Tag Archives: Sam Mendes

THE HILLS OF CALIFORNIA

★★★★★

Harold Pinter Theatre

THE HILLS OF CALIFORNIA at the Harold Pinter Theatre

★★★★★

“It is, overall, a sharp-witted observation of life. And of death. And the precarious hold we have of memories that lie between.”

Jez Butterworth’s highly anticipated new play, “The Hills of California” is a wondrously slow-burning affair that raises the question, among others, of explaining why people are what they are. As the layers are gradually peeled back the prize at the heart condenses, but it is the twists and turns of the lead-up that keep us in thrall. Despite running at just over three hours, Butterworth seems to have chosen every word with a mosaic artist’s care.

It is the sweltering summer of 1976, and we are in the cluttered parlour of a Blackpool guesthouse, where the cracked piano is off-key. “Through neglect and time” according to the piano tuner – the first (one of many) metaphor that applies to each character. Three sisters are reuniting during the dying moments of their mother who is lying in bed, unseen, upstairs. A fourth sister’s presence is uneasily promised, though not expected. Jill (Helena Wilson) is already on the scene. She still lives with her mother, caring for her, nervously spraying air-freshener to stop her cigarette smoke drifting up the stairs towards her. Enter feisty, witty, no-nonsense Ruby (Ophelia Lovibond) lugging her panic attacks and slapping them down on the table. Then Gloria (Leanne Best), bitter and blunt, sagging under the weight of chips on her shoulder. The dynamic is quickly established as sibling rivalries and affections simmer away, while unreliable memories stew.

We are transported back to the source of their memories. To the 1950s when the dreams were still flourishing, the guesthouse breathed with life, and their mother, Veronica (Laura Donnelly), ruled the roost with a regimental and fierce ambition for her daughters. Determined to see them become the next ‘Andrews Sisters’ she is remorseless in her control over them. Donnelly gives a star turn performance, mistakenly believing her steely command is maternal care, unaware of the damage she is causing. When a predatory theatrical agent comes dangling a carrot, we witness the harsh, defining moment that severs the family, and the future scenes make sense.

Slipping back and forth between the fifties and the seventies is the plays major strength. Each decade sheds light on the other and we see how events shape our protagonists; and how memories of those events can cloud their perceptions of reality. The performances are superb across the board. And if the characters’ memories are off pitch, their singing voices are gorgeously harmonious, especially the younger cast who play the sisters as teenagers.

“Sam Mendes brings out the best of this company, directing like a conductor responding to the shifts of mood and time.”

As the questions tentatively find their answers, the bleakness is constantly relieved by the humour that runs through the writing. Comedy that is accentuated by the fine ensemble acting. Shaun Dooley and Bryan Dick are an astute double-act as Gloria and Ruby’s husbands respectively. Dick also doubles as the resident end-of-the-pier jokesmith, Jack Larkin, forever behind on the rent but upfront with loyalty and cringe-worthy quips. There is no cameo role, even if one or two characters appear transient. Each has their place.

Sam Mendes brings out the best of this company, directing like a conductor responding to the shifts of mood and time. There may be one or two movements that could be shortened – or even cut. But like taking out a single part within a harmony, it would leave the others out of kilter. There are many undulations in “The Hills of California”. We are aware of them up close. Stand back and we see the panoramic, yet intimate, view of a family picked apart skilfully by Butterworth.

The sense of disorientation is enhanced by Rob Howell’s impressive set. Homely yet disarranged, it sweeps upwards with its imposingly gothic staircases like a giant Escher woodcut. The sinister is never far away from the everyday. And the trivial minutiae are forever rubbing shoulders with universal truths.

It is, overall, a sharp-witted observation of life. And of death. And the precarious hold we have of memories that lie between. Like the piano – that becomes a central role in the piece – those relationships can go discordantly off-key – “through neglect and time” – as the piano tuner says. Before reminding us: “a piano must be played”.


THE HILLS OF CALIFORNIA at the Harold Pinter Theatre

Reviewed on 8th February 2024

by Jonathan Evans

Photography by Mark Douet

 

 

Top rated shows in January 2024:

KIM’S CONVENIENCE | ★★★★ | Park Theatre | January 2024
COWBOIS | ★★★★★ | Royal Court Theatre | January 2024
EDGES | ★★★★ | Phoenix Arts Club | January 2024
AFTERGLOW | ★★★★ | Southwark Playhouse Borough | January 2024
RITA LYNN | ★★★★ | The Turbine Theatre | January 2024
LEAVES OF GLASS | ★★★★ | Park Theatre | January 2024
CRUEL INTENTIONS: THE 90s MUSICAL | ★★★★ | The Other Palace | January 2024
THE BEAUTIFUL FUTURE IS COMING | ★★★★ | Jermyn Street Theatre | January 2024

THE HILLS OF CALIFORNIA

THE HILLS OF CALIFORNIA

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The Motive and the Cue

★★★★★

Noël Coward Theatre

THE MOTIVE AND THE CUE at the Noël Coward Theatre

★★★★★

“a stylish and stylised homage not just to a moment in time, but to theatre itself”

When Richard Burton and Peter O’Toole were filming the feature film ‘Becket’ in 1964, the two actors came to an agreement as a kind of joke. After the shoot was wrapped, they would each go on to play ‘Hamlet’ on the stage, either in London or New York. The London production would be directed by Laurence Olivier and the Broadway show by John Gielgud. To decide which, they tossed a coin. O’Toole won the toss and chose London and Olivier, leaving Burton to persuade Gielgud to fulfil his side of the wager. The production was a financial hit, achieving the longest running production of the play in Broadway history.

During rehearsals, the actor Richard L. Sterne decided to furtively record the conversations and the clashes as Burton (the modernist striving to be the classicist) squared up to Gielgud (the classicist striving to be the modernist). More than half a century later, the recordings of that ground-breaking moment in theatrical history were taken by Jack Thorne and moulded into an equally ground-breaking play; “The Motive and the Cue”. It is a stylish and stylised homage not just to a moment in time, but to theatre itself.

As the drama unfolds over a day-by-day account of the rehearsals, each scene is captioned with a surtitle lifted from Shakespeare’s text, some bearing a tenuous relevance to the action. The dynamic between Burton and Gielgud is established early on, simmering with electricity until later the sparks truly fly. In the middle ground is Elizabeth Taylor who foreshadows the confrontations, but also covertly and intricately smooths the way. Tuppence Middleton, as Taylor, wonderfully plays the outsider looking in, despite her own star status already. Johnny Flynn is the antagonist as a fiery yet vulnerable Burton. Often whisky-fuelled, he is forever on the verge of a fight, but in the verbal battles his mantle is torn to reveal hints of the fatherless boy seeking direction. Flynn harnesses the restless energy, while brilliantly capturing the rich tones of speech that still echo the valleys of South Wales.

“the overall feel is of a heartfelt tribute to a golden age of British Theatre”

It is Mark Gatiss, however, to whom the show truly belongs. We frequently catch ourselves believing the knight himself is up on the stage. Gatiss personifies Gielgud with a mix of intelligence, charm, pathos and acidity, coating his outstanding performance with mannerisms as detailed as they are emotionally revealing. Moments outside of the rehearsal room reveal the layers of self-doubt that plague these great players. One can assume that the original tape recordings were confined to the rehearsal room, so it is Thorne’s writing that powers these external, highly charged scenes. The power is beautiful and invariably moving, and Gatiss’ hold on the material is a master class in acting. Gielgud was in a fragile place at the time, aware that his position in the profession was precarious with a new kind of modern theatre creeping into the West End. He took the Broadway job because he wasn’t getting other offers.

There is much humour too in the piece, much of it aimed at theatre lovers (dare I use the term ‘luvvies’?). The ensemble cast supports the dominant trio tremendously. We often forget that these are actors in a play, playing actors playing roles in a play. Sarah Woodward as Eileen Herlie as Gertrude is particularly watchable, as is Luke Norris (playing William Redfield playing Guildenstern). Sam Mendes’ sophisticated production runs at close to three hours but not one moment is wasted, nor is our attention allowed to slip for one second. Excerpts from Shakespeare’s texts link the scenes on Es Devlin’s set that, with Jon Clark’s evocative lighting, switches from the harsh white light of the rehearsal room to the blood red hues of the Burton-Taylor lounge, to the cold blues of Gielgud’s hotel room.

The rehearsals are over, and the play reaches its conclusion as Burton prepares for opening night. The writers and performers alike are careful to avoid sentimentality. The result is an exceptionally moving finale. There is satire on the way, and some affectionate mocking of the key players, but the overall feel is of a heartfelt tribute to a golden age of British Theatre.

‘The Play is the Thing’. “The Motive and the Cue” is the thing: the play to see at the moment. Thoroughly modern. Instantly classic. No clash there at all.


THE MOTIVE AND THE CUE at the Noël Coward Theatre

Reviewed on 18th December 2023

by Jonathan Evans

Photography by Mark Douet

 

 

 

Previously reviewed at this venue:

The Ocean At The End Of The Lane | ★★★★★ | October 2023
The Great British Bake Off Musical | ★★★ | March 2023

The Motive and the Cue

The Motive and the Cue

Click here to see our Recommended Shows page