BETTE & JOAN

Park Theatre

★★★★

“A stupendous performance … witty and moving”

Set conflicts, long lived feuds and a peek in the life of the big Hollywood stars. After series like Ryan Murphy’s Feud and Hollywood started swarming the media, it’s clear that audiences want to see what unfolds behind the camera lens. Bette Davis and Joan Crawford had a complicated professional relationship that had its ups and downs (mainly its downs). In Bette and Joan by Anton Burge, the actress and the movie star face each other in a battle for dominance.

The show begins with them introducing themselves and giving us a taste of their personalities in their respective dressing rooms. The exposition is necessary, but also tiring, especially if one’s familiar with the stars and their lives. But actors Greta Scacchi (who plays Bette Davis) and Felicity Dean (who plays Joan Crawford) are doing an excellent job of keeping us intrigued and absolutely hooked. They’re getting ready to shoot a scene of Whatever Happened to Baby Jane, the famous picture that brought them back to the spotlight and skyrocketed both of their careers once again. The second half seems to be somewhat similar to the first, offering some electrifying moments between the actresses and some touching monologues about their respective personal lives.

It’s a trip down memory lane, which is enjoyable, but doesn’t really lead anywhere. Capturing the vast range of this relationship in two hours is impossible, but under the direction of Sue Jenkins, the actors’ great performances make us step out of the auditorium gratified. The tricky detail about this production is that it’s not enough to portray the real people accurately, but find the sweet spot of hostility and antagonism. Scacchi and Dean succeed triumphantly, as we see them separately, but also interacting, their dynamic full of fire that brings laughter to the audience. The way Dean inhabits the viper-like lady who’s always ready to strike while keeping up appearances and sticking to good manners is mesmerising, with every hand gesture being refined and elegant. Through her monologue about Crawford’s mother and upbringing she shows her highly skilled craft, contrasting Scacchi’s direct and confrontational approach.

The set, designed by Neil Gordon, is magnificent, one of the highlights of the show I dare say. A double dressing room with little details that make each side unique and that brings out the theme of duality. After all, the two stars might come from different backgrounds, but they have more in common than they want to admit, fighting bravely to make it in a cruel industry, where youth and money is one’s currency. Lighting, designed by Joe Pilling, is an interesting mixture of vanity mirror light bulbs and spotlights that focuses the audience’s attention to the appropriate side of the stage, making it easier to follow the narrative. Pip Thurlow’s sound design is minimal, which is exactly what this piece needs as we’re focusing on the words rather than distracting stylisations.

A stupendous performance that remind us that under all the glamour of Hollywood’s golden era, actors are still people, capable of being petty, competitive and deeply vulnerable. The show is witty and moving, even if at times one wishes we’d get more scenes with the actors being together, in order to get a better taste of their relationship.

BETTE & JOAN at Park Theatre

Reviewed on 5th December 2024

by Stephanie Christodoulidou

Photography by Simon Annand

Previously reviewed at this venue:

GOING FOR GOLD | ★★★★ | November 2024

THE FORSYTE SAGA | ★★★★★ | October 2024

AUTUMN | ★★½ | October 2024

23.5 HOURS | ★★★ | September 2024

BITTER LEMONS | ★★★½ | August 2024

WHEN IT HAPPENS TO YOU | ★★★★★ | August 2024

THE MARILYN CONSPIRACY | ★★★★ | June 2024

IVO GRAHAM: CAROUSEL | ★★★★ | June 2024

A SINGLE MAN | ★★★★ | May 2024

SUN BEAR | ★★★ | April 2024

HIDE AND SEEK | ★★★★ | March 2024

COWBOYS AND LESBIANS | ★★★★ | February 2024

BETTE & JOAN

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★★★★

“the performers put on an impressive show without a moment’s rest”

As the festive season approaches, the time of pantomime comes without holding back. In this production co created by Jermyn Street Theatre and Charles Court Opera, who will be celebrating their 20th anniversary in 2025, we leave all worries (and historical accuracy) outside the entrance doors and enjoy an evening of hilarious covers of popular tunes, disguises and pastries.

In this intimate space, the ensemble bursts with energy and comedic genius as they add a twist in the famous rivalry between the English and the French during Napoleon’s attempt to conquer Europe. On the one side, there is King George (Elliot Broadfoot), the Duke of Wellington (Jennie Jacobs) and Princess Georgina (Amy J Payne) who is disguised as a private in order to fulfil her wish of ending the war. On the other side, there is the infamous Napoleon (Matthew Kellett), standing as tall as he can and savouring the audience’s boos, with Marie Antoinette as his resurrected companion. A legend goes around which says that if one obtains a precious stone in the King’s vault, this person will become undefeated and the only way to open the vault is to use Horatio Nelson’s hand, which Napoleon possesses. Determined to win the war, the English royal party embark on a ship and off they go to destroy Napoleon once and for all.

From Lady Gaga and ABBA to Elton John and Bonnie Tyler, the performers put on an impressive show without a moment’s rest. Merry Holden’s choreography is a fascinating mixture of 80s pop culture and melodramatic inspired moves, performed with perfect synchronisation and gusto. The performers’ voices are highly skilled but also used to heighten the humorous merriment of the piece, with David Eaton’s musical direction subtly, though solidly, accompanying the actors.

There is a clear simulation of a stand up comedy show in the way the sound effects and cheesy punch lines are delivered. At times, not even the actors’ acknowledgement is enough to make the script feel less ridiculous and it is impossible not to roll one’s eyes at the overused jokes and puns. But the actors’ commitment is ardent and the audience is more than happy to sing along, even participate in the games involved onstage. Costumes, (Lucy Fowler) are flamboyant, complimenting marvellously the royal theme and over-the-top tone and Ben Pickersgill’s lighting design does exactly the same by using bright shades of primary colours, as well as sharp spotlights.

Following their previous successful collaboration, last year’s Odyssey: A Heroic Pantomime, it’s safe to say that the electrifying creative chemistry Jermyn Street Theatre and Charles Court Opera delivers what it promises, always finding interesting ways to use well-known stories in an entertaining and inventive fashion. The sparkling direction from Benji Sperring and John Savournin (who also co-wrote the show with David Eaton) lifts the experience to another level. It’s an evening full of musical mischief, baguettes and hearty laughter. This production reminds us why the tradition of pantomimes is such a big part of the festive season, offering entertainment and a sense of release open-handedly to the audience, but also reminding us that life can be ridiculous and wacky, sometimes in the best possible way.

BETTE & JOAN

Park Theatre

★★★★

“A stupendous performance … witty and moving”

BETTE & JOAN at Park Theatre

Reviewed on 5th December 2024

by Stephanie Christodoulidou

Photography by Simon Annand

Previously reviewed at this venue:

BETTE & JOAN

BETTE & JOAN

NAPOLEON: UN PETIT PANTOMIME at Jermyn Street Theatre

★★★★

“the performers put on an impressive show without a moment’s rest”

NAPOLEON: UN PETIT PANTOMIME at Jermyn Street Theatre

Reviewed on 26th November 2024

by Stephanie Christodoulidou

Photography by Alex Brenner

Previously reviewed at this venue:

NAPOLEON: UN PETIT PANTOMIME

NAPOLEON: UN PETIT PANTOMIME

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