Tag Archives: Tom Scutt



Vaudeville Theatre


Vaudeville Theatre

Reviewed – 12th August 2021



“The chemistry between Douglas and Tovey is cosmic, even celestial, and there is a frisson that is totally fresh and natural”


‘In the quantum multiverse’, explains Manuel in “Constellations”, ‘every choice, every decision you’ve ever and never made exists in an unimaginably vast ensemble of parallel universes. We’ve all had these late-night conversations at some point or other, that usually descend into a chasm of confusion and a mind-boggling realisation about how little we know about the universe. Nick Payne’s play about the randomness of time and space condenses the subject more succinctly when it takes us on Manuel and Roland’s journey through a variety of alternative and possible pasts, presents and futures. But cosmology aside, the focus is on the microcosmic ‘humanness’ of the couple. The heartaches and happiness brought about by the various ‘what ifs’ that flesh is heir to.

After over a year of uncertainty, could-have-beens and might-have-beens; it feels like the perfect time for a revival of Payne’s extraordinary tale of infinite possibilities. First produced at the Royal Court it has since enjoyed West End runs, national tours and played Broadway. Now back in the West End, with original director Michael Longhurst at the helm, it can be seen from a fresh angle. The production features a revolving cast, and the choice of actors opens up new meanings and new dynamics to Payne’s writing. The action is no longer the preserve of a white, middle aged heterosexual couple. In this version in question, Manuel (originally Marianne) is played by Omari Douglas opposite Russell Tovey’s Roland. It is not just a boy-meets-girl story anymore. And the current concept works brilliantly. The chemistry between Douglas and Tovey is cosmic, even celestial, and there is a frisson that is totally fresh and natural. Having not seen the other scenarios I am not offering a comparison, but I suspect any choice (in our quantum universe every choice is possible) as to which duo to see will be the right one.

Roland is a beekeeper and Manuel a cosmologist who waxes lyrical about string theory and the belief that there are multiple universes that pull people’s lives in various directions. This is reflected in the play’s structure as the scenes (often very brief) are repeated with different attitudes, intonations, and outcomes. The couple meet at a barbecue and become romantically involved, they move in with each other, break up, meet up again and eventually marry. Or not. The differences played out in each variation are often quite miniscule, but the effects are momentous. All of life and death is there, with multiple stages of laughter and grief. On paper it does have the potential to become a drama exercise, but the actors’ outstanding performance prevents this.

Tom Scutt’s design suspends dozens of helium filled balloons above the stage, their significance morphing in tune with the nuances of each scene. A simple design, but in the mind of the audience it can represent molecules or galaxies, party guests or speech bubbles, or even an invisible tumour. Alongside David McSeveney’s staccato sound design and Simon Slater’s score, we get a full sense of how snap decisions can change the rhythms of life, love, and loss immeasurably.

‘We have all the time we’ve always had’ declares Manuel. More than once. As each scene is replayed, we pick up a better understanding of what is being said. And each time it pierces with a different force. When we know that maybe they haven’t the time, it is heart-breaking. At other times it fills us with joy and at times it is just funny. It feels like the perfect time for a revival of Payne’s extraordinary tale of infinite possibilities. But then again, any time is right – it is indeed timeless.

Whether or not you accept or reject the multiverse theory or believe in the notion of free choice, “Constellations” is the obvious choice of theatre to see right now. And if it is within your timeframe (or budget) to choose which cast to watch, I’d certainly try for as many of the four versions as possible.



Reviewed by Jonathan Evans

Photography by Marc Brenner



Vaudeville Theatre until 12th September


Previously reviewed this year by Jonathan:
Sherlock Holmes: The Case of the Hung Parliament | ★★★★ | Online | February 2021
Bklyn The Musical | ★★★★★ | Online | March 2021
Remembering the Oscars | ★★★ | Online | March 2021
The Picture of Dorian Gray | ★★★★ | Online | March 2021
Disenchanted | ★★★ | Online | April 2021
Abba Mania | ★★★★ | Shaftesbury Theatre | May 2021
Cruise | ★★★★★ | Duchess Theatre | May 2021
Preludes in Concert | ★★★★★ | Online | May 2021
You Are Here | ★★★★ | Southwark Playhouse | May 2021
Amélie The Musical | ★★★★ | Criterion Theatre | June 2021
Bad Days And Odd Nights | ★★★★★ | Greenwich Theatre | June 2021
Express G&S | ★★★★ | Pleasance Theatre | June 2021
Forever Plaid | ★★★★ | Upstairs at the Gatehouse | June 2021
Forgetful Heart | ★★★★ | Online | June 2021
Staircase | ★★★ | Southwark Playhouse | June 2021
The Hooley | ★★★★★ | Chiswick House & Gardens | June 2021
Be More Chill | ★★★★ | Shaftesbury Theatre | July 2021
Heathers | ★★★ | Theatre Royal Haymarket | July 2021
The Two Character Play | ★★★★ | Hampstead Theatre | July 2021
My Night With Reg | ★★★★ | The Turbine Theatre | July 2021
Big Big Sky | ★★★★ | Hampstead Theatre | August 2021
The Windsors: Endgame | ★★★ | Prince of Wales Theatre | August 2021
The Rice Krispie Killer | ★★★★★ | Lion and Unicorn Theatre | August 2021


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Review of The Lady From the Sea – 4 Stars


The Lady From the Sea

Donmar Warehouse

Reviewed – 21st October 2017



“Nikki Amuka-Bird’s Ellida is hypnotic, lending elegance to her deep-rooted longing that teeters on madness”


“The Lady From The Sea” is probably Ibsen’s most symbolic work. It is centred on Ellida, the female protagonist caught in a conflict between duty and self-determination. Stuck in her marriage to Doctor Wangel, she longs for the sea. When a former lover returns from years of absence, she is forced to decide between freedom and the new life she has made for herself.

The action is transplanted from the icy Norwegian fjords to a sultry Caribbean beach, where the stifling heat adds to the feelings of being trapped, as relationships untangle and are knotted back together again, in Elinor Cook’s adaptation. Cook’s text, coupled with the strength of the performances, draws one into a fresh way of looking at the play. The language has an easy, contemporary feel bringing a crisp clarity to Ibsen’s themes: the divide between men and women. Even back in the late nineteenth century Ibsen called this “the modern tragedy”, presciently claiming that “a woman cannot be herself in today’s society” because it is shaped and dictated by men.

Kwame Kwei-Armah, the next artistic director of the Young Vic, is at the helm. His uncluttered direction gives ample space for the comedy to tease through. Ibsen’s observations were often so acute they were funny – and Kwei-Armah embraces this. Throwing some tropical heat into the mix adds an extra, spicy lightness of touch. However, the Caribbean setting is not fully explored, and is often pushed into the margins. There is scant reference to the location and, during the more introspective moments, Lee Curran’s moody lighting too often dips back into the cold North Atlantic.


The play’s action takes place on the day that the doctor’s daughters from a previous marriage are preparing the celebrations for their dead mother’s birthday. Ellie Bamber and Helena Wilson excel in playing the daughters, their loyalties torn between the memory of their mother and the grudging acceptance of their stepmother. Nikki Amuka-Bird’s Ellida is hypnotic, lending elegance to her deep-rooted longing that teeters on madness. Finbar Lynch is a master at portraying the dilemma Elida’s husband faces. His commanding performance, just a few feet from the audience, impels us to share his turmoil: his struggle to reconcile his self-perceived duty as a husband with that of giving his wife the freedom of choice. Initially he believes that withholding that freedom of choice is protecting her, and it is only when he finally relinquishes his hold on her that they are both freed from the ghosts that haunt them.

There is a surprising simplicity to the play, which is its appeal. The key themes are the subject of countless pop songs in today’s world. There are tragic moments but it’s also a play about love. But unlike many a pop song this play is perfectly pitched. There is a harmony in the collision of the two worlds; the spiritual and the political. “Paradise is all well and good until you’re trapped in it” echoes one of the characters. The strength of this production lies in the overriding feeling that Ibsen could have written this yesterday. Testament, not only to the playwright himself, but also to the team that have brought this pearl to the Donmar Warehouse.



Reviewed by Jonathan Evans

Photography by Manuel Harlan




is at the Donmar Warehouse until 2nd December



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