Tag Archives: Derek Anderson

Rags

Rags

★★★

Park Theatre

Rags

Rags

Park Theatre

Reviewed – 14th January 2020

★★★

 

“Maitland’s vocal control in particular is quite staggering, bringing a coiled strength to the small auditorium.”

 

Often described as the sequel to ‘Fiddler On the Roof’, ‘Rags’, originally written by Joseph Stein (who did also write ‘Fiddler’) enjoyed only four days on Broadway in its 1987 debut. Regardless, it was nominated for five Tony awards that year. But, more baffling still, it has never been brought back to the stage, that is, until now.

Revised by David Thompson and directed by Bronagh Lagan, ‘Rags’ tells the story of Jewish immigrants making their way to America at the turn of the twentieth century. Among the boatloads of hopefuls is Rebecca (Carolyn Maitland), with her son David (as played by Jude Muir for this performance), who, without any family or a nickel to her name, is determined to succeed in this new promised land.

As with most sequels, ‘Rags’ has loosely the same narrative arc as its predecessor: A community of traditional Jews fights off the outside world on multiple fronts, be it via assimilation, persecution or modernisation. Certain familiar characters re-appear as well. Ben (Oisin Nolan-Power) for example, a nice but nerdy tailor seeks the affections of Bella (Martha Kirby) whose father, Avram (Dave Willetts) disapproves of the union. I mean, why not just call them Motel and Tzeitel and have done with it.

But ‘Rags’ does depart from ‘Fiddler’ in its sheer volume of historical content, including everything from the 1909 Shirtwaist strikes and the Triangle Shirtwaist Factory fire to the emergence of feminism, the rising popularity of Yiddish theatre and song writing, and culture clashes, not only between different ethnicities and religions, but also first and second-wave immigrants. In order to include all of this, every character symbolises a school of thought, be it capitalism or communism, traditionalism or modernisation. And this leaves little room for any of the characters to have any, well, character. The older generation – aunt, uncle and father – bring a little Yiddish flavour from the old country, but aside from that everyone is a bit bland.

The soundtrack (Charles Strouse/Stephen Schwartz) flits between a klezmer-ragtime fusion, and modern musical numbers. The former is accompanied by a swaggering Klezmer band wondering the stage, playing various bit-parts as they go. The small ensemble brings a tonne of humour and spirit to the production. Clarinettist Natasha Karp is a particular joy to watch, her constant facial expressions a kind of running commentary on the story’s goings-on.

The more modern numbers, however, are generally forgettable and feel mismatched with the themes of the plot.

The set (Gregor Donnelly), consisting of a wall of suitcases, and sparse furniture, provides an atmosphere of transition; of both hope and hardship. Whilst Rebecca, Bella and David have just arrived, the small apartment has been the home of multiple immigrant families before this one, and will no doubt go on to house many more after, and the set succeeds in keeping this feeling of flux throughout.

The cast themselves are gloriously talented, doing their best to inject colour and excitement to a story that drags on at least a half hour too long. Maitland’s vocal control in particular is quite staggering, bringing a coiled strength to the small auditorium.

But whilst ‘Rags’ was not intended as a direct sequel for ‘Fiddler’, it’s hard not to consider it as such and, as is often the case with sequels, it doesn’t stand up to comparison. Yes, there are a couple of catchy numbers, a couple of funny scenes, and a couple of moments of heartfelt reflection. But not enough on any count, and unfortunately this revival is less a story of rags to riches, and more rags to run-of-the-mill.

 

Reviewed by Miriam Sallon

Photography by Pamela Raith

 


Rags

Park Theatre until 8th February

 

Last ten shows reviewed at this venue:
The Time Of Our Lies | ★★★★ | August 2019
The Weatherman | ★★★ | August 2019
Black Chiffon | ★★★★ | September 2019
Mother Of Him | ★★★★★ | September 2019
Fast | ★★★★ | October 2019
Stray Dogs | | November 2019
Sydney & The Old Girl | ★★★★ | November 2019
Martha, Josie And The Chinese Elvis | ★★★★★ | December 2019
The Snow Queen | ★★★★ | December 2019
Shackleton And His Stowaway | ★★★ | January 2020

 

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My Dad's Gap Year

My Dad’s Gap Year
★★½

Park Theatre

My Dads Gap Year

My Dad’s Gap Year

Park Theatre

Reviewed – 1st February 2019

★★½

 

“Although the dialogue is often a bit wooden, there are flashes of cleverness and adept humour. However, the story is as directionless as its protagonist”

 

Eighteen-year-old, gay, repressed William (Alex Britt) is gearing up for a gap year of work experience at a marketing firm. But his free-spirit, alcoholic, “try-everything-once” father Dave (Adam Lannon) has other plans for him. Dave surprises William with plane tickets to Thailand. Screw work experience; William needs life experience. William is going to take a proper gap year, and Dave is going with him.
My Dad’s Gap Year is a sleek production by design team Sarah Beaton (set and costume), Derek Anderson (lighting), and Benjamin Winter (sound). The stage is a raised, square platform with a pit in the centre. The cold blue and magenta lights reflect on the sterile white stage. It’s a striking, well-executed aesthetic. Whether it serves the story is another question. I’m not fully convinced it does.

The script, by Tom Wright, explores worthy subjects, including the ways alcoholism affects families, and transgender issues. Although the dialogue is often a bit wooden, there are flashes of cleverness and adept humour. However, the story is as directionless as its protagonist. William’s journey to Thailand is something that’s been forced on him. He’s passive. There’s nothing to feel invested in, because there’s nothing he’s trying to do. Dave is equally adrift. They party, they meet people, they try new things – William learns to loosen up, and a twist is revealed about Dave – but it’s a scattering of scenes that don’t feel like they’re adding up to anything. There are big moments of confrontation and melodrama, but because they’re not formed from a building story, we end up watching from a place of detachment.

The problem with audience investment is further exacerbated by the fact that William is unsympathetic. He’s a pious, judgmental, “disrespectful little brat,” as his mother finally calls him. He chastises his mum for not prioritising his needs over her own. He’s abusive and transphobic toward Dave’s Thai girlfriend. Because we aren’t given anything to compensate for William’s unlikability, it’s difficult to care what happens to him.

The two non-English characters rely heavily on cultural tropes: the sexualised, non-monogamous, Spanish Matias (Max Percy), and the Thai “ladyboy” Mae (Victoria Gigante), who speaks in stereotypical broken English. Because Wright doesn’t seem to have any insight into the cultures he’s invoked, his use of them as background for a narrative about a white family feels careless.

At the moment, My Dad’s Gap Year is a pool of characters, backstories, and ideas. If Wright can find the plot, the play will be much stronger.

 

Reviewed by Addison Waite

Photography by Pamela Raith

 


My Dad’s Gap Year

Park Theatre until 23rd February

 

Last ten shows reviewed at this venue:
Distance | ★★★★ | September 2018
The Other Place | ★★★ | September 2018
And Before I Forget I Love You, I Love You | ★★★★ | October 2018
Dangerous Giant Animals | ★★★ | October 2018
Honour | ★★★ | October 2018
A Pupil | ★★★★ | November 2018
Dialektikon | ★★★½ | December 2018
Peter Pan | ★★★★ | December 2018
Rosenbaum’s Rescue | ★★★★★ | January 2019
The Dame | ★★★★ | January 2019

 

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