Theatre review: How the Other Half Loves

It's a cliché about farce that it relies heavily on characters running in and out of multiple doors, but most of Alan Ayckbourn's plays have premiered in the round. Maybe this is why he came up with his signature style of incredibly technically convoluted comedies that include conceits like time travel and multiple interlocking plays telling one big story. The latter, The Norman Conquests, was the first show to get the Old Vic specially reconfigured, and after quite a lengthy in-the-round season at the end of Matthew Warchus' tenure we get the playwright's return with How the Other Half Loves: This is the one whose high concept is multiple overlapping scenes, some taking place simultaneously, one 24 hours apart at two dinner parties - and in Phillip Breen's production, Rob Howell's design has the dinner tables literally overlap.

Theatre review: Churchill in Moscow

Howard Brenton's history plays have an eclectic scope that's previously seen him tackle everything from Ancient Greek philosophers to the Partition of India. He's also dealt with the life of Harold Macmillan, but for his latest play he goes for the British Prime Minister who must have been interpreted on stage and screen more than any other, as Roger Allam plays the title role in Churchill in Moscow (he plays Churchill, not Moscow.) Set in 1942, things look particularly dark for the Allies as the Nazis are making inroads into Russia and approaching Stalingrad. Meanwhile British forces have been depleted to the point that they'd be wiped out instantly if they attempted to invade Europe via the Channel - US troops will eventually supplement them, but they're not really feeling it just yet. Winston Churchill is on a secret diplomatic mission to Moscow to inform Joseph Stalin (Peter Forbes) of the bad news that D-day won't come until at least the next year.

Theatre review: Frank and Percy

From several years - on and off - of the violent teenage musical shenanigans of Heathers resident on its main stage, it's a major change of pace as Ben Weatherill's Frank and Percy comes to London via Windsor and Bath. The gentle romantic comedy has been well-received on those earlier runs but what made a London transfer almost inevitable was the star casting of the titular pair: Roger Allam is Frank, widowed a couple of years earlier, and with little left to comfort him in his retirement other than his spoilt dog. It's on one of their visits to Hampstead Heath that he meets fellow dog-walker Percy (Ian McKellen,) and they strike up some small talk (the play was partly inspired by the way dog-walkers during lockdown found that chatting to each other became a treasured social interaction.)

Radio review: Blithe Spirit

One of the first shows in my diary to get cancelled because of lockdown was the latest revival of Noël Coward's Blithe Spirit, but as with so many things the BBC comes to the rescue, with a 2008 radio adaptation by Bert Coules returning to the BBC Sounds app. Roger Allam plays Charles, the novelist who hires a local medium in order to copy her language and mannerisms for a fraud in his upcoming book; but Madame Arcati turns out to be the real thing, and after playing her favourite song in the room where she died, his first wife Elvira's (Zoë Waites) ghost materialises. Unfortunately for Charles, only he can see her, which causes much confusion with his second wife Ruth (Hermione Gulliford,) and soon a rivalry causes chaos in the house between the two wives, one of whom is dead, and possibly turning homicidal.

Theatre review: A Number

A Number premiered in 2002, a few years after the Dolly the Sheep story and with the possibility and ethics of human cloning still a subject of much discussion. The amount of times it’s been revived since is a testament to the fact that Caryl Churchill created something out of that story that far transcends topical controversy, finding an enduring human side that Polly Findlay’s production at the Bridge explicitly focuses on. This is the third production of the play I’ve seen, and the first not to cast a real-life father and son, although Roger Allam and Colin Morgan have worked together in ersatz father/son roles before. And despite the genetic material there’s something ersatz about the father/son relationships they play out in A Number as well – I told the people I went to the show with to go in knowing as little about it as possible, and would recommend that to anyone planning on seeing it; in which case save this review until after you’ve been as well, as it’s a hard play to write about without major spoilers.

Theatre review: Rutherford and Son

If it seems like Roger Allam has been building up to playing King Lear for a few years now then Rutherford and Son absolutely feels part of that progression. Although while there’s echoes of Lear in Githa Sowerby’s dictatorial patriarch, even more so he feels like a precursor to Bernarda Alba – trapping his children in dead-end lives for self-destructive reasons of his own – with a story that even suggests Mother Courage in terms of what happens to his legacy. Rutherford owns and runs the Tyneside glassworks founded by his father, which remains the principle employer in his small town. He commands fierce loyalty from his workers, but at home it’s only bullying and intimidation that’s made his children obey him all their lives. For the last few years the glassworks has been operating at a slight loss, and oldest son John (Sam Troughton) has returned after some time in London with a new wife, child, and a formula he believes could cut down production costs significantly and turn around the company’s fortunes.

Theatre review: Limehouse

In the last couple of years the Donald and Margot Warehouse has been increasingly staging new political plays, with the latest finding painfully topical relevance in events from 1981, when a breakaway group from Labour formed the Social Democratic Party. Steve Waters' Limehouse takes place over a long Sunday, after a party conference in which the Unions' influence overturned every centrist proposal, positioning Labour firmly at the far left. Already known as the Gang of Four for their vocal disagreement with the direction the party was taking, David Owen (Tom Goodman-Hill,) Bill Rodgers (Paul Chahidi,) Shirley Williams (Debra Gillett) and Roy Jenkins (Roger Allam) see this as the final straw that will make the party permanently unelectable. They usually meet at the more central home of one of the others, but today Owen insists they come to his house in Limehouse for a change of scenery.

Theatre review: The Moderate Soprano

A strong cast headed by Roger Allam and Future Dame Nancy Carroll struggles to make David Hare's latest play feel like the finished article. A former chemistry teacher at Eton, John Christie (Allam in an embarrassingly ill-fitting bald cap) was a 50-year-old virgin when he went to the opera and fell for The Moderate Soprano. A barrage of gifts began the wealthy eccentric's courtship of the much younger woman, and eventually convinced Audrey (Carroll) to marry him and settle in his country home in Sussex. Today the name Glyndebourne is synonymous with opera but in 1934 the idea of building a small opera house in the grounds was the latest of Christie's bizarre grand schemes, his plan for an annual season a thinly-disguised showcase for his wife's modest talents. A Wagner fan, Christie looked to Germany for his creatives, and with the rise of Hitler some big names had found themselves out of favour with the Nazi regime.

Theatre review: Seminar

The publicity image for Seminar shows Roger Allam throwing sheets of papers into the air, leading some people I know to be disappointed when more cast were announced, as they'd been hoping for two hours of Allam throwing paper around. Personally I was glad - after all, he needs someone to chuck the paper at. Of course, the throwing is (mostly) metaphorical, as Theresa Rebeck's play is about the ambitions, pretensions and easily bruised egos of aspiring writers. Allam plays Leonard, at one time a respected novelist, but nowadays better known as a talented and influential editor of other people's work. As a nice little earner on the side he holds exclusive writing courses, tearing into the efforts of the most promising new writers who can afford him - or go into debt to get him. Martin (Bryan Dick,) Douglas (Oliver Hembrough,) Izzy (Rebecca Grant) and Kate (Charity Wakefield,) whose vast flat they meet in, are in for the 10-week course.

Theatre review: The Tempest (Shakespeare's Globe)

This year's Globe season goes under the very vague banner of "Season of Plenty," which might as well be called "Stuff! We have lots of stuff!" But for the three large-scale Shakespeare productions at the heart of the season, there has been a bit more of a specific theme, with the three plays most overtly concerned with the supernatural taking the stage. A Midsummer Night's Dream and Macbeth will follow but first up it's The Tempest. The titular storm has been raised by spirits, to cause the shipwreck of the King of Naples and his party, on the way back from a wedding. Twelve years ago, they wronged Prospero, Duke of Milan, and usurped his throne. Now he's become a sorcerer who rules a deserted island, where his enemies wash up - and Prospero has a plan to regain his dukedom and unite the two royal families.