THEATRE: RE VIEWS AND PREVIEWS ROYAL RETURN
STEVEN SPARLING REVIEWS THE MADNESS OF KING GEORGE III
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Abigail’s Party – the much-loved play by Mike Leigh – makes a welcome return to London with a new production coming to the Menier Chocolate Factory in Southwark. The production will feature Jill Halfpenny (pictured) as the monstrous suburban hostess Beverley, with Joe Absolom as Tony, Natalie Casey as Angela, Susannah Harker as Susan and Andy Nyman as Laurence. Written in 1977, the play takes place at a drinks party that Beverley and husband Laurence throw for their neightbours. As the alcohol flows, tempers fray and resentments surface! Catch this classic show from 2 March until 21 April. Tickets cost £29.50 (with meal deals from £37). www.
menierchocolatefactory.com
In this Jubilee year, it’s worth taking a moment to consider what a steady rock Queen Elizabeth II has been: sixty years of rude health and a firm, guiding hand on the nation’s rudder are rightly being celebrated. This is even more remarkable an achievement when you take a moment to consider her gene pool. Last year’s Oscar-winning film, The King’s Speech, gave us an insight into stammering Bertie, her father. Likewise, the Madness of King George III, written by Alan Bennett (Apollo Theatre until 31 March) shows that her third great grandfather was a reasonable King whose reason left him for some time, as he was afflicted with what is now believed to have been porphyria. David Haig has waited a lifetime for a role such as King George: one that allows him to explore every physical, vocal and mental tic of the illness. A truly demanding role, his physical and emotional state runs the full gamut, and Haig unleashes profound distress – particularly when the quack treatments of the royal physicians are more unpleasant than the symptoms they are meant to cure (“Cure? You couldn’t cure a gammon ham!”). Haig makes the most of both the dignity of being King and the scenery-chewing potential of his ‘madness’. Whirling around him are the sub-plots of a Prince Regent eager to take on a more active role (“Wait? Wait? My life has been waiting!”), and a Tory government under William Pitt, desperately clinging to power after a failure to secure the American colonies. Playwright Alan Bennett delights in some playfully postmodern quips about America, but while bringing laughter, these
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winks to the audience from the playwright distract from the story being told. There is nothing distracting about the gorgeous set by Janet Bird – all pale wood and picture frames, which ‘frames’ the action on stage. A series of flying panels and doors ably suggest the various palace rooms and corridors.
The music/soundscape by Malcolm McKee and Mic Pool that punctuates the scene changes and act finales is practically another character in the drama, with an especially moving use of Handel’s Zadok the Priest for the close of Act One. The supporting characters are ably and luxuriously cast. Standouts include Christopher Keegan as the fat, pushy Prince Regent; Beatie Edney as George’s loyal wife (referred to as Mrs King), who keeps her regal head high while her heart sinks to the ground; Nicholas Rowe as a quietly determined Prime Minister Pitt; and Clive Francis as the compassionate doctor Willis who brings about a change in the King’s condition (“I can cure him. I’m just not sure what from”). This Royal Theatre Bath production has been polished throughout the summer run and autumn tour before rightfully taking up residence in the West End. The attention to detail is to be admired and proves the efficacy of working out the kinks before presenting in the West End. It has arrived in sterling condition. It’s a touching tale of misunderstood illness against a backdrop of political machinations. You’d be bonkers to miss it.
BLOOD SUCKERS
Fans of surreal and dark comedy will be interested to hear about the latest production coming to the intimate Barons Court Theatre. The fringe venue continues its ‘Goths, Ghosts and Ghouls’ season with Vampire, a spoof nightmare written by Snoo Wilson. However, don’t expect fanged monsters in dark cloaks, as this unashamedly camp production seeks to explore the notion of social vampires and the way in which they impinge upon our lives. It runs from Tuesday 6 March until Sunday 11 March, with tickets costing £12 or £8 concessions. Box office 020 8932 4747.
ON THE BALL
A new production of Stephen Sondheim’s acclaimed musical Sweeney Todd comes to the Adelphi Theatre this month – running for six months from 20 March until 22 September. If you only know the production from Tim Burton’s film then you may be surprised to find Johnny Depp swapped for an almost unrecognizable Michael Ball as the infamous and murderous barber, with Imelda Staunton playing pie-maker Mrs Lovett. Check out full details and ticket information at www.
sweeneytoddwestend.com
© TRISTRAM KENTON
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