Andrew Scott as Angel in Original Sin. 2002 Sheffield Crucible. Photo Simon Walker
We are only a few weeks away from the first performances of Simon Stephens’ Birdland at the Royal Court. So much excitement riding on this: Andrew Scott in a Simon Stephens play (Sea Wall anyone?) directed by Carrie Cracknell. No pressure but anything less than superlative might be a disappointment.
This is not Andrew Scott’s first theatrical appearance since he played Moriarty (there is no way around it, for certain actors in certain roles there is before and after). He always stuck very close to the stage, all the way back to his native Ireland and Abbey theatre. My first introduction to his talents was at a Royal Court rehearsed reading in early 2009. (I had to look it up but the play was The Uncertainty Of The Situation (Die Unsicherheit der Sachlage) by Philipp Loehle. The cast – take a deep breath – included Katherine Parkinson, Jeff Rawle, Paul Ready, Samuel West). Once I saw him on stage, I always kept tabs, I wanted to have that rush again.
But this was seven years after he played Angel in Peter Gill’s Original Sin, after Frank Wedekind’s Lulu. The production premiered in Sheffield Crucible with mixed reviews but I can’t help to feel bawled over by its subject matter: “Angel, a spell-bindingly beautiful boy is plucked from the streets to be the plaything of a wealthy newspaper proprietor. Continue reading →
In the end it was the smell that did it. I admit it, it’s an unusual thing to praise a stage production for but it’s the first thing you notice entering the Almeida auditorium: the smell of damp earth. And for someone like me, who worries that poetic might be just another word for vague and anaemic, it was the perfect calling card. The Dark Earth and the Light Sky, written by Nick Dear and directed with extreme assurance by Richard Eyre, might be about words and art and poetry but it’s the smells and sounds that take centre stage.
The second thing that makes an impression is the space: the whole of the Almeida stage is open and uncluttered save for some balls of hay and the dark damp earth. All scenes, in people’s living rooms or the streets of London, take place upon dark soil. A few weeks back, I complained that the sand on the Donmar stage made Berenice look uncertain. Here the effect is exactly the opposite: everything is grounded, even Edward Thomas’ ghosts or flights of fancy.
Hattie Morahan (Nora) and Dominic Rowan (Torvald). Photo by Johan Persson
It’s hard for me to imagine what audiences thought of Henrik Ibsen’s A Doll’s House when it premiered in Copenhagen in 1879. Even today, the choices Nora makes at the end of the play have the power to shock (I can imagine a fair amount of tongues wagging if that was to happen in a respectable middle class family today). On the other hand, the triumph of the Young Vic production is not the feminist politics, it’s the people: passionate, relatable, likable people we want to see them through their tough times. It doesn’t quite work that way.
The production, directed by Carrie Cracknell in a new version of the play by Simon Stephens, is set in the 19th century, but it doesn’t have the buttoned up quality of period pieces: Nora (as played by Hattie Morahan) and Torvald (as played by Dominic Rowan) are an immensely sexy couple. Not just beautiful, but full of desire. This is not late 19th century as seen in Cranford. They are respectable in front of other people, but essentially they can’t keep their hands off each other. They are in love, even if they don’t begin to understand each other. Which makes the end of the play all the more heartbreaking: the conflict in the final scene is raw, desperate, physical. The production has a beating pulse going through it, not least because of the immediacy of Simon Stephens’ writing. Continue reading →