottone. Ottone’s love for Poppea is earlier rejected by her, and he offers to marry Druisilla when he realises he cannot win Poppea’s affections.

Accompanying the singers is a baroque period ensemble, led by Marcio da Silva, who is both Stage and Musical Director. Instruments include two harpsichords, an organ, lutes, a baroque guitar, baroque violins and a cello. These are all skilfully played and complement the vocal performances well.

The opera is performed in Italian with English surtitles, which are projected onto a wall upstage. This generally works well and the words are clear. At times, it did prove difficult to switch focus between the words and the performers on stage, but this could simply be due to the fact that having surtitles as part of a production is arguably quite rare and something that takes getting used to from an audience perspective.

Although first performed in the 17th century, L’Incoronazione di Poppea explores the timeless themes of love and its power, lust, ambition and sex. A minimalist set and contemporary costumes, as well as these themes, help a modern audience to engage, whilst the baroque ensemble means there is still a traditional feel. For someone who’s not hugely familiar with opera, I was impressed and feel inspired to broaden my knowledge of the genre. A sensual, well-delivered production!

 

Reviewed by Emily K Neal

Photography by Andreas Grieger

 


L’Incoronazione di Poppea

Cockpit Theatre until 1st February

 

Previously reviewed at this venue:
Cantata for Four Wings | | April 2018
Into the Woods | ★★★★ | May 2018
On Mother’s Day | ★★★½ | August 2018
Zeus on the Loose | ★★ | August 2018
The Distance You Have Come | ★★★★ | October 2018
Don’t You Dare! | ★★★ | November 2018
Unbelonger | ★★★½ | November 2018
Mob Wife: A Mafia Comedy | ★★★ | January 2019

 

Click here to see more of our latest reviews on thespyinthestalls.com