Bishop Blunders Into Porn Star as Bennett’s Play Stumbles
If someone like Peter Hall can heckle “Downton Abbey” star Laura Carmichael, perhaps it’s O.K. now for the rest of us too. Alan Bennett’s new comedy “People” at London’s National Theatre may be a good place to start.
Poverty-stricken Lady Dorothy Stacpoole (Frances de la Tour) sits among the rotting tapestries of her decrepit stately home. Her sister (Selina Cadell), a brusque lesbian archdeacon, wants her to give the house to the National Trust, which would repair it and let visitors in. Dorothy hates the idea.
“People spoil things,” says a cynical property agent, and Dorothy nods in agreement. She’s tempted to sell the property to the agent’s cartel of businessmen instead.
So far, so straightforward. Aristocratic individuality versus plebeian hordes. Heritage populism versus filthy lucre.
The tone changes when a bored film crew arrives to shoot a seedy movie in the mansion to generate a bit of cash.
As in “The History Boys” and “The Habit of Art,” Bennett presents a version of life which seems to confuse modern social mores with those of an earlier era. Does anyone in the sex industry still shoot 1970’s-style porn on 35mm film? Does a predictably naive bishop really have to arrive in the middle of it all, as in a 1960’s farce?
It’s a maiden-auntish view of the world. Either you’ll enjoy its comforting lies, or want to heckle like Sir Peter at its pointless distortions.
The acting is excellent. De la Tour is once again a master of the put-down. Selina Cadell is amusingly gung-ho as the horsey sister. Director Nicholas Hytner provides a realistic production which, though well-paced, perhaps isn’t the best for Bennett’s non-realistic vision of the world. Rating: **.
‘Uncle Vanya’
Peter Hall apologized for his tirade during Carmichael’s climactic closing speech of “Uncle Vanya.” The 81-year-old theatrical knight said he thought the production was very fine, and that he was merely “disorientated” after falling asleep.
Those of us who stayed awake enjoyed a superb period production performed by a great ensemble of actors.
The meaty speeches all get their due. When Vanya (Ken Stott) cries over lost opportunities, the effect is more tragic for being slightly comical. Samuel West gives a terrific turn as the drunken Doctor Astrov. Anna Friel is suitably ambiguous as beautiful Yelena, who turns their backwater life upside-down.
Laura Carmichael (Lady Edith from “Downton”) matches them as Sonya, showing touching naivety and strength.
Director Lindsay Posner brings it alive by attention to detail. Yelena blows the dust from the keys of the piano she hasn’t touched in years. Telyegin touches the samovar to check its heat. A top-notch performance of a masterpiece. Rating: *****.
‘Pilgrim’s Progress’
“Masterpiece” isn’t a word one would use to describe Ralph Vaughan Williams’s rarely-performed 1951 work “The Pilgrim’s Progress” now at English National Opera.
Pilgrim (named “Christian” in John Bunyan’s 17th-century text upon which the work is based) goes on a journey to find the Celestial City. Along the way he visits Vanity Fair, which isn’t as fun as it sounds.
The score is in the composer’s English-pastoral-mystic mode and has some pretty moments. Since there’s no antagonist and no conflict -- just a series of increasingly static episodes --even this musical sweetness quickly curdles.
Mish-Mash
Director Yoshi Oida employs a mish-mash of styles. Pilgrim (Roland Wood) starts behind the bars of a Soviet prison. He then battles with a Japanese puppet-monster. Vanity Fair looks like an 1890’s burlesque night. There’s plenty of World War I imagery.
It’s as confusing as it sounds. By setting part of the show in jail instead of the Delectable Mountains (as indicated in the score), Oida forgets the inconvenient fact that Pilgrim owns the Key of Promise, which can get him out of any jail.
“Why don’t you use the magic key, you oaf?” you’ll find yourself wanting to shout. If your eyes haven’t rolled right back into your sockets with boredom, that is.
Wood sings smoothly, and Benedict Nelson and Kitty Whately make the most of their multiple roles. The chorus and orchestra, conducted by Martyn Brabbins, play beautifully.
It isn’t enough. Vaughan Williams admitted the piece wasn’t dramatic. Which begs the question: why bother to put the rest of us through a staging? Rating: **.
‘Victor/ Victoria’
There’s much to enjoy in a lively staging of the musical “Victor / Victoria” by Blake Edwards and Henry Mancini.
Anna Francolini takes on the title role(s) of an English soprano who pretends to be a Polish male drag-queen in 1930’s Paris. Subtle it isn’t.
It is, however, a jolly excuse for plenty of catchy cabaret numbers staged with a full complement of spangles and sequins by Thom Southerland. Francolini is pleasingly butch as Count Victor, and Richard Dempsey great fun as her gay friend Toddy.
Southwark Playhouse is developing a reputation for small- scale musicals. It’s just what London needs. Rating: ****.
“People” is at the National Theatre. Information: http://www.nationaltheatre.org.uk/ or +44-20-7452-3000.
“The Pilgrim’s Progress” is in repertoire at ENO. Information: http://www.eno.org or +44-20-7845-9300.
“Uncle Vanya” is at the Vaudeville Theatre. http://www.nimaxtheatres.com or +44-844-412-4663.
“Victor / Victoria” is at the Southwark Playhouse. http://www.southwarkplayhouse.co.uk or +44-20-7407-0234.
What the Stars Mean: ***** Excellent **** Very good *** Average ** Mediocre * Poor (No stars)Worthless
Muse highlights include Zinta Lundborg’s New York weekend and Lewis Lapham on history.
(Warwick Thompson is a critic for Muse, the arts and leisure section of Bloomberg News. The opinions expressed are his own.)
To contact the writer on this story: Warwick Thompson, in London, at warwicktho@aol.com.
To contact the editor responsible for this story: Manuela Hoelterhoff at mhoelterhoff@bloomberg.net.
'People'
Catherine Ashmore/National Theatre via Bloomberg
Frances de la Tour and Linda Bassett in "People" by Alan Bennett. De la Tour plays Lady Dorothy Stacpoole who lives in a decrepit mansion with her working-class companion Iris.
Frances de la Tour and Linda Bassett in "People" by Alan Bennett. De la Tour plays Lady Dorothy Stacpoole who lives in a decrepit mansion with her working-class companion Iris. Photographer: Catherine Ashmore/National Theatre via Bloomberg
'People'
Catherine Ashmore/National Theatre via Bloomberg
Linda Bassett, Frances de la Tour and Selina Cadell in "People" by Alan Bennett at the National Theatre. Selinda Cadell is Dorothy's sister June, who wishes the house to be given to the National Trust.
Linda Bassett, Frances de la Tour and Selina Cadell in "People" by Alan Bennett at the National Theatre. Selinda Cadell is Dorothy's sister June, who wishes the house to be given to the National Trust. Photographer: Catherine Ashmore/National Theatre via Bloomberg
'People'
Catherine Ashmore/National Theatre via Bloomberg
Andy de la Tour and Selina Cadell in "People." A bishop arrives at a mansion in the middle of a pornographic film shoot.
Andy de la Tour and Selina Cadell in "People." A bishop arrives at a mansion in the middle of a pornographic film shoot. Photographer: Catherine Ashmore/National Theatre via Bloomberg
'Uncle Vanya'
Nobby Clark/Jo Allan PR via Bloomberg
Laura Carmichael and Anna Friel in "Uncle Vanya" by Chekhov at the Vaudeville Theatre. Carmichael, a star of "Downton Abbey," plays the downtrodden Sonya who is in awe of her glamorous stepmother Yelena.
Laura Carmichael and Anna Friel in "Uncle Vanya" by Chekhov at the Vaudeville Theatre. Carmichael, a star of "Downton Abbey," plays the downtrodden Sonya who is in awe of her glamorous stepmother Yelena. Photographer: Nobby Clark/Jo Allan PR via Bloomberg
'Uncle Vanya'
Nobby Clark/Jo Allan PR via Bloomberg
Ken Stott and Laura Carmichael in "Uncle Vanya" by Chekhov. The traditional period-costume production is directed by Lindsay Posner.
Ken Stott and Laura Carmichael in "Uncle Vanya" by Chekhov. The traditional period-costume production is directed by Lindsay Posner. Photographer: Nobby Clark/Jo Allan PR via Bloomberg
Samuel West in "Uncle Vanya" by Chekhov. West plays Doctor Astrov who, like Vanya, is unhappily in love with Yelena. Photographer: Nobby Clark/Jo Allan PR via Bloomberg
'The Pilgrim's Progress'
Mike Hoban/English National Opera via Bloomberg
Colin Judson, as Lord Lechery in the center, and the English National Opera chorus in "The Pilgrim's Progress" by Ralph Vaughan Williams. In Act 3 of the opera, Pilgrim visits Vanity Fair, a place of greed, exploitation and licentiousness.
Colin Judson, as Lord Lechery in the center, and the English National Opera chorus in "The Pilgrim's Progress" by Ralph Vaughan Williams. In Act 3 of the opera, Pilgrim visits Vanity Fair, a place of greed, exploitation and licentiousness. Photographer: Mike Hoban/English National Opera via Bloomberg
'The Pilgrim's Progress'
Mike Hoban/English National Opera via Bloomberg
Kitty Whately, Aoife O’Sullivan, Roland Wood, kneeling as Pilgrim, and Eleanor Dennis in "The Pilgrim's Progress." Pilgrim asks for his burden to be eased.
Kitty Whately, Aoife O’Sullivan, Roland Wood, kneeling as Pilgrim, and Eleanor Dennis in "The Pilgrim's Progress." Pilgrim asks for his burden to be eased. Photographer: Mike Hoban/English National Opera via Bloomberg
Anna Francolini in "Victor/Victoria" at the Southwark Playhouse. Francolini plays Victoria Grant, an English soprano who pretends to be Count Victor Grazinski, a gay Polish female impersonator. Photographer: Annabel Vere/Kevin Wilson PR via Bloomberg
Anna Francolini in "Victor/Victoria." One of Count Grazinski's cabaret numbers is "Louis Says," which puns on the phrase "Louis Seize." Photographer: Annabel Vere/Kevin Wilson PR via Bloomberg
'Victor/Victoria'
Annabel Vere/Kevin Wilson PR via Bloomberg
Kate Nelson as Norma Cassidy in "Victor/Victoria." The musical is based on the 1982 film directed by Blake Edwards as a vehicle for his wife Julie Andrews.
Kate Nelson as Norma Cassidy in "Victor/Victoria." The musical is based on the 1982 film directed by Blake Edwards as a vehicle for his wife Julie Andrews. Photographer: Annabel Vere/Kevin Wilson PR via Bloomberg
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