Susanna Peretz Archives - thespyinthestalls.com

★★★

“the show is a feast for the eyes with plenty of jaw-dropping, ‘how-do-they-do-that’ moments”

As a species, the ability to conquer the fourth dimension has always fascinated us. Which is why it is so prevalent in literature and popular culture. Particularly as this year comes to an end with the highly anticipated 60th anniversary of Dr Who on the horizon. It is argued that Sophocles wrote the first time travel story over 2,500 years ago. The popularity of the concept has almost convinced us that time travel could, in fact, be possible. Most fantasies revolve around our ability to control our passage through time – from the past or to the future and back again. Audrey Niffenegger’s novel, “The Time Traveller’s Wife”, turned that around to tell the story of a man who has no control. It is not a gift but a curse, and questions of free will, fatalism or predeterminism give the novel a philosophical sheen. The success of the story, however, stemmed from the fact that it was perceived as a love story.

It is this aspect that informs the new musical, which premiered at Storyhouse, Chester last year before its West End run. Lauren Gunderson’s book, with Dave Stewart and Joss Stone’s music and lyrics, is a sugar-coated treat. More saccharin than the real deal raw stuff, there is a synthetic quality to the way it pulls at our heart strings. But once we get used to it, we allow ourselves to be drawn into the narrative. What undoubtedly helps is Bill Buckhurst’s magnificent staging. A collaborative effort, drawing on the skills of illusionist Chris Fisher, the show is a feast for the eyes with plenty of jaw-dropping, ‘how-do-they-do-that’ moments.

“Despite the captivating themes, the episodic nature of the piece leaves them dangling”

At the heart of the story are Henry and Clare – the time traveller and his wife (David Hunter and Joanna Woodward). Henry is a man with a genetic disorder that causes him to time travel unpredictably while his wife, Clare, is left behind to cope with his frequent absences. It is fitting that Woodward opens the show, introducing herself directly to the audience. After all; it’s in the title. Refreshingly told from the wife’s perspective, Woodward empowers her character in a finely balanced performance, practically stealing the show with the highlight musical number, ‘I’m In Control’. It is a rare moment when the emotional temperature lifts a few degrees. Elsewhere, however, the score laps around us in lukewarm waves of predictability.

The narrative is surprisingly easy to follow, given the complex nature of the storyline. Especially when put on paper. Henry and Clare first meet in the library where Henry works part time. Clare has already met Henry several times throughout her life when Henry was older and travelling back in time to visit her. But because Henry is younger than that now, he hasn’t yet built the memories of this, so he has no idea who Clare is. See what I mean? Henry has unwritten ‘rules’ of time travel that he can’t break. But of course, he does – particularly when it is in order to save his marriage. Woodward and Hunter both give polished performances that clearly pinpoint where, and when, we are in their romance. Fantastic support comes from Tim Mahendran and Hiba Elchikhe, as Gomez and Charisse, their best friends and conventional couple who mirror the ups and downs of matrimony without the added complications. Special mention must be made of Holly-Jade Roberts, who plays the young Clare with a fascinating, quirky and natural assuredness beyond her years.

Despite the captivating themes, the episodic nature of the piece leaves them dangling. Yet we also appreciate that this may be an essential part of it, as normal life is continually being torn apart by these uncontrolled fissures in time. And the numerous scene transitions are almost another character in itself. But the questions never dig too deep, hindered as they are by lyrical platitudes such as ‘time is nothing’. Perhaps there is too much to explore and, despite running at just over two and a half hours, there isn’t the time. We leave with a sense of being slightly underwhelmed, but thoroughly entertained, nonetheless. The question remains; will it stand the test of time? Well, there’s only one answer. Only time will tell.

The Cherry Orchard

Theatre Royal Windsor

Reviewed – 14th October 2021

★★★★

“The sheer magic of this production is the beguiling mix of melancholy and madness; of manners and mannerisms”

The original intention of Chekhov was for “The Cherry Orchard” to be a comedy; yet when it was first staged in 1904 at the Moscow Art Theatre, the writer/director Constantin Stanislavski turned it into a tragedy. If not distressed, Chekhov was very irritated by the misrepresentation of his work. Enough to put him in a mild state of depression. Ever since, there has been much discussion on the multi-layered nature of the play’s message.

Sean Mathias’ production at Theatre Royal, Windsor knows which side of the fence it lies and undoubtedly remains true to Chekhov’s intentions. With the help of a stellar cast the humour of the piece shines through and is maintained throughout the overly long two and a half hours running time. This is no mean feat, given that the characters themselves are generally not the comic type. Yet the wonderful ensemble cast bring out the flaws and the foolishness; the childishness in a seemingly mature group of people. It’s a kind of coming-of-age story for those who have already long come of age.

Fresh from the demands of his trail-blazing and age-defying Hamlet, Sir Ian McKellen is taking a step back, trying to blend into the background as the elderly servant Firs. There is a danger of his cameo becoming the lead but his generosity and sheer attention to the detail of how his character fits into the narrative lead to what is both a show-stealing performance, yet allowing his fellow actors to plunder as much as they can. Robert Daws is an absolute delight as the cash strapped moocher, overflowing with optimism and drunken charm and bouncing off Martin Shaw’s more successful but less confident Lopakhin. Shaw skilfully managed to mix a self-conscious awareness of Lopakhin’s peasant background with a cocksure sense of his own right to cut the privileged down to size (and ultimately cut down their beloved cherry orchard).

Francesca Annis, as Ranyevskaya the owner of the estate, swoops onto the stage majestically. No stranger to personal tragedy, she still seems clothed in waves of happiness. Yet Annis has the skill to show us the many tears and gashes that are covered up. The childlike way she greets her furniture as affectionately as her family is simultaneously ridiculous and tender. Her mix of tragedy and comedy is most (there’s only one way to put it) Chekhovian. But the minor characters also manage to have a major effect. Missy Malek and Kezrena James as the two sisters; and Alis Wyn Davies as the maid, Dunyasha, are names to look out for. Alison Halstead gives a fireball of a performance as the circus performer, trickster come governess, Charlotte. The only one who doesn’t quite seem to grasp the sense of fun that can be had with these characters is Jenny Seagrove, who plays the brother Gaev with a touch too much seriousness and lack of colour.

This is a piece that focuses on the characters and their interactions more than the story. After all, not an awful lot happens. In Act One, the cherry orchard is in danger of being sold, in Act Two it is on the verge of being sold, in Act Three it is sold, and in Act Four it has been sold. The sheer magic of this production is the beguiling mix of melancholy and madness; of manners and mannerisms and rambling lives that are just about keeping afloat. Much to relate to. There is tragedy everywhere, but we don’t always want to focus on that. This show, led by the inimitable McKellen et al, encompasses Chekhov’s spirit and lets us laugh at the seriousness of it all. Even if only for a couple of hours, but it is worth every minute.

THE TIME TRAVELLER’S WIFE at the Apollo Theatre

★★★

“the show is a feast for the eyes with plenty of jaw-dropping, ‘how-do-they-do-that’ moments”

“Despite the captivating themes, the episodic nature of the piece leaves them dangling”

THE TIME TRAVELLER’S WIFE at the Apollo Theatre

Reviewed on 2nd November 2023

by Jonathan Evans

Photography by Johan Persson

Previously reviewed at this venue:

The Time Traveller’s Wife

The Time Traveller’s Wife

Theatre Royal Windsor

Reviewed – 14th October 2021

★★★★

“The sheer magic of this production is the beguiling mix of melancholy and madness; of manners and mannerisms”

Reviewed by Jonathan Evans

Photography by Jack Merriman

The Cherry Orchard

Theatre Royal Windsor until 13th November

Other four star reviews this year: