THEATRE (P)REVIEW: Port

National Theatre (Lyttelton Theatre)

22 January 2013

Photo: fsse8info

N.B. These comments refer to the first preview night of Port on 22nd Jan. In general I agree with articles like this one by Jake Orr for AYT - http://www.ayoungertheatre.com/should-bloggers-review-previews-i-say-no/) - previews are by no means a finished product, and the success of a production only truly becomes apparent in front of a live audience, however meticulously rehearsed. Having said that, the only ticket I managed to get hold of was for this preview performance, so for practical reasons it's that one I'll be writing about; as such I've tried to focus on core elements of the piece rather than features that I'd expect to be altered (and I've put it in the title, to appease any complainers).

First performed in 2002, this revival of Simon Stephens' Port could, on paper, be mistaken for a new piece of writing: its rather bleak yet darkly humorous coming-of-age tale of a young woman attempting to escape her troubled upbringing still feels credible and - to coin a horribly overused term - relevant in its themes and explorations. However, despite some impressive performances and intelligent staging, this production failed to grip me entirely, and seems to be missing a spark of brilliance and excitement that Stephens' work so often promises.

At the heart of it all is a wonderful performance by Kate O'Flynn as the vulnerable but spirited Racheal. Embodying the combination of humour and gloom to perfection, she shines equally brightly as an over-confident 11-year-old, a desperate 17-year-old and a hopeful 24-year-old. The ever-tricky transition from childhood to adulthood is accomplished flawlessly: O'Flynn may be assisted here with some simple but effective costume changes carried out seamlessly on stage, but when compared to the somewhat less believable transition of her brother Billy (Mike Noble), her adaptability as an actress is evident. On the whole Noble gives a solid performance which flourishes more strongly as the play progresses, but his credibility as a 6-year-old and an 8-year-old is rather lacking. Elsewhere, Calum Callaghan strikes a beautifully balanced note as a sensitive but down-to-earth Danny, while the doubling of the consistently powerful Jack Deam is effective in demonstrating the cyclical nature of violence and oppression in Racheal's life.

This cycle is evident in the parallels which emerge throughout the work, as the cleverly shifting sets and the actors' movements carry echoes of previous scenes. Beginning and ending in the same location perhaps suggests stagnancy, yet the differing tones of the episodes lend the work a sense of progression which, overall, it is in danger of lacking. While the two scenes between Danny and Racheal move from a hopeful new romance to a realisation of a missed opportunity, the return to the car park where Racheal's story began depicts the changes her hard life has enacted upon her. Yet the emotion this elicits is rather strangled by a corny ending - no doubt it is intended to be uplifting, but the literal sunrise feels like overkill.

It's strange and a little disappointing that a production with fine performances and clearly affecting themes did not carry much force or impact. Perhaps my reaction would have been markedly different in 2002; perhaps it is a sign that audiences are becoming more and more resistant to the 'shock factor'. The instances of domestic abuse would be shocking if they were happening in reality - as indeed, they do. Yet I am forced to confront the fact that I wasn't shocked at watching this on stage; it seemed, horrible as it is to state, predictable, expected, unsurprising - something that these themes should never be. It was this sense of predictability that prevented this production from totally engaging me and producing real fireworks, a point which, beyond the realms of this particular production, raises some interesting questions about the desensitisation of audiences today.

FILM REVIEW: Life of Pi

Directed by Ang Lee

It was said by many that this unusual novel could not be adapted cinematically - so if it was going to be done, it had to be done in style. Luckily, Ang Lee came along and did just that, creating a film that is rich, beautiful and exhilirating to watch. It's ironic that a film demonstrating the awe-inspiring majesty and horror of the natural world could only be achieved through the very different magic of CGI, yet in this case computer wizardry has done our planet proud, and great forces of nature are displayed in sublime colour and impressive 3D.

As a rule, this reviewer is left significantly disappointed by the supposed excitement of 3D technology; usually only adding the smallest of novelty factors to the film, it has in the past appeared an unnecessary and expensive addition. Yet The Life of Pi has certainly changed all that, as for the first time I saw its potential not only to enhance a film, but generate a whole new dimension (literally) of enjoyment. The chaos of the ocean storm is exhilarating and genuinely rather frightening, as the crashing waves and enormous volume of water feels tangible and dangerous. Similarly, Richard Parker is sublime (that's the tiger of course, before I get accused of lusting over some poor man...) and totally, frighteningly believable. The best thing about this CGI production is the realism that somehow pervades the film, even as the most extraordinary of events unfold, largely down to the extraordinary attention to detail shown by the animators.

Of course, it's not all about computer animation. Untrained newcomer Suraj Sharma deserves huge credit for carrying the large majority of the film's action independently, delivering a performance of sensitivity and maturity, but not missing the wry humour which gives them - and indeed the novel - its warm heart despite great loss and desperate circumstances.

Photo: GBPUBLIC_PR

Charm is also offered in the 'present day' scenes, as the older Pi (Irrfan Khan) and his visitor (Rafe Spall) provide the framing narrative, enhancing the illusion of reality. Spall once again demonstrates his incredible variety of skills as an actor, never typecast or repetitive from role to role. He is a solid support for the storytelling of Khan, whose mature and reflective Pi adeptly links the two parts of the film and delicately portrays the effect of this miraculous adventure.

This film could easily have become too long, or too flashy. Yet Lee has balanced it skilfully, creating what could more accurately be described as a work of art, as cinematography rather than acting steals the show. As the ocean around Pi glows with mysterious life forms, the scene feels weird and fantastical, yet the cruelty and harshness of life in the wild is never far away. This may not be a film to watch again and again - its strength is in its initial impact of beauty, majesty and at times oddity - but it is an undeniably impressive piece of cinema which successfully manages to blend the latest technology with a respectful awe for largely unseen phenomena of our world.

THEATRE REVIEW: Twelfth Night

Apollo Theatre

5 January 2013

Following its sell-out run at The Globe last summer, the transfer of this all-male, traditionally-staged Twelfth Night - playing in rep with the equally lauded Richard III - really has been the hot ticket in the West End this winter, and it's not hard to see why. On paper, the combination of stage star Mark Rylance and screen darling Stephen Fry, in his first return to stage for 17 years, is enough to attract the crowds. In practice, it is more than big names that have marked out this performance - this comes close to a masterclass in how to do Shakespearean comedy.

This is the Bard in all his glory - not stuffy, not incomprehensible and certainly not dull. In a similar way to other Globe productions which have toured or transferred, the house lights are never fully dimmed, diffusing that invisible fourth wall and creating an atmosphere of camaraderie between audience and performers. It is one of many signs that director Tim Carroll is harking back to London's golden age of theatre in Shakespeare's own time. While the traditionally designed poster is charming if gimmicky, the lighting, traditional music and seating on stage are far from it, resurrecting a spirit of companionship and riotous fun which so embodied Renaissance comedy. If this all sounds a bit corny and you're beginning to doubt the keenness of my critical eye, I apologise: but this is a joyous comedy which invites giggles and warmth at every turn.

Yet perhaps this works against the performance in an odd way when it comes to the portrayal of Malvolio. Stephen Fry is...well, he's Stephen Fry as we know and love him, complete with adorably pompous manner and Melchett-esque laugh. Capturing Malvolio's affected superiority and subsequent ludicrous behaviour perfectly, he has the audience in hysterics in his efforts to impress Olivia, with levels of leering sycophancy rivalling the great David Bamber in the 1995 BBC adaptation of Pride and Prejudice. However, enjoyable as Fry's performance is, it certainly shies away from truly exploring the darker elements of this play. Ostracised, imprisoned in a cell and labelled a dangerous madman, Malvolio is indeed "most notoriously abused", and his plot arc can elicit discomfort as well as laughter. Does he deserve such treatment? Should such cruelty be entertaining? Is his promise of revenge something to be laughed at, or does it throw a gloomier shadow over the closing moments of the play? Perhaps dwelling on these questions for too long is not in keeping with the overall tone this production is taking, but it would have been more satisfying to see a little more nuance and shading in Fry's portrayal. He will always be a crowd-pleaser, but - at risk of repercussions from his army of adoring fans - his Malvolio is excellent, but not exceptional.

At the other end of the spectrum, Mark Rylance succeeds in making a rather dull part seem extraordinary. His Olivia is by far the best I have seen on stage or screen, transforming the role from a fairly forgettable moping mourner into a figure of charming hilarity. Rylance's movement around the stage is fascinating and hilarious in itself: seeming to glide rather than to walk, there is a constant sense of hovering which lends energy to the part, even when silent. This is of course heightened by the wonderful expressiveness of voice and face, often simultaneously mournful and comic. Above all, Rylance's success comes from his ability to appear utterly natural in the role, embodying it whole-heartedly - given he is playing a countess in full Renaissance make-up in a somewhat ludicrous comedy, this is a pretty amazing feat, and a privilege to see first-hand.

Rylance might steal the show, but a regular scene-stealer also comes in the form of Maria (Paul Chahidi). As confusion and farce are milked to their fullest comic effect, Chahidi certainly rivals Rylance in gliding abilities and comic timing. Together with a superb array of frowns, simpers and wicked grins, he is a delight to watch and displays unfailing exuberance for the role. Another surprise of the evening is Fabian, as James Garnon shines in an often rather overlooked role which brings a much-needed dose of solidity into the raucous madness of Sir Toby (Colin Hurley) and Sir Andrew (Roger Lloyd Pack). Garnon however does not fall into the trap of making this straighter role too straight, with an impressively strong performance delivering comedy and thoughtfulness.

Director Tim Carroll must be congratulated on a production which delivers the essence of Shakespearean comedy with lightness, joy and sparkle. The styling may be traditional, but we are a thousand miles away from dusty old books and dry rhetoric. The bard may be known for his lengthy speeches, but with some cunning timing this Twelfth Night demonstrates the hilarity of the Shakespearean one-liner. With music, physical comedy, beautiful costumes (including a truly fabulous array of hats, I might add) and an Olivia who is nothing short of brilliant, this is a superb production proving that a comedy from 1602 really can - and deserves to - stand the test of time.