Theatre review: Machinal

Richard Jones' production of Machinal was originally seen at the Theatre Royal Bath, something that's immediately apparent as Hyemi Shin's set clearly originates somewhere much smaller than the Old Vic: The sickly yellow wedge is very appropriate for conveying the claustrophobia of the story, a bit less ideal for the sightlines as it gets lost somewhere in the middle of the huge darkened stage, squeezed behind a pillar from where we were sitting*. Sophie Treadwell's 1928 play is considered a masterpiece of expressionism, something that's referenced in particular in the opening scenes as a young woman (Rosie Sheehy) travels on a packed New York subway train to her office, where her coworkers fuss and gossip about her being late. Adam Silverman's lighting throws their shadows onto the back walls to loom ominously over her.

Theatre review: Endgame / Rough for Theatre II

A fairly quick review, I think, for the latest star vehicle at the Old Vic: Regular readers of this blog may both recall that I finally called time on Samuel Beckett a few years ago, having decided that I'd given him more than enough chances, and that no redeeming feature had ever been enough to make up for my dislike of his work. But my mum's been a huge Alan Cumming fan since reading his memoirs, so a chance to see a rare London stage appearance from him made a good Christmas present; plus I know people who were coming all the way from America to see Daniel Radcliffe, so Richard Jones' double bill got added to my calendar. It opens with the short play Rough for Theatre II, in which C (Jackson Milner) is a silhouette standing on the sill of the window he's about to jump out of. A (Radcliffe) and B (Cumming) are a pair of bureaucrats - possibly in C's own mind - going through paperwork full of evidence that will determine whether or not he'll go through with it.

Theatre review: The Twilight Zone

There is a fifth dimension, beyond that which is known to man. It is a dimension as vast as space and as timeless as infinity. It is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man's fears and the summit of his knowledge. This is the dimension of imagination. It’s quite camp there, actually.

There’s definitely something that feels seasonal about the Almeida’s latest show, although it’s hard to put my finger on quite why; maybe it’s not Christmassy as such but there’s something apt about cold days and long nights welcoming The Twilight Zone. Anne Washburn’s is the first stage adaptation of Rod Serling’s TV series – the 1960s original which Serling created, narrated and wrote most of the episodes of, rather than either of the revivals. In Richard Jones’ production John Marquez plays a version of Serling as well as, like the rest of the 10-strong cast, numerous other roles in a selection of stories from the original series that have been thrown together into a pleasingly disorienting show. Prior to the show opening the Almeida were being secretive about which episodes in particular were being adapted, so if you want to go in keeping that a surprise consider this a SPOILER ALERT about which stories go into the mix.

Theatre review: Once in a Lifetime

It's fair to say my past experience with director Richard Jones' work hasn't been stellar; at least I didn't leave his last three shows at the interval, but that is partly down to the fact that they didn't have intervals. I've liked a couple of his shows though so went along to his return to the Young Vic, and though it's lacking in some crucial ways at least I wasn't tempted to take an early bath. Once in a Lifetime is a product of the ten-year playwrighting partnership of Moss Hart and George S. Kaufman, who had numerous Broadway hits, in a version restructured for 12 actors by Hart's son Christopher. (Not that 12 is a tiny cast, but it seems as if the original required so many bodies it became prohibitively expensive and nobody wanted to revive it.) It's obvious why extravagance might have been on the playwrights' agenda though as their subject is Hollywood, and the particular excitement after the first talking picture was released in 1927.

Theatre review: The Hairy Ape

After a year or so in the round, the Old Vic has returned to its traditional proscenium arch configuration, but in every other respect the second show in the season continues new boss Matthew Warchus' efforts to distance himself from the heritage style of his predecessor's tenure. This time Warchus has looked down the road to the Young Vic for one of its regular artists - one I've had trouble warming to in the past. Director Richard Jones brings his cartoon-like style to Eugene O'Neill, with Bertie Carvel bulking up to create another new look as The Hairy Ape. Carvel plays Yank, the de facto leader of a team of workers stoking the fires below decks on a cruise ship.They sweat and get filthy in the dark to keep the engine going while above them the wealthy passengers enjoy the view, rarely giving them a thought.

Theatre review: The Trial

In the past I've left a Richard Jones production at the Young Vic at the interval, but for his new show he's found a cunning way to prevent that: The Trial doesn't have an interval. Nick Gill adapts Franz Kafka's surreal nightmare of bureaucracy in which, after a drunken night out, Josef K (Rory Kinnear) wakes up on the morning of his birthday to find a group of officials at his flat - at least he assumes they're officials, they have no documentation to show him. But they do tell him he has to prepare to go on trial, although neither he nor the court must know what he's being accused of. Over the next year he is required to attend hearings at unspecified times and places, complete endless paperwork and make deals with shady bureaucrats. Initially dismissing the accusations as a joke, he becomes increasingly paranoid as everyone he meets seems to know about the trial and take it very seriously.

Theatre review: Public Enemy

The Young Vic's reinvention of classic texts continues, and after a big hit with A Doll's House last year they turn to Ibsen again. This time though it's the team behind Government Inspector tackling the play, and as that was one of the rare shows I've left at the interval (and I wasn't even the only theatre blogger to do so) I approached Public Enemy with a bit of trepidation. Miriam Buether has once again lent a psychedelic edge to the design, fitting in with the 1970s feel director Richard Jones brings to David Harrower's translation. It's another of the wide, shallow stages Buether favours at the Young Vic, and it's not great for sightlines if you're at the front and particularly the edge of a row like we were - cricked necks are to be had. The general update from the 1880s to the 1970s works, though, and takes Ibsen's characters out of the familiar setting.