Tag Archives: Claudio Macor

Margot, Dame, The Most Famous Ballerina In The World
★★★

King’s Head Theatre

Margot Dame

Margot, Dame, The Most Famous Ballerina In The World

King’s Head Theatre

Reviewed – 17th July 2019

★★★

 

If allowed to, I think this piece will grow up to match the quality of Macor’s other plays

 


It’s in the title. And it is fundamentally undeniable, which is probably why writer Claudio Macor has separated the dancer from the dance to focus on the lesser known events of Fonteyn’s life. Commissioned to write the piece for the King’s Head Theatre’s annual ‘Playmill’ festival of new writing, Macor has rightly refused merely to tell us what we already know. Here we see Margot Fonteyn reinventing herself as a cattle rancher, we learn some of the reasons she kept on dancing long after she should have stopped. We get snapshots of her childhood and her relationship with her mother. And at its heart is her marriage to Roberto (Tito) Arias, the serial adulterer and dodgy Panamanian politician.

But at barely an hour long we don’t really feel the pulse of this story. We are, in fact, left wanting it to be massaged into life and given the prospect of a long and healthy future. Even given the limitations of being part of a festival, “Margot, Dame” feels underdeveloped. Thankfully we are aided by a back projection informing us when and where we are in the action as the narrative jumps about chronologically. We have fewer pointers, however, to help us decide whether we are watching a comedy or an earnest piece of drama.

Abigail Moore gives an assured portrayal of the eponymous Fonteyn. An unenviable task but she mixes the imposed affectations of the grand dame with the down to earth girl from Reigate. Neat touches such as the origin of her stage name (“… named after a hairdresser’s on Tottenham Court Road…”) season the exposition with a bit of spice. Fanos Xenofos has more scope for dramatic licence as the husband, ‘Tito’. It was a complicated relationship, and Xenofos’ performance only occasionally hints at the mystique of the man that Fonteyn had to put up with. After a failed coup to oust the President of Panama, Tito escapes and returns to Peru. Margot is arrested for her involvement in her husband’s botched attempt at gun-smuggling. When Tito was confined to a wheelchair for the rest of his life after an assassination attempt, Margot uses up all her savings to care for him – one of the main reasons she continued to dance so late into her life.

The story is not so much sidestepped as danced over lightly. It is a fascinating angle on Fonteyn’s life and one that refreshingly avoids the obvious. But, as if worried that the audience might lose interest, director Robert McWhir and choreographer Robbie O’Reilly have shoehorned flourishes of ballet to cover the scene changes and time shifts, which dilute rather than add flavour.

But one mustn’t lose sight of the purpose of the Playmill Festival at the King’s Head, which is a vital platform for new writing. “Margot, Dame…” has only two performances in which to reveal its essence. As Fonteyn herself famously said; “… the first night is the worst possible time to make a hard and fast criticism: the baby never looks its best on the day it is born…” If allowed to, I think this piece will grow up to match the quality of Macor’s other plays.

 

Reviewed by Jonathan Evans

Photography by Peter Davies

 



Margot, Dame, The Most Famous Ballerina In The World

King’s Head Theatre until 18th July as part of Playmill New Writing Festival

 

Last ten shows reviewed at this venue:
Carmen | ★★★★ | February 2019
Timpson: The Musical | ★★★ | February 2019
The Crown Dual | ★★★★ | March 2019
Undetectable | ★★★★ | March 2019
Awkward Conversations With Animals … | ★★★★ | April 2019
HMS Pinafore | ★★★★ | April 2019
Unsung | ★★★½ | April 2019
Coral Browne: This F***Ing Lady! | ★★ | May 2019
This Island’s Mine | ★★★★★ | May 2019
Vulvarine | ★★★★★ | June 2019

 

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

 

Review of The Tailor-Made Man – 4 Stars

Tailor

The Tailor-Made Man

White Bear Theatre

Reviewed – 9th November 2017

★★★★

“the dialogue cracks like a whip and never slips into sentimentality or false romanticism”

 

History has a habit of repeating itself. The current media spotlight on misconduct in the Movie World is nothing new. Neither is the hypocrisy that surrounds it, albeit nowadays it is that much more visible. “The Tailor-Made Man” at the White Bear Theatre is a timely reminder of this fact. This play has come full circle too. Claudio Macor’s play premiered in 1992, and was later developed as a musical at the Arts Theatre in 2013, and has now reverted back to straight drama for this twenty-fifth anniversary.

The ‘Tailor-Made Man’ of the title is William “Billy” Haines, a popular silent screen MGM movie star who was fired by Louis B Mayer because he was gay, and because he refused to give up his lifelong partner, Jimmie Shields, and marry the silent screen vamp Pola Negri. As punishment, his films were removed from release and sealed in the MGM vaults never to be seen again, and his studio photographs destroyed. It was an attempt to erase him completely from movie history.

This is the focus of the text, but Macor, being a master of his craft, effortlessly weaves their very human story into the greater tapestry of 1920s Hollywood. His observations of that world are spot-on, and he is unafraid to rip into the high-flown hypocrisies and homophobic double standards of ‘Tinsel Town’. Aided by a strong cast, the dialogue cracks like a whip and never slips into sentimentality or false romanticism.

Mitchell Hunt plays William Haines. It is difficult to play a love story without affecting the over emotionalism, but Hunt pulls it off. Almost too well, for initially we have no sympathy for the character whatsoever. It is testament to the writing though, and to the acting, that we realise this is a deliberate ploy. Billy Haines was very much a product of the machinations of Hollywood. Once removed, forcibly, from the studios, and free of it all, he is a delight. Hunt smoothly depicts this transformation – the arc of his journey is palpable.

Tom Berkeley’s Jimmie Shields is undoubtedly the backbone of the piece. Intermittently stepping out of the action he narrates, to camera, his own take on the story; a device that reinforces the power of his love. Mention must be made too, of Rachel Knowles, who plays Pola Negri. Still pining for Rudolph Valentino, her monologue describing her failure to make the transition from the silent pictures to the talkies is sublimely delivered, throwing pathos, grief, sadness and comedy all into the same melting pot. A potpourri of ingredients that could so easily go wrong, but she dishes it up with exquisite flavour. She has some of the best lines. In fact it is the mix of gravity and comedy that lifts this piece of theatre. Before the subject matter becomes too earnest the cast remember the importance of being comic.

But the play is the thing. This is a strong piece of writing, made stronger by the fact that it is a true story. A play of hope, of survival, of being yourself and, above all, of triumph. And to that end, this production is clearly a triumph.

 

Reviewed by Jonathan Evans

Photography Andreas Lambis

 

 

THE TAILOR MADE MAN

is at the White Bear Theatre until 25th November

 

Click here to see a list of the latest reviews on thespyinthestalls.com