This past week was lived on the fast lane, running around from one place to another trying to keep up with a social calendar that almost seemed designed for us to fail, yet we prevailed… or at least so far.
It’s one of those classic examples of trying to eat more than we can chew.
As soon as I was done with work, we would hit the ground running attending several exhibitions on display across some of the finest art museums in London, later grabbing what would often be a quick meal and then move on to the final event of the day.
Of those events, three have been plays which I would like to bring up.
*ANNA X*
Sorokin story, which is currently being worked as two different productions for HBO and Netflix, is re-imagined through the characters played by Emma Corrin (fresh off of playing Princess Diana in the Netflix success The Crown) and Nabhaan Rizwan, both in their West End debut.
The play did well with critics and audiences alike, but I have to say it hasn’t impressed me.
Despite enjoying the fast pace narrative, the production level on set and the convincing rotation of characters between the two actors, the combined effort failed to evoke any sort of emotions, nor any memorable moments. In fact, it's a play that I’m certain I will soon forget.
I have felt and learnt nothing. I did, however, enjoy my time spent at the theatre, particularly as this was my return to the arts scene in London in a very long time. That experience alone, of being seated in that room surrounded by people and watching a performance, was worth the price of admission.
*HAMLET*
Next up was the Windsor’s Royal Theatre production of the timeless William Shakespeare tale of Hamlet, portrayed by none other than Sir Ian McKellen, who at age of 82 is revisiting a role he played 50 years ago.
The play didn’t exactly have the smoothest start, after two of its cast-members clashed during the rehearsals period, leading to both leaving the production just days before it opened to audiences.
After managing early turbulations, the play went on to receive lukewarm reviews, which I will include my own as well.
Director Sean Mathias went for a bold approach and opted to take numerous creative risks, starting with re-imagining the tale in a way that was age, colour and gender-blind, a choice that I was personally pleased with.
Other elements, however, were maybe not as good nor as interesting…
The set is minimal and never alluding to the grandeur of the Kronborg castle which Shakespeare drew inspiration for the story’s setting…
The wardrobe selection questionable, the pacing sometimes off mark and some acting truly jarring and wooden…
Despite all of this, I would say Ian McKellen's performance alone was worth the purchase of tickets.
To witness such talent on stage is an event on its own.
A few years ago I had the chance to see the veteran actor act alongside Sir Patrick Stewart in Harold Pinter’s play No Man’s Land and remember thinking to myself it was a chance of a life-time to see such stage and screen legends… Come to think about it, having both of them together was just an event of epic proportions.
Up until then, I had no doubts of his acting talent, but that was surely a confirmation before my very own eyes, which just preemptively determined just how good he could be playing any role.
His Hamlet was very much in line with that.
The delivery impeccable… natural, energetic and filled with purpose.
When a scene called out for charisma, disdain, humour or pain… McKellen delivered each with ease.
It’s more than a craft he’s worked
on his entire career. It is also a gift.
That made up for anything else that was lacking and made this trip to the theatre something I will always cherish.
*OLEANNA*
The third and latest play I saw was David Mamet’s Oleanna at the Arts Theatre in London.
Mamet, a Pulitzer prize winner for his 1984 play Glengarry
Glen Ross - which he then adapted and directed into a movie adaption in 1992 - wrote Oleanna around the same year, eventually becoming one of his most successful
plays, also adapting it into a movie a couple years later.
The play is a sheer example of theatre at its best. Nothing but amazing writing, delivered by great actors on a simple set.
That’s all you need. But I can’t stress enough the importance of the writing skills, as it's there that lies the core of the play’s success. Fortunately enough, Mamet has proven time and time again that he’s one of the most talented writers out there.
The dialogues are sharp and poignant. The topic provocative,
divisive and timely.
It shines a light on #MeToo, before #MeToo took centre stage within the entertainment industry… a subject Mamet would later revisit in his career with the 2019 play Bitter Wheat, starring John Malkovich in the central role as a “Harvey Weinstein” like character.
In Oleanna though, the setting is not the glamourised Hollywood, but rather a University campus office in the United States, where the author examines the power dynamics between a Professor a student who accuses him of sexual harassment.
The build-up is tense and creates a certain level of inner conflict. You examine each action carefully and don’t really know which side to take. Its climax later blows up in your face, in one of the most excruciating scenes I have witnessed on stage.
Actors Jonathan Slinger and Rosie Sheehy are superb and truly make justice to one of Mamet’s finest projects, created to stir emotions and instill debate.
Director Lucy Bailey, who did an excellent job with this West End revival, took on a slightly different approach with this rendition, hoping to balance more evenly the scale between both characters, maybe even adding a more provocative tone to it.
Speaking in an interview with British newspaper The Guardian in mid-July, Bailey addressed the effects of “cancel-culture” and how people, despite the inherent risks, should continue to have tough conversations.
“You have to keep talking. I like to feel that you can offend and be forgiven. And also that offence can provoke. I don’t mean I want to be offensive in any sense – but you can’t be afraid of that. This is what David Mamet is saying: he’s very provocative and if we get frightened of being provocative then the status quo will suddenly solidify and none of us want to be in a position where we are not able to question it.”
In conclusion, out of the three that I’ve seen, it is definitely the one I most urge you to go and watch.
It is the kind of play that is perfectly aligned with my thoughts on what makes theatre great.
The ability to tell stories, be it in the most simplistic of
ways or with a full layer of creative and rich resources, that will drive you
to think, question and examine yourself and those around you, while offering
you perspective in shared or far removed realities.
It is a growing process, not
just to escape but to live in the present moment too. It should take many forms
and evoke many moods, making you wonder each time what surprises lie ahead.
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