Tag Archives: Morgan Large

FILUMENA

★★★★

UK Tour

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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”

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.


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

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Alone Together

Alone Together

★★★★

Theatre Royal Windsor

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ALONE TOGETHER at the Theatre Royal Windsor

★★★★

Alone Together

“cleverly multi-layered”

 

Simon Williams’ satisfying new play Alone Together has already extended its run at the  Theatre Royal Windsor. It is a nice companion piece to Frank and Percy: another recent Windsor premiere directed by Sean Mathias that also features a series of unlikely park bench meetings. The theme of Alone Together might, at first glance, seem less than inspiring. It’s about a couple’s failure to talk – and to love – in their tragically broken marriage. But there’s a lot more to this cleverly multi-layered piece than that, including plenty of laughs and more plot twists than a Cadbury’s Curly Wurly before all the strands are tied together in a sweet ‘all’s well that ends well’ ending.

The writing is informed by William’s passion for the likes of Rattigan, Maugham and Coward. Characters swap cleverly literary quotations and talk about their embonpoint and being bouleversé (or overwhelmed) by events. As the storyline becomes increasingly convoluted, the audience are kept involved by much use of dramatic irony (where we know what the character doesn’t). This well-crafted and somehow period writing is paired with a stylishly brittle-looking split level-set designed by Production Designer Morgan Large. Colourful columns of LEDs switch the action from one part of the stage to another and back panels change the mood in lighting design by Nick Richings. The sound design is also edgy with some menacing effects that didn’t seem to quite match the intimate and personal drama on stage.

As the laconic and philandering businessman Colin, Martin Shaw (television’s Judge John Deed and Inspector George Gently) gives an assured performance that easily belies his 78 years. At the centre of the drama, Jenny Seagrove gently underplays her role as the half-mad wife Angela, victim of a cheating husband and another awful and all too commonplace tragedy that I won’t reveal here. Josh Goulding is the sparky and engaging third member of the cast. He’s well chosen for his role as an aspiring playwright called Jonty who discovers he’s not the only puppet master pulling the strings.

After the interval, agile performances are again capably delivered as the pace ratchets up in the second half of this entertaining evening.

 


ALONE TOGETHER at the Theatre Royal Windsor

Reviewed on 16th August 2023

by David Woodward

Photography by Tom Daniels

 


 

 

 

 

Previously reviewed at this venue:

Blood Brothers | ★★★★★ | January 2022
The Cherry Orchard | ★★★★ | October 2021

Alone Together

Alone Together

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