Theatre review: Brigadoon

Brigadoon! Aha! Take it now or leave it, now is all we get, nothing promised no regrets!

About 18 months after Drew McOnie was announced as Artistic Director of the Regents Park Open Air Theatre we get his first directing gig in the post, the sort of thing that gets seen as a statement of intent for his tenure. And what we get is Alan Jay Lerner (book and lyrics) and Frederick Loewe's (music) Brigadoon, which is certainly... a statement. On the 1st of May 1944, American airmen Tommy (Louis Gaunt) and Jeff (Cavan Clarke) crash in a part of Scotland so remote there's nothing on the map. But on this one day the place is far from desolate, as they encounter the bustling, suspiciously old-fashioned town of Brigadoon, where the people are mainly occupied with moving milk, beer and tartan cloth backwards and forwards, while preparing for a wedding that night. While Jeff gets pursued by the local maneater Meg (Nic Myers,) Tommy finds a more serious romantic interest.

Theatre review: Mary

Rona Munro's second James Plays trilogy has kicked off in Scotland (hopefully with a London run in its future) with James IV, but before that there's another entry in her cycle of plays about the Stuart rulers. Although Mary feels like a bonus feature rather than the next chapter, and not just because it's premiering out of chronological order: Instead of the bloody epics of the main sequence, Mary is a two-scene discussion with just three characters, and the titular Queen of Scots isn't even one of them. There is a James though, but he's not King: James Melville (Douglas Henshall) is a Lord loyal to the Queen at a time when much of the Scottish aristocracy seems to be plotting against her. We open at Linlithgow Palace in 1567, shortly after the murder of Mary's second husband Lord Darnley, father of James VI and I. The scheming Lord Bothwell is the likely culprit, but gossip also puts Mary herself under suspicion.

Theatre review: My Name is Lucy Barton

Ladies and gentlemen, LAURA MOTHERFUCKING LINNEY.

I’m still not sure any more review is actually necessary for My Name is Lucy Barton, Elizabeth Strout’s short novel adapted into a stage monologue by Rona Munro and directed by Richard Eyre at the Bridge Theatre. Bob Crowley’s simple set is a hospital room, where writer Lucy spent nine weeks in the early eighties after an appendectomy went wrong. She looks back on that time now, specifically the day that her estranged mother suddenly appeared at the foot of her bed – Lucy’s husband had asked her to come and paid for the air fare, otherwise she wouldn’t have visited. It sends her on a disjointed recollection of her childhood in rural Illinois, where the family were so poor she would stay late at school because it was better-heated than their house. The effect of this extra study time was a scholarship to university, where she met her future husband and moved with him to New York.

Theatre review: James III - The True Mirror

Another change of pace from writer Rona Munro and director Laurie Sansom as we reach the end of the epic trilogy The James Plays with James III - The True Mirror. And if the first two Scottish kings to bear that name were complex characters whose actions weren't always easy to sympathise with, Jamie Sives' James III turns out to be an out-and-out dick. Flamboyant, bisexual, and preferring the grand gesture over the actual business of ruling, he's fond of squandering the country's meagre budget. A cathedral is the legacy he speaks of most, but in the meantime he'll settle for a choir to follow him around everywhere commentating on his actions. His relationships with courtiers Cochrane (Andrew Rothney) and Ramsay (Mark Rowley) as well as laundry girl Daisy¹ (Fiona Wood) are barely disguised from the court, least of all the queen. On the surface, his court is a place of safety and pleasure.

Theatre review: James II - Day of the Innocents

Rona Munro's James Plays are a trilogy, but each is meant not only to stand alone, but also to have its own distinct flavour. So it is with James II - Day of the Innocents, although arguably it's got two of them: After the epic action of James I we have something more intimate, centred on friendship and family, but before we can have that the hero, and the audience, have to face horrors. James I having been murdered, James II (Andrew Rothney) becomes king at the age of six. Too young to rule, he is a pawn in the wealthy earls' power struggles, even to the point of being kidnapped a couple of times as leverage. Livingston (Gordon Kennedy) finally gets the upper hand thanks to the infamous Black Dinner¹, in which the Earl of Douglas and his young brother are invited to dine with the king and, in violation of all the laws of hospitality, captured and killed. A childhood of bloodshed done in his name has left James with nightmares that persist well into his teens.

Theatre review: James I - The Key Will Keep The Lock

Laurie Sansom inaugurates his time in charge of the National Theatre of Scotland in epically ambitious fashion, in a co-production with the other National Theatre, Rona Munro's The James Plays. This trilogy of new history plays - a genre that's definitely back in fashion at the moment - looks at the first three King Jameses of Scotland, beginning right in the middle of the period Shakespeare looked at in his own English histories. At the start of James I - The Key Will Keep The Lock, Henry V (Jamie Sives) rules England, but not for much longer: The dysentery that would kill him is taking hold. In an attempt to leave one less source of conflict for his infant son to rule over, Henry frees his prisoner, King James of Scotland, who's been held hostage in England for 18 years. In return for being returned to his throne, James (James McArdle) is expected to pay a hefty ransom, which Henry hopes will leave the country too poor to wander South of the border; but James has other ideas.

Theatre review: Donny's Brain

Donny (Ryan Early) is in hospital with brain damage following a car crash. Neurologist Al (Nikesh Patel) is studying him, helping him piece together the parts of his memory that he's lost, and he seems to be making some slow progress. But what would really help is if his partner Emma (Emily Joyce) and her daughter Flea (Skye Lourie) were to visit him, and he can't understand why they haven't. Actually he and Emma had a messy break-up two years ago, and Donny's memory has reset to three years ago when he still loved her - erasing in the process his memories of new wife Trish (Siobhan Hewlett.) Hampstead Theatre's Downstairs season returns with Donny's Brain, Rona Munro's bittersweet play about what might happen if someone really did get the opportunity to turn back the clock on a failed relationship. As the initially angry Emma, who hasn't seen Donny since the break-up, gets a glimpse of the man who was so much in love with her, she also starts to wonder if they could go back to how things were.