Tag Archives: Neil Austin

Bitter Wheat
★★★★

Garrick Theatre

Bitter Wheat

Bitter Wheat

Garrick Theatre

Reviewed – 19th June 2019

★★★★

 

“a richly entertaining piece of theatre driven by starry performances”

 

“Nobody minded bad behaviour as long as the public didn’t get to hear about it” Louis B. Mayer once told his young star, Mickey Rooney. Since the birth of Hollywood this has been a truism, sustaining the myth of the movie mogul as profane, vulgar, cruel, rapacious and philandering. The only real change these days is that the public does get to hear about it more and more. There is currently one name that everybody will no doubt associate with Barney Fein, the sleaze-ball producer masterfully played by John Malkovitch in David Mamet’s “Bitter Wheat”. But Mamet’s writing points the finger at a longer line of tycoons to produce an amalgam which adds more dimensions to the character. Malkovitch seizes this opportunity to add humour and human traces. But never sympathy.

Nobody escapes the machine-gun fire of Fein’s vitriol that turns to lasciviousness when he meets young actress, Yung Kim Li, to discuss her new film. He promises stardom, and we all know in return for what, especially as he has just had a high dose of a libido-enhancing drug that is just kicking in. Ioanna Kimbook catches on just as quickly with an impressive portrayal of the ingénue’s growing discomfort. It’s in this scene that Mamet’s wit really shines through, with faux-pas in abundance that soon take a darker turn when the inevitable career defining threat arrives.

Sadly, neither character comes out of this well. Nor does the second act which seems to be racing towards its rather farcical conclusion. Naturally, when the police are brought in Fein’s life falls apart. But the actress’ career is destroyed too, before it has started. Fein’s long-suffering secretary is also out of a job. Doon Mackichan downplays the contempt she feels for Fein perfectly – pitching it just right: high enough to be recognised but low enough to avoid the counterattack.

The subplots and sub characters that are tagged onto this central story seem unnecessary. An illegal immigrant who assassinates Fein’s terminally ill mother serves little purpose. The opening scene of the play, on the other hand, in which Fein refuses to pay a screenwriter his due fee is underexplored and unceremoniously discarded. It is in these moments that we are given a stronger insight into the psyche of the extraordinary character that is Barney Fein; and into the machinations of Hollywood. There is a quirkiness to the dialogue that is unmatched by the predictability of the sexual assault headlines.

Overall though, this is a richly entertaining piece of theatre driven by starry performances. Mamet manages to display his usual, exhilarating and unique flair with words, tackling an uncomfortable subject. If anything, however, the humour makes it all a bit too comfortable and doesn’t necessarily advance the issues it is addressing. In this case truth is stranger than fiction.

Reviewed by Jonathan Evans

Photography by Manuel Harlan

 


Bitter Wheat

Garrick Theatre until 21st September

 

Previously reviewed at this venue:
Rip It Up – The 60s | ★★★ | February 2019

 

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

 

Rosmersholm
★★★★

Duke of York’s Theatre

Rosmersholm

Rosmersholm

Duke of York’s Theatre

Reviewed – 28th May 2019

★★★★

 

“Terera has a magnificent presence between the glib walls of Rosmersholm”

 

This timely revival of one of Ibsen’s least performed plays is an astonishing study of moral guilt, political struggle and the omnipresence of the past. Reminiscent of his earlier work ‘Ghosts’, this shows Ibsen at his dark and daring best. Duncan Macmillan’s adaptation of Karin and Anne Bamborough’s literal translation delivers Ibsen into the twenty-first century, creating a witty, if not a little wordy, drama for our times.

Weighed down by the memory of his dead wife, John Rosmer (Tom Burke) shares his vast estate with a “liberated woman” in the form of Rececca West (Hayley Atwell), his former wife’s former friend. Rosmer’s brother-in-law Andreas Kroll (a superbly on-form Giles Terera) has political aspirations, but his call for support is radically rebuffed as Rosmer turns his attention to the progressive politics of Peter Mortensgaard (Jake Fairbrother). Invoking concepts such as representational democracy and ‘the will of the people’, MacMillan makes sure this play speaks to the current climate, and some knowing chuckles from the audience suggested this relevance did not go unnoticed. Kroll is a fascinating figure, charmingly aristocratic yet stubbornly conservative, and Terera has a magnificent presence between the glib walls of Rosmersholm.

At the heart of the drama though is Rosmer and West’s relationship: can they break free of the past and learn to love each other? Rae Smith’s stunningly decrepit design makes it seem unavoidable. Portraits of the Rosmer family cover every wall, a constant reminder to John of his family’s legacy. Neil Austin’s lighting is similarly evocative, with striking shafts of light breaking through the dusty windows to expose the age and dereliction of this once great home.

Ian Rickson’s production will please West End crowds looking for a timely reminder that politics runs in circle. Rosmer and West struggle to forget the past – are we too quick to? Although I’m no fan of weighty naturalism, with a gorgeous set and memorable performances, this production has plenty to offer.

 

Reviewed by Joseph Prestwich

Photography by Johan Persson

 


Rosmersholm

Duke of York’s Theatre until 20th July

 

Previously covered by this reviewer:
Donal The Numb | ★★★★ | The Vaults | March 2019
Queer Trilogy | ★★★ | Drayton Arms | March 2019
Awkward Conversations With Animals … | ★★★★ | King’s Head Theatre | April 2019
Swimming | ★★★★ | White Bear Theatre | April 2019
The Wasp | ★★★★ | The Space | April 2019
Twelfth Night | ★★★ | Rose Playhouse | April 2019
Harper Regan | ★★★★ | Tabard Theatre | May 2019
Scripts for Supper: The Wind in the Willows | ★★★★★ | Stepney City Farm | May 2019
Why The Child Is Cooking In The Polenta | ★★ | Gate Theatre | May 2019

 

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