★★★★

“There are complex emotions and issues on show here, that are delivered with warmth and humour – and at times with quite a punch”

The opening of Eduardo De Filippo’s “Filumena” finds the title character on her deathbed with Domenico, her partner of twenty-five years, gallantly agreeing to marry her before she gasps her last breath. However, we never see this – it all happens before curtain-up, in another room of Domenico’s opulent Neapolitan villa. What we do witness, though, is the aftermath when Filumena miraculously springs back to life and the ruse is revealed.

Matthew Kelly, as Domenico, is in his element as he wails to the heavens at the injustices of finding himself duped. Not only is his pride wounded, but his plans of marrying the much younger Diana are annihilated. Felicity Kendal’s Filumena is no fool. A pocket-rocket of passion she gives as good as she gets, and we soon learn that her motives are far more honourable than mere vengeance. The couple have lived together for a quarter of a century, ever since the wealthy Domenico lured Filumena away from her life of prostitution and, although that particular career path is a thing of the past, there are three things that have followed her into her dotage. Namely three sons – now strapping lads in their mid-twenties. Filumena wants the wedding ring on her finger to legitimise them. Domenico is having none of that; so cue the lawyers, tantrums, buried grievances, hidden mistresses, histrionics and De Filippo’s gorgeous, if lengthy, dialogue. The two protagonists have much to get their teeth into, and they do so with abandoned relish.

The Italian fervour is slightly sanded down in Keith Waterhouse and Willis Hall’s translation, but it still retains a potent mix of acidity and affection. Kendal transforms her character from that of a calculated schemer to a woman with a deep inner strength, warmth and hard-won resolve. Kelly’s sense of privilege is challenged, not just by his mistress, but by an awakening empathy and brooding responsibility. It is no spoiler to tell you that one of Filumena’s sons turns out to be Domenico’s too. But which one? The second act opens with a delicious scene in which Domenico steers the seemingly casual conversation to try and detect in the young men any genetic similarities to himself.

But it is far from a two-hander. The supporting cast are excellent. Gavin Fowler, Fabrizio Santino and George Banks each have a chance to share the spotlight. It is perhaps a little odd that they are so accepting of their new circumstances, having only recently discovered who their mother is. We presume, too, that they have each been brought up independently, although the sibling dynamic is strong. Sarah Twomey’s Lucia, the maid, is loving the family upheaval. Flirtatious and vivacious, Twomey lights up the stage at every opportunity.

Morgan Large’s lush drawing room set gives us a real sense of grandeur although less of a feel of the period and the Neapolitan, sun-kissed location. Yet it sits well with the timeless nature of the action. There might have been more resonance when Filippo wrote the play in the immediate aftermath of the second world war, but the more contemporary backdrop translates well, sometimes making the wavering Italian accents seem unnecessary.

Sean Mathias’ slick direction vividly animates the static setting. It is a very wordy play, but at least there are as many moments of humour as well as insight and wisdom that Mathias brings to the fore. And the lead performers’ energy refuse to allow any dull moments to slip in. There are complex emotions and issues on show here, that are delivered with warmth and humour – and at times with quite a punch. When Filumena finally learns how to cry, we feel her tears too, yet the journey there has also been filled with plenty of laughter.

THE GATES OF KYIV at the Theatre Royal Windsor

★★★★

“Mixing storytelling, music and dance in a unique and quite fascinating way”

Maria Yudina, a Soviet piano virtuoso, enjoyed notoriety as much as fame. Born in 1899 she grew up to be fiercely defiant of the repressive regime under Joseph Stalin – publicly denouncing him as well as demonstrating her faith in the Orthodox church. In Communist Russia that could have easily earned her a death sentence, yet somehow, she lived. There is one particular myth about this “holy fool” that goes some way to explaining her ability to survive the scourge of Stalinism. Apparently, Stalin listened to the radio a lot, and on hearing Yudina’s recital of Mozart’s Piano Concerto no. 23 one night in 1944, he called the station demanding a copy of the recording. The producers, afraid of the consequences of admitting that no recording took place, promised to deliver it the next morning. In panic they assembled an orchestra and called Yudina back to record it through the night. Legend has it that she slipped a note into the album sleeve stating that she would “pray for you day and night and ask the Lord to forgive your great sins…” All according to her lifelong friend, the composer Dmitri Shostakovich, whose fondness for imaginative tales adds to the fantasy of the folklore.

Although it often defines her, this late saga in her life forms little more than a footnote in Ian Kelly’s extraordinary “The Gates of Kyiv”. Mixing storytelling, music and dance in a unique and quite fascinating way, Kelly casts a panoramic eye over the life of Yudina, focusing on her sometimes-fractious relationship with Shostakovich. Michael Praed is a commanding figure as the renowned composer while Stockard Channing wears the pianist’s brittle yet mutinous mantle. They narrate their story in retrospect, portraying them late in life, intermittently talking out to the audience and to each other, scaling the heights of harmony and discord in equal measure like frantic arpeggios on a grand piano. Yet it’s not just the black and white notes that are struck. There are many shades of grey within Kelly’s rich, rhythmic and expressive text. Sometimes the couple step out of time and there is an over reliance of the script in hand, but the performances are charismatic and the chemistry between them keeps our attention throughout. There are occasions when we feel we are about to step into a history lesson, but the natural delivery and flair keep us outside – on the fun side of the door. And we are also grateful to learn so much about Maria Yudina and her fascinating life.

Revolving within their tale is the star attraction. Gala Chistiakova is forever present at the glorious ebony Steinway that dominates centre stage. Yet somehow her beautiful, passionate and evocative playing does not dominate the narrative. It weaves, underscores, illustrates and accentuates the subject before crashing over us in waves of passion at the climax of each act. Chistiakova covers much of Yudina’s repertoire, taking in the greats including Bach, Mozart, Rachmaninov, Stravinsky, Prokofiev, Tchaikovsky, Pasternak, Mussorgsky; and Shostakovich of course.

Complementing it all is dancer Xander Parish who moves in time with balletic musicality, adding further layers to the already rich tapestry, although occasionally the visual bonus is an extra flavour with faint hints of indulgence. The music more often says it all. It leads us on the journey, right up to the last number that gives us the title of the piece. Mussorgsky’s ‘The Great Gate of Kyiv’ from his 1874 piano suite ‘Pictures at an Exhibition’. A stirring finale, and symbolic in many ways. Originally built in the eleventh century, the Great Gate of Kyiv served as a triumphal arch – a prominent symbol of the Ukraine capital. At one time a monument to Tsarist rule in Ukraine it can now symbolise Kyiv’s defiance against Russian invasion. A defiance that Maria Yudina shared, and which is wonderfully illustrated in this unique tribute. The music is the most defiant of all, and no matter what troubles may surround us, its power and its beauty will always survive. We don’t necessarily need a reminder of the reality, but this show reinforces it. Classical and classy – it is a triumph in itself.

Tag Archives: Jack Merriman

FILUMENA

★★★★

UK Tour

FILUMENA at the Theatre Royal Windsor

★★★★

“There are complex emotions and issues on show here, that are delivered with warmth and humour – and at times with quite a punch”

FILUMENA at the Theatre Royal Windsor followed by UK Tour

Reviewed on 9th October 2024

by Jonathan Evans

Photography by Jack Merriman

Previously reviewed at this venue:

THE GATES OF KYIV | ★★★★ | September 2024

ACCOLADE | ★★★½ | June 2024

OH WHAT A LOVELY WAR | ★★★★ | April 2024

CLOSURE | ★★★★ | February 2024

THE GREAT GATSBY | ★★★ | February 2024

ALONE TOGETHER | ★★★★ | August 2023

BLOOD BROTHERS | ★★★★★ | January 2022

THE CHERRY ORCHARD | ★★★★ | October 2021

FILUMENA

FILUMENA

Click here to see our Recommended Shows page

THE GATES OF KYIV

★★★★

Theatre Royal Windsor

THE GATES OF KYIV at the Theatre Royal Windsor

★★★★

“Mixing storytelling, music and dance in a unique and quite fascinating way”