Tag Archives: Mark Henderson

THE DIVINE MRS S

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Hampstead Theatre

THE DIVINE MRS S at the Hampstead Theatre

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“A delightful mix of the traditional and the contemporary.”

In her time, Sarah Siddons was known as the Queen of Drury Lane, renowned for her roles in Shakespeare tragedies – especially her Lady Macbeth. She hung out with the top dramatists of the time, including David Garrick and Samuel Johnson. She had the leading artists fawning over her, desperate for her to be the subject of their paintings. Yet this powerful woman also personified the powerlessness of women at the time. It is the tail end of the eighteenth century. Women were deprived of money, couldn’t own property, and had no real legal rights. No control over their children – nor even their own bodies.

April De Angelis’ play β€œThe Divine Mrs S” takes us backstage, shedding light on the personal tragedy behind the grand β€˜tragedies’ portrayed under the spotlights. Sarah Siddons’ acting career was under the direct control of her imposing brother (actor and manager John Kemble), and it was her husband who received her fees and signed her contracts. She was shunted off on a provincial tour when it looked like her acting would upstage her male counterparts. All the while her children appeared to be dropping like flies all around her. But De Angelis, whilst highlighting the dreadful state of affairs, steers well clear of worthy polemic or earnest tragedy, and instead dresses Siddons’ fight for self-expression and self-determination in a couple of hours of very fine comedy.

The language has a contemporary feel while harking back to Restoration Comedy, French Farce, and even touches of Commedia Dell’arte thrown in. De Angelis pokes fun at all the right characters, but doesn’t let righteousness intrude. In occasionally breaking the fourth wall, a charming self-deprecation is allowed to colour Siddons’ earnestness as she conspires with the audience, commenting on everyone’s foibles – including her own.

 

 

This mix of feistiness and fun is in no better hands than Rachael Stirling. The sharpness of Stirling’s delivery of Siddons’ words matches the biting wit De Angelis has given those words. Set mainly in the confines of the dressing room it encapsulates the whole world of the theatre. Dominic Rowan neatly conveys the lecherous misogyny of theatre manager Kemble, hamming it up to ridiculous heights when called upon to actually β€˜act’ on the stage next to his far more talented sister. Anushka Chakravarti shines as Siddons’ all-knowing maid, dresser, personal assistant and ultimately counsellor. Meanwhile Eva Feiler, Sadie Shimmin and Gareth Snook multirole in excess to bring all the other characters onstage, in the right order and in the right costume. Most notable of these is Feiler’s Joanna Baillie; the writer who has to conceal the fact that she is a woman otherwise her plays will not get staged. When Kemble discovers her true gender he pulls her play, even though it is the most successful production he’s had for a while.

Even that contentious issue is dealt with in good humour. They say that if you want people to listen to you, the best way is to make them laugh. And there are even more laughs in the second act. And also more pertinence. The concept gets trickier, but the message gets clearer as Stirling more frequently steps out of character, allowing her to cast a contemporary perspective on the eighteenth-century restrictions imposed on the woman she is playing.

β€œThe Divine Mrs S” can’t really be labelled a comedy or a tragedy. But it encapsulates both, and addresses serious issues – serving them up as light entertainment. Historically that would classify it as a β€˜Problem Play’. But I have no problem with this one at all. A delightful mix of the traditional and the contemporary.


THE DIVINE MRS S at the Hampstead Theatre

Reviewed on 28th March 2024

by Jonathan Evans

Photography by Johan Persson

 

 

 

Previously reviewed at this venue:

DOUBLE FEATURE | β˜…β˜…β˜…β˜… | February 2024
ROCK ‘N’ ROLL | β˜…β˜…β˜…β˜… | December 2023
ANTHROPOLOGY | β˜…β˜…β˜…β˜… | September 2023
STUMPED | β˜…β˜…β˜…β˜… | June 2023
LINCK & MÜLHAHN | β˜…β˜…β˜…β˜… | February 2023
THE ART OF ILLUSION | β˜…β˜…β˜…β˜…β˜… | January 2023
SONS OF THE PROPHET | β˜…β˜…β˜…β˜… | December 2022
BLACKOUT SONGS | β˜…β˜…β˜…β˜… | November 2022
MARY | β˜…β˜…β˜…β˜… | October 2022
THE FELLOWSHIP | β˜…β˜…β˜… | June 2022
THE BREACH | β˜…β˜…β˜… | May 2022
THE FEVER SYNDROME | β˜…β˜…β˜… | April 2022

THE DIVINE MRS S

THE DIVINE MRS S

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STANDING AT THE SKY’S EDGE

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Gillian Lynne Theatre

STANDING AT THE SKY’S EDGE at the Gillian Lynne Theatre

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“it is beautiful, and moving, and has real grit”

Standing at the Sky’s Edge is an unabashed love letter to Sheffield. It follows three generations of residents in Park Hill, the infamous brutalist 1960s former housing estate which dominates the Sheffield skyline. Each story seethes with the unfairness of the treatment of the residents, but the play as a whole is full of joy and hope.

To call it a musical feels inaccurate, it is a play with music. Writer Chris Bush has structured the play around the music of Richard Hawley, perhaps best known as former guitarist for Pulp, and as such sometimes the songs feel incongruous, but often serve to energise and buoy up the mood.

We follow three sets of Park Hill residents, across three timelines. There is Harry (Joel Harper-Jackson) the youngest ever foreman at the steel factory, and his wife Rose, (Rachael Wooding) who move in as thrilled former slum dwellers in 1960. Then in 1989 the same flat sees the arrival of Joy (Elizabeth Ayodele), Grace (Sharlene Hector) and George (Baker Mukasa) who have fled Liberia hoping for a better life. Joy’s doubts about this new home are softened as she forms an incredibly sweet bond with local boy Jimmy (Samuel Jordan). Finally in 2015 Poppy (Laura Pitt-Pulford) has bought the flat, but, having moved up from London by herself, she struggles to find the sense of community she has been hoping for.

As with all multi-generational stories, there will be ones that are more engaging. The London audience responded well to Poppy’s story, chortling at her doubt that Henderson’s Relish would enhance her Ottolenghi dish. Personally, I found Poppy’s story quite painful to watch, especially when her troubled romance is set against such legitimate struggles. However, that is the point. The play doesn’t shy away from questions of privilege, and struggle being relative. Richard Hawley tells that after a preview to only former and current Park Hill residents, a former resident shook the hand of one of the gentrifying new wave, and invited them to the pub. It is a play which bridges divides and fosters empathy.

“Ben Stones’ set is astonishing”

Robert Hastie’s direction intertwines these stories, so they never feel separate and isolated. One scene sees everyone having dinner, passing around the Henderson’s Relish, emphasising the idea at the core of this play – all of these very different people have lived their lives in this one flat.

The cast is enormous, and extremely talented. Particular standouts are Rachael Wooding as practical and pragmatic Rose, Samuel Jordan as Jimmy, both lovesick and revolutionary, and Lauryn Redding as Nikki, Poppy’s bold and bolshy ex-girlfriend.

Ben Stones’ set is astonishing, building an on-stage version of Park Hill, complete with the famous β€˜I love you, will u marry me’ graffiti. There is a maze of levels, and the band peek out from within the brutalist jungle. Mark Henderson’s lighting design is vibrant and exciting, especially in the musical numbers. Ben Stones’ costume design is also thoughtfully evoked, especially to show the passing of time in these tangled lives.

There are parts of this production which don’t quite land. For example, an awkwardly poetic narrator, who brings a pomposity to a play which thrives in its earnest realism.

But it is beautiful, and moving, and has real grit, without being impossibly bleak.


STANDING AT THE SKY’S EDGE at the Gillian Lynne Theatre

Reviewed on 28th February 2024

by Auriol Reddaway

Photography by Brinkhoff Moegenburg

 

 

 

Previously reviewed at this venue:

THE LEHMAN TRILOGY | β˜…β˜…β˜…β˜…β˜… | February 2023
THE LION, THE WITCH & THE WARDROBE | β˜…β˜…β˜…β˜…β˜… | July 2022
CINDERELLA | β˜…β˜…β˜…β˜…β˜… | August 2021

STANDING AT THE SKY’S EDGE

STANDING AT THE SKY’S EDGE

Click here to see our Recommended Shows page