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Carmen 1808 – 5 Stars

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Carmen

Carmen 1808

Union Theatre

Reviewed – 13th February 2018

★★★★★

“unquestionably – in style, in subject, and intention – a revelation, if not quite revolutionary”

 

Under the railway arches in Southwark, across the river from the Royal Opera House where “Carmen” is currently running, a very different take on the famous story is taking place. This is the second of the Union Theatre’s 2018 Essential Classics series, presented by the Phil Willmott Company. “Carmen 1808” draws more from the original novella by Prosper Mérimée, yet retains the inimitable tunes from Bizet’s score. A further dimension is added by transposing the narrative into the Peninsular War and the Spanish uprisings against Napoleon.

The starting point is Goya’s painting, ‘The Third of May 1808’, and it is the artist’s vision of the horrors of war that pervades the evening. The starting point is also Goya himself who, as protagonist, watches, paints and comments on the action that leads to the horrifying climax that becomes his canvas. It is a device that is inspired, inventive and ingenious in equal measure.

Condensed into one act running at just over ninety minutes it is an extremely accessible production. There are no pretensions, nor grandiose rhetoric here; it is Musical Theatre. But it is Musical Theatre at its best. Once one has adjusted to hearing different words to the well-known arias, one can savour the flair of Willmott’s lyricism and Teddy Clements’ musical arrangements. The piano is the only prop, but with Clements at the keys and his musical direction of a uniformly strong cast it sounds symphonic at times.

Carmen is a gypsy freedom fighter, adept at seducing low-ranking enemy soldiers to learn military secrets and relaying them to the Resistance. Rachel Lea-Gray gets the mix of earthy pragmatism and fiery seductiveness down to a tee. She plays with the emotions of Captain Verlarde (Maximilian Marston) and Corporal Luis (Thomas Mitchells), two Spanish military commanders battling for her affections. That these two characters represent the original story’s glamorous matador, Escamillo and naïve soldier, Don José respectively is unimportant. The story has the strength to stand by itself. In fact, this staging is perhaps even more appealing to those coming to it fresh, without any knowledge of Bizet’s opera.

Carmen holds court over a group of Spanish resistance fighters, led by Blair Gibson’s scholarly Javier. With a seventeen strong cast the Union’s space is in danger of becoming cluttered, but Adam Haigh’s choreography is as tight as clockwork. Up close the effect is compelling. The pace hits the right tempo throughout as the music weaves between the dialogue. There are a couple of rare, clunky colloquialisms that pop up in the text, but these are swiftly forgotten and they do not succeed in tripping up the flow of the action. Each performer drives their character with a white-knuckled commitment that draws us in and along for the ride.

And so it ends with the painting too. It gives nothing of the story away to reveal that the final scene is a near perfect tableau of Goya’s artwork. The final line is given to Alexander Barria’s Goya himself as he steps out of the action and looks at his creation. What he has witnessed, he reveals, is the trigger for his descent into madness and despair. Not so for the audience, however. Despite the grim epigraph, the dynamism of the cast leaves us in a truly upbeat frame of mind.

Goya’s “The Third of May 1808” has been described by art historians as possibly “the first great picture which can be called revolutionary in every sense of the word, in style, in subject, and in intention”. Although it would be perhaps too grand to describe this interpretation with equal fervour, it is unquestionably – in style, in subject, and intention – a revelation, if not quite revolutionary. This is a show for everyone, and I urge everyone to see it, before the run ends. Although I’m sure that won’t be the end of the road. This musical has to either extend or transfer to a larger space.

 

Reviewed by Jonathan Evans

Photography by Scott Rylander

 


Carmen 1808

Union Theatre until 10th March

 

 

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Heartbreak House – 4 Stars

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Heartbreak

Heartbreak House

Union Theatre

Reviewed – 9th January 2018

★★★★

“a master class in casting: without exception, each actor has total command over the text”

 

It is hard to believe that ‘Heartbreak House’ was written almost a century ago. First performed in 1920 on the English stage, George Bernard Shaw’s text is permanently relevant, which is what makes it a ‘classic’. It is just as entertaining and pertinent as we approach the ‘twenties’ of the new millennium.

This pitch-black comedy is the first of the Union Theatre’s 2018 Essential Classics series, presented by the Phil Willmott Company, dedicated to topical productions in which issues tackled by great playwrights and composers of the past reflect on today’s world. George Bernard Shaw subtitled his work ‘A Fantasia in the Russian Manner on English Themes’. Ostensibly he is paying homage to Chekhov, though there are more nods towards Wilde or Ibsen here. Yet, in my mind, it surpasses both with its intrinsic sense of danger, intrigue and fascination.

From the outset we realise we are in for something special. Justin Williams’ and Jonny Rust’s set is a masterpiece in its own right. As a result, expectations are indeed raised, though it is safe to say that, under Phil Willmott’s direction, they are well and truly sustained throughout. This is a master class in casting: without exception, each actor has total command over the text. They handle the rhythm of Shaw’s dialogue with the skill of virtuoso musicians.

Hesione Hushabye is gathering the outrageously eccentric family of Captain Shotover together in their country house to save her young protégé, Ellie Dunn, from a marriage of convenience to an ageing industrialist. But the bride to be is not as naïve as she appears. In fact, all the characters are not quite what they seem. A heartbroken adolescent can instantly become a cynic on the prowl, a maternal confidante can also be a seductive hostess and emasculating wife, a philanderer can become a hero. These turns and twists of character are what keep us on our toes. James Horne, as Captain Shotover, gives a star performance, appearing at first to live without rhyme or reason, yet behind his ‘Spike Milligan’ eyes he manages to convince us that he is all too aware of what is going on under his roof. Helen Anker’s Hesione utterly bewitches as the witchy lady of the house, a stark contrast to her estranged sister, Lady Utterwood, a high-society prig played by Francesca Burgoyne who deliciously delivers her put downs with a lacerating wit.

It seems unfair, though space dictates it, to single out individual cast members. The entire troupe deserves a mention. This is that rare piece of theatre where, during the whole two hours, not once does one think that we are watching actors playing their part on a stage. They are the characters. And one really does care for them. Behind the razor sharp wit, the biting aphorisms and the cynicism, it is clear that each character does have a heart. This is testament to the performances, not just to the writing. The audience inhabits their world, albeit a world drifting towards disaster.

Shaw depicts a cultured leisured Europe before the war; the deceptions and meaningless pursuits of England’s ruling class, and the divide between rich and poor. Throw in the talk and fear of pending war – it might have easily been written about today’s world: “Is this England or a mad house?” asks one of the characters. Yes – there is an underlying message, even a warning, that George Bernard Shaw is drumming home. But he was acutely aware of the notion that the best way to get your message across is to entertain.

And, boy, are we entertained.

If this is a taste of what is to come throughout the season at the Union we are in for a treat.

 

Reviewed by Jonathan Evans

Photography by Scott Rylander

 


Heartbreak House

Union Theatre until 3rd February

 

 

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