Chichester Festival Theatre
Mark Hayhurst
Nothing quite prepares you for your first sight of Thiepval, the Memorial to the Missing of the Somme. I had read about the events it commemorated and, before that, been told about them as a young boy. I’d studied the war poets at school and as a teenager had been introduced to Robert Graves’s Goodbye to All That and Erich Maria Remarque’s All Quiet on the Western Front. I knew about the vast numbers of war dead, of how they exceeded the populations of famous cities. But once there, in Picardy, gazing for the first time on Sir Edwin Lutyens’s gigantic monument, it was impossible not to gasp Read more ...
bella.todd
If Downton Abbey creator Julian Fellowes were (a lot) more like Ibsen, our national viewing habits would be in good hands. But then, as the hero of An Enemy of the People discovers, presuming to know what’s good for the public is a dangerous game. In his first full stage role in 12 years, the Earl of Grantham, AKA Hugh Bonneville, returns to his local Chichester Festival Theatre as a whistleblower who thinks he’s doing his town a favour. Come the fifth act of Ibsen’s political comedy, he’s been driven out of job, house and inheritance and is fighting off the mayor with an umbrella.This is a Read more ...
bella.todd
Smoking weed on the Orient Express. Drinking at a brothel in Paris. Tricking the military police in Istanbul. Smuggling a Da Vinci into Paraguay. As travel itineraries go, it’s certainly no Saga break. But then Graham Greene’s Augusta is no ordinary literary aunt. The antidote to Oscar Wilde’s Augusta Bracknell, Greene’s 75-year-old heroine is a lusty free spirit who terrorises Victorian values and turns her nose up at the law. Having reentered her nephew’s life at what he supposes to be his mother’s funeral, she co-opts this retired bank manager as her travelling companion and tears him away Read more ...
Matt Wolf
Say what you will about London theatre during 2015, and by my reckoning it was a pretty fine year, there certainly was a lot of it. I can't recall a year that brought with it a comparable volume of openings, not least during September and December, this year's pre-Christmas slate of major press nights roughly double the same time period in 2014. And as proof that people were actually attending the stuff on offer, empirical evidence as ever was the best guide. One late-November Saturday on my way to an evening show, I counted six House Full signs while weaving through the West End, and for a Read more ...
Marianka Swain
From Singin’ in the Rain and Anything Goes to Hello, Dolly! and Mary Poppins, Olivier Award winner Stephen Mear has done more than any other British choreographer to usher classic musicals into the modern era. But adept as he is at razzle-dazzling ’em, there’s more to Mear, as recent excursions like City of Angels at Donmar Warehouse and Die Fledermaus for the Metropolitan Opera prove. His contribution to the lauded Gypsy revival, opening next week at the Savoy Theatre following a triumphant Chichester run, demonstrates the combination of emotional engagement and quick-witted Read more ...
Heather Neill
The mother, so often a sentimental figure in art, can be as tenacious and bold as any animal when protecting her young. Mark Hayhurst's play about Irmgard Litten, mother of Hans, a lawyer who cross-examined Hitler – and won – in 1931, celebrates the single-minded determination of a woman daring to take on Nazi might in the cause of her son. Hans was imprisoned in Sonnenburg "for his own protection" on the night of the Reichstag fire in 1933 and, after spending years in concentration camps, was found hanged in Dachau in 1938.Taken at Midnight, with Penelope Wilton as Irmgard, Read more ...
Sam Marlowe
A champagne cocktail with a hefty dash of bitters, Jonathan Kent’s production of this exquisite Noël Coward comedy of impossible passions is as wince-inducing as it is delightfully effervescent. A hit at Chichester Festival Theatre last autumn, it sees Toby Stephens slip suavely into the role of Elyot Chase opposite a sloe-eyed Anna Chancellor as his ex-wife, Amanda.From the moment the two collide on their adjoining balconies at the French resort where both are honeymooning with new spouses, the atmosphere fizzes with sexual tension. For all their elegance, all the artfulness of their verbal Read more ...
Ismene Brown
Bingo: Scenes of Money and Death is the misleading, jokey title of a play about Shakespeare in his ignoble last years, unable to write further, isolated from his beloved London, and hemmed in by local politics. Shakespeare is invited to become a town councillor! To take sides in a dispute about land enclosures! It’s a cracking re-visioning of the genius whom films and myth have preserved in the aspic of lusty, piratic eloquence.In Edward Bond's creation of 1974, Shakespeare is a middle-class capitalist literary squire, who sits in his big Stratford garden, rich, lionised and 52 (old, in those Read more ...
Jasper Rees
The phenomenal Eduardo de Filippo has no parallel in British theatre. Cross Olivier with Ayckbourn and you get a national institution who acted in and directed his own plays in his own theatre. Born in 1900, it seems odd that he had to wait until 1977 for his first honorary doctorate, odder that the award came not from his native Naples but from the University of Birmingham.De Filippo (or Eduardo, as he was universally known) first tied a bond with this country when he brought Napoli milionaria, his first mature postwar work, to the Aldwych in 1972. The bond was tightened by the National Read more ...
bella.todd
Halfway through Sean Mathias’s gripping new production of The Syndicate, Ian McKellen’s Don Antonio Barracano reaches for his hat, stick and gloves and heads out through the olive groves to "make [a man] an offer". He looks and sounds like a nice old gent setting out for an afternoon stroll. Unless, of course, you’re passingly acquainted with The Godfather.Set in the criminal underworld of Sixties Naples, Eduardo de Filippo’s dark-cornered comedy is a far, far better play than its performance history here in the UK (just one radio production with Paul Scofield) might have you believe. A Read more ...
Ismene Brown
Terence Rattigan’s art of concealment is what makes The Deep Blue Sea so rich and true an observation of the way people behave. Being deprived of his concealing mask is the crucial idea of the interesting new play partnering it at Chichester to mark Rattigan's centenary: Nicholas Wright’s Rattigan’s Nijinsky, which incorporates an unproduced Rattigan TV script into a drama of why it was not produced.The two plays, acutely directed for Chichester by Philip Franks, make illuminating contrast, too, purely in theatrical method - Rattigan’s straight-up focus on people in a room and the things Read more ...