Tag Archives: harvey

The Mix: a bowl full of London theatre buzz

Welcome to a new monthly feature on loureviews.blog – this is The Mix, where I’ll pull out some items of London theatre news, big and small, which have caught my eye.

Bar and box office of Above The Stag
Bar and box office of Above The Stag

A is for Above the Stag. This sparkling and vibrant venue, once found behind the Victoria Palace Theatre, is now in residence in Vauxhall, and is fast building its reputation as one of the finest LGBT+ theatres. In a main house and a studio, it presents a variety of shows – Grindr the Opera, and [title of show]: a musical about musicals, are next in line. To find out more, to sign up to the newsletter, or to book tickets to this valuable space, go to http://www.abovethestag.com/vxl/.

Auditorium, Bread and Roses Theatre
Auditorium, Bread and Roses Theatre

B is for Bread and Roses. This innovative and award-winning pub theatre in Clapham High Street recently showcased The Vagina Monologues and seems particularly supportive of new writers, women writers, and fringe comedy. As a relatively new venue the space is actively seeking donations and support to allow it to grow – for more, and for a taste of its upcoming productions, including Adam Gwan’s new musical Ordinary Days, which runs from 5th-16th March, go to https://www.breadandrosestheatre.co.uk/.

A Chichester Festival transfer, Caroline or Change
A Chichester Festival transfer, Caroline or Change

C is for Chichester. The festival, while taking place some miles outside the capital, has transferred a number of hit shows in over the past few years including Fiddler on the Roof, Caroline or Change, Half a Sixpence, King Lear, and Guys and Dolls. Although we are still waiting for news of the mooted transfer of the Noel Gay/Stephen Fry musical Me and My Girl, keep your eyes on this year’s big production of Rodgers and Hammerstein’s classic Oklahoma, which may be London-bound in due course.

Pinter Seven, which closes this month
Pinter Seven, which closes this month

D is for Departures. All good things must come to an end, and we say goodbye to several shows this month, including the English National Opera’s La Boheme on the 22nd, Pinter Seven at the Harold Pinter Theatre on the 23rd, True West at the Vaudeville Theatre on the 23rd, Nine Night at the Trafalgar Studios on the 23rd, the glorious Songs for Nobodies at the Ambassadors on the 23rd, and The Wider Earth at the Natural History Museum on the 24th.

Th' Importance of Bein' Earnest at th' Drayton Arms
Th’ Importance of Bein’ Earnest at th’ Drayton Arms

E is for Earnest. As an honorary Yorkshire girl, having lived there for a decade, I’m sad to miss out on Th’ Importance of Bein’ Earnest at the Drayton Arms Theatre on Old Brompton Road. It runs to the 23rd February and promises “Oscar Wilde meets Shameless” on a Yorkshire council estate, with no afternoon tea or starched collars in sight. For more information, go to https://www.thedraytonarmstheatre.co.uk/the-importance-of-being-earnest.

Bernadette Peters, who appears at the Lyceum this summer
Bernadette Peters, who appears at the Lyceum this summer

F is for Fabulous. Three divas are coming to town to perform their shows, and I’m going to put them all together here. On 18th March, Liza Pullman, formerly one third of Fascinating Aida, sings Streisand at the Lyric Theatre, following a run at The Other Palace. You can purchase tickets at https://www.nimaxtheatres.com/shows/liza-pulman-sings-streisand/ and “give yourself reasons to smile this Spring”.

Patti LuPone, recently seen as Joanne in the reimagined Company, is in conversation at the Theatre Royal Haymarket on 10th March, launching a new series of events entitled Sunday Encounters. More at https://trh.co.uk/whatson/patti-lupone-in-conversation-with-edward-seckerson/.

Finally, the legendary Tony award-winner Bernadette Peters is back in town, at the Lyceum Theatre in Covent Garden, and her show takes place on the 10th June, as part of a UK tour. I’ll be covering this event in the summer, and if you want to be there too, you can find more details and book tickets at https://www.atgtickets.com/shows/bernadette-peters/lyceum-theatre/.

Adjoa Andoh in Richard II
Adjoa Andoh in Richard II

G is for the Globe, specifically the Sam Wanamaker Playhouse, where a new production of Richard II opens on the 22nd February. Adjoa Andoh and Lynette Linton direct the first ever company of women of colour in a Shakespeare play on a major UK stage, in a production which has the Windrush scandal and the Brexit crisis very much in mind. This sounds as if it will be an important production of a play which does lend itself to reinterpretation. For more information, go to https://www.shakespearesglobe.com/whats-on-2018/richard-ii.

John Malkovich in Bitter Wheat
John Malkovich in Bitter Wheat

H is for Harvey. There’s no getting over the fact that London will play host to two plays using the allegations against film producer Harvey Weinstein as inspiration this year. Currently running at the Playground Theatre on Latimer Road, Harvey is the brainchild (literally, given it is set in Weinstein’s head) of playwright-performer Steven Berkoff, who shows no signs of mellowing in his ninth decade. More information and booking at https://theplaygroundtheatre.london/events/harvey/.  Later in the year John Malkovich returns to the West End stage for the first time in more than thirty years in David Mamet’s Bitter Wheat, which concerns the character of one “Barney Fein”. This will run at the Garrick Theatre from 7th June to 14th September. Find out more at https://www.nimaxtheatres.com/shows/bitter-wheat/.

Roger Allam in Rutherford and Son
Roger Allam in Rutherford and Son

I is for Inspiration, or lack of in this case, as not one, not two, but three productions of Githa Sowerbury’s 1912 Rutherford and Son are in production during 2019. One is up in Sheffield and currently running, one has just closed at Ealing’s Questors Theatre, and one is due in the National Theatre’s 2019-2020 season (starring Roger Allam). It’s a modern classic about generational strife in a family industry, which I last saw at the Oldham Coliseum in 1987. I’ll be at the National’s version in May – more information on that production at https://www.nationaltheatre.org.uk/shows/rutherford-and-son.

Publicity for @Juliet
Publicity for @Juliet

J is for &Juliet. There’s been a lot of publicity for this musical, which comes into London towards the end of the year. Everyone knows the tragic story of Romeo and Juliet, but what if Juliet survived and was able to tell her own side of the tale? In the spirit of Six, this show will utilise pop music – this time the work of Max Martin, who wrote for Britney and others – to craft and “irreverent and fun-loving” show, and it opens at the Shaftesbury Theatre on 2nd November. If you’re up North, you can catch its run in Manchester from 10th September. Find out more about the London run at http://www.shaftesburytheatre.com/shows/juliet-2/.

The King's Head Pub & Theatre
The King’s Head Pub & Theatre

K is for the King’s Head. This theatre pub in Islington goes from strength to strength, and two new musicals running in late May-early June look fun, Trump: the Musical and Boris: the Musical. If parodies of current politics are not your cup of tea, you can catch the classics, too, as there are some short pieces by Tennessee Williams running in late July and through August. For more information see https://www.kingsheadtheatre.com/.

Lipstick: A Fairy Tale of Iran
Lipstick: A Fairy Tale of Iran

L is for Lipstick. Lipstick: a Fairy Tale of Iran runs at the Omnibus Theatre, Clapham Common, from 26th February to 24th March, as part of the ’96 Festival, celebrating queerness and theatre. Part theatre, part drag cabaret, this show fuses storytelling, vaudeville, theatre, lip-synch and “boylesque”. Nathan Riley plays Mark, Siobhan O’Kelly plays Orla. This story of “rage, redemption and weaponised whimsy” promises to be a very special event. For more, see https://www.omnibus-clapham.org/lipstick/.

A German Life, opening in April at the Bridge Theatre
A German Life, opening in April at the Bridge Theatre

M is for Maggie Smith. She’s returning to the stage for the first time in twelve years in a one-woman play, at the Bridge Theatre, this April. The new play is A German Life, based on the real life testimony of Brunhilde Pomsel, who once worked for Joseph Goebbels. If you are under 25 and a member of the “Young Bridge” scheme there are some tickets available for £15. More information at https://bridgetheatre.co.uk/whats-on/a-german-life/.

Agnes Colander, running at Jermyn Street Theatre until the 16th March
Agnes Colander, running at Jermyn Street Theatre until the 16th March

N is for Nunn, Trevor. Following an acclaimed run at the Ustinov Studio at the Theatre Royal, Bath, Nunn’s new production of Harvey Granville Barker’s recently rediscovered play Agnes Colander has just opened at the Jermyn Street Theatre (near Piccadilly Circus) and runs until the 16th March. For more details see https://www.jermynstreettheatre.co.uk/show/agnes-colander/.

Richmond’s Orange Tree Theatre

O is for the Orange Tree Theatre. Richmond’s smallest theatre has a mix of old and new productions, and is currently showcasing Rose Lewinstein’s new play Cougar (which I will report on later in the week), with Terence Rattigan’s While the Sun Shines running through June and July. The Orange Tree could always use donations and support if you are unable to attend performances. Find out more about the theatre at https://www.orangetreetheatre.co.uk/whats-on.

Jonathan Hyde and Ben Allen in Gently Down The Stream
Jonathan Hyde and Ben Allen in Gently Down The Stream

P is for the Park Theatre, in Finsbury Park. Martin Sherman’s new play Gently Down The Stream has its press night tonight and runs through to the 16th March. I’ll be going in early March, and am very much looking forward to this production, directed by Sean Mathias and starring Jonathan Hyde, Ben Allen and Harry Lawtey. The play follows “the remarkably moving and brilliantly funny love story of Beau, an older American pianist living in London, and Rufus, an eccentric young lawyer, celebrating those who led the way for equality, marriage and the right to dream”. More details at https://www.parktheatre.co.uk/whats-on/gently-down-the-stream.

The fabulous ladies of Six - The Musical
The fabulous ladies of Six – The Musical

Q is for Queens. Six: the Musical continues its run at the Arts Theatre until January 2020. If you haven’t been yet, and you need something to whet your appetite, this article from BBC Newsbeat might get you in the mood. You can book tickets for Six at https://www.sixthemusical.com/ to see “Divorced – Beheaded – Live in Concert!”.

Publicity for Joseph at the London Palladium
Publicity for Joseph at the London Palladium

R is for Revamp. Does the world need yet another version of the Lloyd Webber-Rice pop musical Joseph and the Amazing Technicolor Dreamcoat? You be the judge when a brand new production lands at the London Palladium in June. More here https://www.londontheatre.co.uk/show/joseph-and-the-amazing-technicolor-dreamcoat.

Sunday Night Socials at the Union Theatre
Sunday Night Socials at the Union Theatre

S is for Sunday Night Socials. A new series of monthly concerts at the Union Theatre, near Southwark, these are being advertised as “very informal and relaxed” and will feature a whole host of West End performers over the next three months. For more information – and for details of main productions Can-Can and Othello – see http://www.uniontheatre.biz/whats_on.html.

Dear Evan Hansen, coming to the Noel Coward Theatre this year
Dear Evan Hansen, coming to the Noel Coward Theatre this year

T is for Transfers. Come from Away at the Phoenix Theatre has its press night tonight, Waitress at the Adelphi Theatre on the 6th March. These transfers from old Broadway will soon be joined by a third show, Dear Evan Hansen, at the Noel Coward Theatre, for which early booking will be open at the end of this month. I visited Come from Away earlier this month and see Waitress next week.

The Vaults Festival. Via The Reviews Hub.
The Vaults Festival. Via The Reviews Hub.

U is for Underground, specifically The Vaults, beneath Waterloo Station. The Vaults Festival is currently in full swing until the 17th March, with a diverse programme of theatre, comedy, film, and late shows. You can find out more about the Festival at https://vaultfestival.com/.

Glenda Jackson in The Old Vic's #MORELOOS campaign
Glenda Jackson in The Old Vic’s #MORELOOS campaign

V is for Vic, Old. The grand old lady of The Cut is currently undergoing a refit which will improve the foyer and more importantly, the loos! In the meantime, if you’re visiting, there’s portakabins instead. I just have to share this delightful video from their Twitter account – https://twitter.com/oldvictheatre/status/1063045610570506240 – #MORELOOS!!!!

Official West End Theatre Guide image
Official West End Theatre Guide image

W is for the West End, and the Official West End Theatre Guide for the huge, the overpriced, and the spectacular shows on in the big houses – https://guides.ticketmaster.co.uk/west-end-theatre/. By all means support as and if you can, but remember there are literally thousands of places and performances in our metropolis.

Dock X at Surrey Quays

X is for is Dock X, at Surrey Quays. If you’re creating a special and unique event, this new multi-use space might be just the ticket. The industrial space lends itself to brand activations, car launches, conferences, award dinners, cultural pop ups, experiential and team building events across its vast 34,100 sq. ft reach. Perfect for creatives! More at https://venuelab.co.uk/venues/dock-x-london/.

Exterior of the Unicorn Theatre
Exterior of the Unicorn Theatre

Y is for Youth. The Unicorn Theatre, on Tooley Street, London Bridge, is dedicated to developing work for young audiences. In 70 years of children’s theatre, it also has a vibrant Schools’ Programme, workshops, and this week is running some special events for half term. Find out more at https://www.unicorntheatre.com/whatson.

Lemurs at Hanwell Zoo
Lemurs at Hanwell Zoo

Z is for Zoo. Watching and learning about animals in a caring and natural habitat is a form of theatre, whether you are in Regent’s Park, Battersea or my local little zoo at Hanwell.

If you’d like your venue, event or production to be included in next month’s round-up, let me know by emailing louise@loureviews.blog or contacting me on Twitter at @loureviewsblog.

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Harvey (Richmond Theatre – now in the West End)

The 1950 film of ‘Harvey’, starring James Stewart, and directed by Henry Koster, is certainly a hard act to follow.  I’d seen the play (by Mary Chase) done by an amateur theatre group before, and found it entertaining.  This is the first professional production I had seen, and I wasn’t sure what to expect.

Yes, it takes a while to warm up and get going.  Maureen Lipman’s Veta has an American accent which wanders all over the place but then settles into something far less painful, but she is excellent as the fussy woman with aspirations to have a house-full of guests who are not scared away by her odd brother and his friend.

That friend being the Harvey of the title, a large white rabbit, six feet three inches tall, who appeared to our hero, Elwood P Dowd, one evening, just leaning against a lamp-post.  He spoke to Elwood by name and commented on the intoxication of his friend, who had just been shepherded away by taxi.  And as Elwood tells us, later, he thought nothing of it because ‘when you’ve lived in a town as long as I’ve lived in this one, you get used to the fact that everybody knows your name.’

James Dreyfus, who was so good on television in ‘The Thin Blue Line’ and ‘Gimme, Gimme, Gimme’, is a fine Elwood, a little camp, a little fey, and nothing like Stewart.  That’s all to the good.  He makes the insane normal and the psychotic likeable, while all the normal people around him seem to be strange.

The thing about ‘Harvey’ as a play is that it has some great lines, whether it is the one about the ‘stranger in the bathtub’, or ‘For years I was smart. I recommend pleasant. You may quote me’.  The characters are well-drawn, if a little ridiculous, and if Elwood and his friend bring the doctor and nurse together, or the burly orderly and the niece, then that’s to the good.

In Lindsay Posner’s new production, there is superb and clever set design by Peter McKintosh, working largely on a revolve, while most of the lines and passages we know so well remain.  My particular favourites are the little speech by the taxi driver (here played by Linal Haft, who I recognised immediately from those 1980s BT ads where he played the son of ‘Beattie’, played by … Maureen Lipman), and the description by Elwood of how he gains friends in drinking places.

In fact I will repeat that lovely passage right here:  ‘Harvey and I sit in the bars… have a drink or two… play the juke box. And soon the faces of all the other people they turn toward mine and they smile. And they’re saying, “We don’t know your name, mister, but you’re a very nice fella.” Harvey and I warm ourselves in all these golden moments. We’ve entered as strangers – soon we have friends. And they come over… and they sit with us… and they drink with us… and they talk to us. They tell about the big terrible things they’ve done and the big wonderful things they’ll do. Their hopes, and their regrets, and their loves, and their hates. All very large, because nobody ever brings anything small into a bar. And then I introduce them to Harvey… and he’s bigger and grander than anything they offer me. And when they leave, they leave impressed. The same people seldom come back; but that’s envy, my dear’.

There’s an hilarious bit from David Bamber as Dr Chumley, who starts the day hiding in his room and ends it pub-crawling with a brand-new friend who makes him yen for cold beer and a girl who never speaks.  And, curiously, this comedy, which started so gingerly, becomes something rather more than fun.  It becomes rather moving in its finale.  And that is its gift, and Harvey’s.

‘Harvey’ is now on at the Theatre Royal Haymarket.  I strongly recommend it.


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