theatre - showing at a stage near you

A Night In November
Can football change the world? The question posed in Marie Jones's 1995 monologue seems faintly ridiculous, yet her story of a Belfast Protestant dole clerk who discovers the spirit of a unifying Irish nationalism on the terraces lands a real theatrical punch. The metaphor stems from the reality of a World Cup qualifying game between the Republic and Northern Ireland in 1993. The result might have been a draw, but the winning solo turn of Patrick Kielty, the stand-up comedian and chat show host, ensures that nobody loses. The show, even if politically dated, remains short, sharp and funny.
Trafalgar Studios, Whitehall, SW1,
0870 060 6632,
theambassadors.com
Kebab

How do the EU's most recent entrants survive in the brave new world of opportunity? Romanian playwright Gianina Carbunariu focuses on a fictional trio of fellow countrymen fetching up in Dublin, and paints a pretty sordid and depressing picture of a low-level webcam porn operation. Bogdan (Sam Crane) is a pimply art student who falls in with kebab shop worker Madalina (Matti Houghton) and her boyfriend (Laurence Spellman). Then she skewers the arrangement by becoming pregnant. Orla O'Loughlin's brutal and brilliantly acted studio production is peppery-poignant in its study of desperation, displacement and a warped sense of national identity.
Royal Court,
Sloane Square, SW1,
020 7565 5000,
royalcourttheatre.com
Rent Remixed
Jonathan Larson's 1996 off-Broadway rock musical Rent,
a transplant of Puccini's La Boheme to New York, was the Hair for an
Aids-affected generation. Unfortunately, all the
specificity of its East Village tribe of hobos,
strippers and wannabe artistes struggling through an
unfriendly Christmas period has been junked in a show that
is not so much remixed as thoroughly detoxed. There
are minor compensations, however, and they all come under the
heading of Denise van Outen, who shakes everything
she's got in a turn that should be categorised as
"deliberately designed to provoke and inflame".
Duke of York's,
St Martin's Lane, WC2,
0870 060 6623,
myspace/rentremixed
Alex

Alex is a cartoon character in the Daily Telegraph's
business section, an egregious investment banker with
a failing marriage, blinkered cultural outlook and
propensity for getting into scrapes. The drawings of
Charles Peattie and words of Russell Taylor have been
ingeniously reshaped by director Phelim McDermott
into a 75-minute one-man show for super-smooth Robert
Bathurst (the creepy lawyer in Cold Feet) and a stage
full of video designs, animated cartoons and
cross-media sight gags. Bathurst's Alex is
wonderfully immune to ordinary standards of decency
and sensitivity, a parody of pigginess among the City
boys.
Arts Theatre,
Great Newport Street,
WC2, 0844 847
1608, artstheatre.com
The Blacks Remixed
Jean Genet is best known these days through Edmund White's magnificent biography, but this scrambled 'remix' of his great 1959 play-within-a-play hints at the power and poetry of his best writing. A group of black actors (here, rappers) perform a murderous ritual for the delectation of a masked tribunal and the embarrassment of a white audience (except they're mostly black at Stratford). Genet's target of French colonialism has been swapped for British imperialism, with the Queen played by whitened-up Tameka Empson as a riotous antidote to Helen Mirren. There are some good beats from DJ Excalibah, but the show's a bit sloppy.
Theatre Royal, Stratford East, Gerry Raffles Square, E15, 020 8534 0310, stratfordeast.com
The Country Wife
William Wycherley's Restoration comedy marks a new West End initiative and couldn't be bolder, even if it could be funnier. There's a bit too much screeching as its anti-hero, the aptly named Horner, played with swaggering assurance by Toby Stephens, carves a swathe through the old wives and young moppets of the town by pretending he's impotent. Once cornered, they're Hornered, so to speak. The baroque splendours of London's most beautiful theatre are further decorated with the frenetic splutterings of David Haig's jealous Pinchwife and the arch randiness of Patricia Hodge's delicious Lady Fidget. A masterpiece, with knobs on.
Theatre Royal, Haymarket, SW1,
0870 901 3356,
trh.co.uk

Macbeth
Here is the ultimate political thriller, with Patrick Stewart trampling his nation under foot and writhing in the stews of his own poetic imagination. Rupert Goold's stunning production is set in a white-tiled, below-ground abbatoir, where the witches dispense murderous hospitality and guests, ghosts and enemies arrive in a creaking old lift. Eastern Europe has come to Dunsinane with a vengeance, and for once the conceptual override proves irresistible. Stewart is as shockingly ruthless as Stalin or Ceaucescu, matched by a great trophy wife in Kate Fleetwood's Lady M. Film projections and Adam Cork's soundtrack are ominously atmospheric.
Gielgud Theatre, Shaftesbury Avenue,
W1, 0870 950 0915,
delfontmackintosh.co.uk

Swimming With Sharks
A cynical play about nasty Hollywood producers? Quelle surprise, darling. I mean, who's nice in the film business, apart from Richard Attenborough? The brilliance of George Huang's 1994 movie - clunkily adapted by Michael Lesslie - lies in its pincer movement narrative, which starts with the corpse and works both backwards and forwards (almost simultaneously) through a Hollywood nightmare. The play reasserts chronological decorum while sacrificing psychological mind games. Christian Slater is a pale shadow of Kevin Spacey as Buddy Ackerman, the abusive executive from hell. Where Spacey was psychotically sinister, Slater is merely a crosspatch rudesby in Wilson Milam's fast-moving, sleekly gothic production.
Vaudeville Theatre, Strand, WC2,
0870 890 0511,
swimmingwithsharks.co.uk
War Horse

Following previous years' His Dark Materials and Coram Boy, the
National has rustled up another corking seasonal show
with some of the most extraordinary equine sculptures
you'll ever see: huge structures of corsets for
horses, inhabited by actors and swishing great
curtain-like manes. The focal point is Joey, a
Dorset farm horse enlisted into the army in the First
World War; lost in No Man's Land he's
destined for destruction, before being rescued by the boy from back
home. Michael Morpurgo's novel has been transformed by
directors Marianne Elliott and Tom Morris into an
unforgettable spectacular. Neigh-sayers will be
horsewhipped.
National Theatre,
South Bank, SE1,
020 7452 3000, nationaltheatre.org
Once We Were Mothers

After its compelling seasons of Edwardian and suffragist dramas, the Orange Tree comes up to date with a piece by Lisa Evans about the challenges and tribulations of motherhood in the last century. Evans interleaves the stories of a contemporary Richmond mother of a Down's Syndrome girl with those of a bereaved mother in denial in 1950s Yorkshire (she says her daughter's been 'missing' for four years) and a persecuted Muslim woman in 1990s war-torn former Yugoslavia. It doesn't quite gel, but it's neatly done and chirpily well acted. Ends November 10.
Orange Tree, Clarence Street, Richmond,
020 8940 3633, orangetreetheatre.co.uk
Forbidden

Forbidden at Blackpool's Pleasure Beach is a Folies Bergere-style cabaret, an eyeball feast that invokes traditional floor shows with a modern circus twist. The stage is full of pink lingerie, Russian musclemen and gymnasts; the set, meanwhile, is like a big red boudoir with mirrors, laser lights and velvet swags. As the evening progresses it becomes a Balinese temple, the brothel scene in Sweet Charity and a Spanish sevillana with much foot-stomping and pouting. But I'm not sure if a family entertainment is any place for a devil batman to disport himself with a crowd of thigh-flashing girls in baby doll nightwear. One for the dads. Ends November 4.
Pleasure Beach,
Blackpool,
0870 444 5588,
pleasurebeach.com
Sweet William
There have been many one-man Shakespeare shows
down the years, from John Gielgud's to Steven Berkoff's.
The latest comes from highly qualified Bard-boy
Michael Pennington who, in a 40-year career, has
played almost all the Shakespeare kings as well as
Hamlet, Malvolio, Timon of Athens and Leontes. He's
also written several practical Shakespeare books,
directed many productions and performed with the RSC,
the National, his own English Shakespeare Company -
and by special appointment to Buckingham Palace and
HM Prisons. He now brings his acclaimed solo turn
to the Arcola for three weeks from November 19.
Arcola Theatre,
Arcola Street, E8,
020 7503 1646,
arcolatheatre.com

Duck!
This year's Christmas play at the enchanting new
Unicorn Theatre by Tower Bridge is a retelling
of the Hans Christian Andersen story from playwright Philip Osment. Set on Hampstead
Heath, it aims to
amuse the over-sevens with a bizarre collection of
characters (including a pair of streetwise geese - too
cool for the dinner table?) in a world of unkindness,
cruelty and selfishness. Poor little Ugly has had it
with the jokes at school and on the pond, so he sets
off looking for more congenial fellowship just as
winter approaches. Previews from December 1.
Unicorn Theatre,
Tooley Street, SE1,
020 7645 05600,
unicorntheatre.com

Last Easter
London audiences were unmoved by Edward Albee's recent
brilliant play about terminal cancer, even with Maggie
Smith in it, so it will be interesting to see if
playwright Bryony Lavery can please a crowd
(admittedly a small one in the Rep's studio) with a
play on the same subject. Her heroine is going to
Lourdes for a miracle cure, courtesy of a religion she
doesn't believe in, and finds her journey fuelled with
"laughter, singing, a drag act and several bottles of
good wine". Lavery's on a roll, and she has a hot
director too in Douglas Hodge.
Birmingham Rep, Centenary Square,
Broad Street,
Birmingham,
0121 236 4455,
birmingham-rep.co.uk

Reviews by Michael Coveney
FIRST POSTED OCTOBER 25, 2007













