Dr Semmelweis – Harold Pinter Theatre – Saturday 8th July 2023

(Rated 7/5) The supremely superb actor Sir Mark Rylance, not only plays revolutionary Hungarian scientist and doctor Ignaz Semmelweis in this production, but also imagined and wrote this play about him, having read Celine’s surrealist novel, exploring Semmelweis’s life and work. Mark Rylance has assembled a wonderfully rich team of actors, musicians, dancers, designers and other artistic talents to convey Semmelweis’ story, as though from within his own mind and without too, using his wife Maria Semmelweis – played by Amanda Wilkin – to narrate his story from an external – yet also of course emotionally connected – point of view, along with those other performers to illustrate the workings of his mind scientifically, creatively and psychologically. We are introduced to Vienna hospital and the key ‘issue’ in the play by means of young expectant mother, Lisa Elstein – played by dancer, (though as is important to both this production and in addressing Semmelweis’ medical discovery, she, like everyone else is a holistic performer in a piece addressing holistic issues and not just microscopic particles), Chrissy Brooke. As she arrives, she is clearly in labour and asking to go to the midwives’ rather than the doctors’ ward, as a friend has told her there is more risk to her health and potentially life, in the doctors’ ward. This plants a seed into the audience’s and Semmelweis’ mind – again holistic as it is really as though we are all inside his head experiencing this whole process with him – we are all members of his scientific research team. The staging also adds to that feeling and experience. On the stage itself we are in a dark black space, with the characters playing as though within or as background to the main action in Ignaz’ drama. Often the expectant or new mothers appear in the stages of labour or in various phases of puerperal fever in the periphery, whilst doctors are performing or discussing their work in the centre. However, it is not just the stage that is used by performers – they appear at different times all round the entire theatre space – I had a violinist and a dancer perform right next to my seat by one of the exits. Performers also literally join the audience as audience members for a play within the play, and later as medics at a conference quizzing Ignaz as he tries to explain his new ideas from the stage. And what of those ideas? New physician Semmelweis is starting his work as a ‘junior doctor’ in the middle of the nineteenth century, around the same period when Charles Darwin was developing his equally revolutionary and important ideas on evolution. The whole first act of the play is focused on how Ignaz came to his conclusions – beautifully explored as experiments performed through music, dance and mime – with a little discussion thrown in. You literally feel like it’s all passed in just five minutes – there is no heavy science or debate as such to deal with. Though, in reality poor Ignaz – who had great difficulty in expressing himself, which of course added to his problems challenging the supposed knowledge of the time – had a great deal of backlash and heavy challenge as he tried to go against the assumed wisdom of his superiors and some peers. I won’t spoil the story and your voyage of discovery – yep in my mind is Darwin’s voyage on The Beagle and his observations on the Galapagos islands as I write this sentence – as potential audience members for future performances of this play – but suffice to say Semmelweis had to wait until his superiors were away, to undertake the studies, which would lead to his discovery of the causes of death of some of the new mothers in his, and his team’s care. Playing another key role in that care was midwife Anna Muller – beautifully and compassionately performed by Pauline McLynn – who agreed – with other collaborators amongst the doctors – too many characters/performers to name everyone specifically – to try various scenarios to test theories in search of answers. That core factor for Semmelweis was the putrid-smell-causing “death particles”, which he observed in autopsies – we now call them bacteria. With that understanding, came the concept of hand-washing in diluted chlorine between patients – and so happily a reduction in deaths amongst the new mothers – fewer cases of puerperal fever – and later, the development and use of anti-septics. The Neo-Darwinists of today would have us believe that similar tiny particles solely involved in evolution are those of the DNA in our genes. However, in concluding that, they are misrepresenting Darwin and also rejecting Jean-Baptiste Lamarck before him. Lamarck conceived the concept of inheritance of acquired characteristics – and later Darwin would propose the idea of “gemules” – now called exosomes – which enable the inheritance of those characteristics acquired in an organism’s lifetime. Yes, I am aware this may appear to be my going off at a tangent, however, I am simply providing yet another example – see also Nick Smurthwaite’s piece on ‘The Quiet Pioneers’ in this play’s programme – of scientists or other practitioners – who have made crucially important and revolutionary discoveries, that were blocked – or sadly even worse – as they went against the grain of the contemporary wisdom of their time. For further detail on this particular example of the current ‘Evolution Revolution’, I encourage readers to look at ‘Understanding Living Systems’, by Raymond Noble and Denis Noble. I have heard some say theatre is simply there to entertain us – to provide an escape from reality. But, I feel the best theatre is there to also educate us, to relate to us as we feel it resonate with something in our own lives, and to challenge some of our values and beliefs as well as hold and affirm us in others. In director Tom Morris’s piece ‘What is a Radical?’ in the programme he finishes with: ‘The greatest soliloquy writer of all challenged theatre makers “to hold, as ‘twere, the mirror up to nature” and it is surely true that any live collaborative act of storytelling will reflect the concerns of the age and society in which the story is forged. The play you will watch this evening is our collective response to Semmelweis’ story and the world we live in now, inspired by the talent and vision of a brilliant theatre artist. It is both the story of a wild outsider battling against his world, and a reflection on what seems to me to be the greatest need in our society now; to balance incisive vision with patience, kindness and the capacity to listen.’ Mark Rylance’s Dr Semmelweis is a tour de force of a theatrical production telling a highly poignant, challenging, radical, visionary story of science and a man’s life with the greatest sensitivity and compassion together with charm, laughter, sadness and inspiring all the emotions in between. As he always does, Mark Rylance puts ever so much of himself into the production – and yes again holistically! He is involved, I believe, in almost every aspect. Of course, none of us can know Ignaz Semmelweis himself, but Mark inhabits a great thinker, who is kind and caring, yet facing a monumental challenge of increasingly sever opposition, cracks into vulnerability and a struggle to mentally face the storm. We are shown with such powerful visuals and music, how difficult it can be for someone to confront and change imbedded positions and the toll that can take on them personally and professionally. It is the story of one man, but it is also the story of many men and women. Unlike Ignaz himself, Mark is superbly supported by all the creative performers involved. Oh, what a different story it could have been if it had been so for Semmelweis!

I couldn’t recommend this more for entertainment and intellectual and emotional education! Dr Semmelweis – Review by TheRestrictedReviewer © 2023

The Jane Austen Centre – Sunday 19th March 2023

(Rated 5/5) The truly lovely Jane Austen Centre is located on Gay Street, the same street Jane Austen lived during some of her time in beautiful Bath. As Jane wrote in ‘Northanger Abbey’, “I really believe I shall always be talking of Bath, when I am at home again – I do like it so very much… Oh! Who can ever be tired of Bath?” Not Me! It’s like a mini-version of Oxford in terms of wonderful architecture and history, but with seagulls lol and celebrating different periods of time – The Regency and Roman times! OK, so quite different to Oxford haha, but they both have some very special post boxes, with one of Bath’s being a landmark on Google Maps! (A Victorian Penfold Hexagonal on Pulteney Street.) But I digress... The Jane Austen Centre covers Jane Austen’s relationship with and time in Bath, as well as many other aspects of her life and creativity. On show is art of Jane and her family, displays relating to Jane’s experiences and the history of her time – The Regency period - also clothing, perfumes, examples of her writing and exhibits showing how her books have been adapted for TV and film. You can sit at a desk similar to Jane’s and write a letter to her using a quill pen and ink well. You can play dress-up and perform a scene with Mr Darcy! And meet a Madame Tussaud’s created waxwork of Jane Austen, based on a likeness of her produced from descriptions by her family and those who knew her directly. ‘Staff’ are on hand everywhere to answer questions or simply have a chat re anything and everything Jane Austen related. The very best aspect of the experience is that all the guides are dressed and interact with guests (visitors) as characters from Jane’s books. The little group of three I was in had Miss Georgiana Darcy, sister to the famous Mr Darcy from ‘Pride and Prejudice’, as our guide. She was perfect as Georgiana, I was reliably informed by usher ‘Mary Elliot’, who was clearly a big fan of ‘Persuasion’ – which she highly recommended and which I have not yet read – that some of the guides were so convincing in the characters of say Lady Catherine de Burgh – that guests thought they were being rude! No, it’s the character! I loved the enthusiasm from Mary as she talked to me about ‘the mystery dress’, held up a letter from Jane to her sister Cassandra so that I could take a photo of it and demonstrated how she could only read the first little bit – Jane’s writing was so small! - and told me the centre had been visited by Emma Thompson (in a puffer jacket), who donated pictures from the production of ‘Sense of Sensibility’ for which she got the Oscar for best screenwriter, along with a letter of praise about the centre. My favourite part, though, was when Georgiana asked me what was my favourite colour to wear as I approached the ‘set’ with Mr Darcy (post-Pemberley-swim though not wet 😉) in it. She dressed me up in the closest dress (with a little purple in it) – put on like a hospital gown, before being tied like a corset at the back to produce the best Regency bust-flattering tummy-hiding look! I’ve decided I love Regency dresses! Added a shawl to cover my own clothes peeking out at the top, a bonnet and I chose a parasol to complete the look. She then directed me in a little scene sitting on the bench, looking across at a distance to a beautiful sight, standing with Mr Darcy and looking lovingly into his eyes… until he comes out with a proposal of marriage alongside offensive comments about my family! Ever so much fun! Many, many thanks to Miss Georgiana Darcy! On my way out was the shop! On my way in I had a little look and thought I’d maybe get a little Elizabeth Bennet and Mr Darcy figures, but going out it had to be books! The first Jane’s very first piece of writing on the Kings and Queens of England – but with no dates – the one reason I didn’t choose to take my study of History further in school was because I couldn’t remember dates and thought that mattered very much – clearly not if one of our greatest writers could get away without them! The second a Lucy Worsley biography of Jane Austen. (I so love Lucy Worsley!) And well the third one I couldn’t find at first – Georgiana and Mary had informed me of it – an illustrated book with the surviving letters of Jane (some destroyed by sister Cassandra after Jane’s death) and a commentary – by a lady with first name Penelope! – which as I was asking for it – a certain gentleman, who may have resembled Mr Wickham (I’m guessing) – handed to me with such charm, I found I had no choice but to purchase also! 😉

My only disappointment was a later engagement meant I couldn’t spend as much time as I would’ve wished and visit the tea room. Though, apparently, being Mother’s Day it was all booked up for the entire day! So, I will have to return one day for that tea with Mr Darcy, so long as I receive an apology for his offensive comments, he calls me his ‘Dearest, Loveliest…’ and tells me how he ‘ardently admires and loves me!’ TheJaneAustenCentre – Review by TheRestrictedReviewer © 2023

As You Like It – @sohoplace Theatre – Saturday 7th January 2023

(Rated 7/5) As We Liked It – I would say – more than words can possibly express – I’d love to learn the arguably superior to words Shakespearean Sign Language (SSL) as developed by BSL consultant Nadeem Islam in collaboration with Rose Ayling-Ellis (playing Celia) and Gabriella Leon (playing Audrey) together with associate director Katie-Ann McDonough for their performances in this production – to express the sheer delight, joy, laughter, intense feelings of being utterly moved, heightened excitement, and plain awe – if awe can be plain – at what we were witnessing! This play seems to often be dismissed by those in the know – although as will become apparent – what do they know?! – as one of Shakespeare’s weaker comedies. It is judged to be a little lame in plot and of course with the usual mistaken-identities comedy device, he seemed to use in – well – all of his comedies as well as it trickling into some of his other plays. But, in this truly wonderful production by extremely accomplished director Josie Rourke, the mistaken-identities business is interpreted to its most rich. The casting of this show – yes it really is a show not just a play – couldn’t be more diverse and inclusive. Fantastic actors and performers from all creeds and colours and gender identities – he, she, they and not necessarily I’m sure those they were given at birth – as well as sexualities I’d imagine – even though the play does still ‘require’ for one pairing at least, the preference for each individual to be a member of the opposite gender. I am aware that I have a tendency in my reviews to say ‘this is the best ever bla bla…’ and here I go again: this is the best ensemble performance I think I have ever seen! And so, I will take you to the beginning: The audience were all sitting in our seats ready for the drama to commence, when a man who I thought had come from the audience, walked up to the piano and played some notes! Uumm, whaatt? Well the fact that the captions on the four screens showed the notes being played gave me the answer that, ok, yes, this is not a member of the audience randomly walking on stage – a pretty easy mistake to make as you have to walk on a bit of the stage to get to your seats if you’re in the stalls. The fact that he was actually a performer himself was confirmed when he put on the jacket – complete with beautifully Elizabethan ruff – now we know what time we are entering into – and properly took us all along with him into the play. This man turned out to be the music composer – as well as pianist – his name Michael Bruce. Oh, my goodness a name to remember! And he didn’t just play the piano – well ok yes in essence he did – but he reacted brilliantly to all the other cast members – as though he was another character – which effectively he was though not one created by Shakespeare himself as far as we know. The music from the midi piano – I have it on good authority that that’s a piano which can be kind of pre-programmed so a section of music can be produced by simply hitting one switch – was the most enchanting player in this show. And at its sound along came the entire cast onto the stage to open the show with joy and merriment. (I happily saw Rose Ayling-Ellis – you never know when one of the key reasons for choosing to go to something may be absent and you’d get the understudy instead.) A candelabra on the piano together with an impressive chandelier – both with real candles – and the dress of those present guided us into the opening scenes in the court of Duke Frederick (Tom Edden). So, then what happens? Well following some playful – between heroin Rosalind (Leah Harvey) and her cousin Frederick’s daughter Celia (Rose Ayling-Ellis) and not-so-playful - between hero Orlando (Alfred Enoch) and his brother Oliver (Ben Wiggins) - wrestling and interactions establishing the key characters and their relationships, Rosalind, Celia and court fool, Touchstone (Tom Mison) decide to flee to the forest of Arden with Rosalind disguised as a young man and Celia as a poor lady as Frederick has become angry with his niece Rosalind. Rosalind’s father – the exiled Duke Senior (also Tom Edden) lives there with various supporters, including Jaques (Martha Plimpton), who has the honour of delivering the “All the world’s a stage…” speech. It should also be noted that Rosalind and Orlando have fallen in love at court, but then Orlando also has to flee following his fight with Oliver and dispute with Duke Frederick. So basically, the entire cast of characters ends up in the Forest of Arden. Let the mistaken-identities shenanigans begin!! And it really does become wonderfully entwined and complicated! I was most interested to see Rose and her SSL. Incorporated into it is not just BSL, but elements of visual vernacular, sign mime and gesture to convey her emotions. Rose was a very active Celia indeed! The words of Shakespeare she was performing were posted up on the screens (as was the entire script) and sometimes I’d look to check I was interpreting her correctly, but she was phenomenal. She only actually spoke once and in doing so indicated a fundamental issue going on for her character and what was expected of her by her father – so poignant. There are many lovers in this play (all mixed up but eventually coming together neatly!) and each couple beautifully develops their own language of love – be it with the use of words, sign, mime, song and/or dance and movement. The piano and its operator Michael kind of becomes the interactive plaything and conductor for all the performers. This is no school-play interpretation but a really highly sophisticated, clever, enchanting and engaging experience for everyone. As my theatre companion dad said ‘It’s Insightful, philosophical tomfoolery’ with Shakespeare’s Troubadours exceptionally and expertly showing off his poetic language of human nature and love. Many of the cast sung, but for me the most gorgeous voice came from Allie Daniel as Amiens and ‘Court Lady’. Everybody had comic turns, but Tom Mison’s Touchstone was outstanding and interacted well with audience members too. I wished I’d been one of those he deliberately chose for one of the teasing jokes! Leah Harvey was superb in the lead role of Rosalind. I adored the immensely caring relationship between her and Rose as devoted cousins. And the little touches that Leah, Alfred and later Ben too continued to sign for her to explain what was going on even if their characters were not part of the main action at the time. Michael wins best smile for me. And as I hinted before really performed all his interactions with the characters of the play as well as responding to the dramas that were going on. He and Touchstone tuned up the goats with the piano at the start of act II causing great hilarity. It was a fantastic sight with everybody – well at least all performers even if all characters could not be as actors doubled or even tripled up roles – on stage in the last scenes. The energy of them all together just so magical. I felt so close to them all. In fact, Dad and I literally were – we could easily touch the stage – oh and in my case even steal some stage leaves which showered onto the stage to indicate the transition from court to forest! – and see every single detail of anything or anyone at our side of the stage. I noticed Syakira Moeladi’s character supposedly preparing mushrooms, but instead she just turned them round in her hands lol. Who haven’t I mentioned yet? Mary Malone – playing Phoebe – was as beautiful as her name and character name may suggest. Nathan Queeley-Dennis trying to woo Phoebe naïve yet so charming. I wanted him to win her! June Watson played dual roles Adam and Corin to great effect even transforming between them whilst lying on the piano! Cal Watson was a very handsome Le Beau. Gabriella Leon was great fun and cuddly as Audrey. Dickon Gough also very good in multiple roles. Everybody was truly excellent and inspired empathy and deep connection. I felt so highly emotional at the end and had tears – some sadness that they’d gone – but mostly just incredibly moved by the whole experience in their company. At curtain call – oh except there was no curtain and I should say that @sohoplace theatre is like a smaller and inside version of Shakespeare’s Globe with the audience in the round on all sides – the actors moved around to bow to all sections of the audience. As Rose passed me, I BSL signed my applause to her – I got a BSL and mouthed thank you 😊. The brand new – since September 2022 - @sohoplace theatre has been described as soulless. I couldn’t disagree more. It was jam packed with soul and very sensitive talented souls. I love it and want to go again – to the theatre and maybe to see ‘As I Loved It’ again <3 https://online.fliphtml5.com/iqdop/dpst/#p=5

As You Like It – Review by TheRestrictedReviewer © 2023

Good – The Harold Pinter Theatre – Saturday 10th December 2022

 

(Rated 5/5)

I think the role David Tennant is best known for is The 10^th Doctor, and in that role for the main ‘Ten’ is ‘Good’ and all his actions are intended to be for the ‘Greatest Good’ of humanity or even to attempt to change the hearts and minds of the ‘Bad’ Aliens to do ‘Good’. In attempting to do ‘Good’ and save people from ‘Bad’, later in his regeneration Ten acts for the ‘Good’ of one particular person – saving the life of Lindsay Duncan’s character Adelaide Brooke in ‘The Waters of Mars’ – and she then proceeds to kill herself, knowing that her death will be for the ‘Greatest Good’ of humanity!

For me this illustrates the fine line there is sometimes between what could be judged as ‘Good’ and ‘Bad’ and how values and morals can be distorted leading us to question what is ‘Good’ or ‘Bad’?! This is pretty much the topic tackled by playwright C. P. Taylor in his stage play ‘Good’. An apparently ‘Good’ man, Halder – played by David Tennant – becomes drawn into circles and finds himself experiencing challenging situations involving his highly disabled mother and anxious wife, which lead to him being seduced by the now clearly terrifying thinking of the Nazis. The disturbing aspect of which is that within the words and arguments of Taylor’s characters, we as audience can start doubting ourselves and our own – we hope – clear distinction between ‘Good’ and ‘Bad’. For me the production of the play and use of just two actors to play the parts of all the other characters interacting with Halder, also adds to this blurry theme and in trying to distinguish and separate arguments and characters, we can go into a state of confusion. I confess that is what happened to me while watching Act1. I found myself trying to follow the points and views and becoming mixed up in my mind. As she will know, I asked my theatre companion for this show, if she had ‘understood’. I imagine that is deliberate by originally the writer and also director, Dominic Cooke.

For me the play comes across as a psychological stream of consciousness in the mind of Halder with little snippets of scenes of interactions/manipulations between him and the other ‘real life’ characters, chopping and changing all the while between his thoughts and actual conversations. The lack of clear distinction is supported by the supporting actors Elliot Levey and in this day’s production ‘1^st cover Helen’ Edie Newman playing Jewish friend to Halder, Maurice and other characters, and wife, girlfriend to Halder and other characters respectively. Important to pay attention – note to self as I didn’t as much as I wished I had – or you might get lost 😉 That said both Elliot and Edie were brilliant – as Ten might say – in switching between roles. I was actually particularly impressed by understudy Edie switching between anxious wife, seductive student/girlfriend, vulnerable needy mother and even a military man! I also enjoyed that Elliot used me at least twice as his audience focus. At one point in the play – and I should mention myself and theatre companion were front row stalls in the middle – Elliot and David were in discussion sitting at the very front of the stage – I could have reached out with my walking stick and easily touched them – and with me and companion both hands up to our chins thinking about the ‘debate’ they were having – Elliot looked right at me and I could see each individual tear coming from his eyes and down his face. So powerful! In fact, I also sensed and realised how in tune me and my theatre companion were in taking sips of our Harold Pinter Package champagne and adjusting position in our seats etc. At one point close to the end though, I was so relaxed down in my seat with feet far out in front of me. Thankfully, I noticed as an actor – who initially I thought was a member of the audience – walked from stage right to left, and I rapidly sat up again with feet under me lol! Just in time not to trip him up!

David Tennant has become so ‘Good’ at playing ‘Bad’ – will that be the last time I use those terms – eg in ‘Des’ as serial killer Dennis Nilson - that it is no surprise whatsoever that he is excellent in this role. Disturbingly ‘Good’ – whoops no not the last – but it’s a testament to all three performers that for me there was absolutely no distinction – yep that word again too – in talent. I loved that at curtain call David and Elliot both indicated Eddie for specific applause. She was so ‘Good’ – lol – an understudy I wonder how ‘Good’ – okay maybe I need to stop – Sharon Small was. I’m unlikely never to know as I doubt I will see it again – even though I genuinely feel I missed a lot of specifics in dialogue that could be very interesting to read over and unpick. It’s for sure a highly thought-word-processy drama. I won’t say anything about the plot as even to say a little sort of gives things away, but suffice to say in the main it is set in a set looking like a prison in Frankfurt between 1933 and 1942. And the end is… chilling!

Excellent play, superb production, but maybe not for Christmas as such 😉

 

Good – Review by TheRestrictedReviewer © 2022

Prima Facie – The Harold Pinter Theatre – Saturday 11th June 2022

 (Rated 7/5)

Jodie Comer as Tessa in ‘Prima Facie’ is easily the most powerful performance I have ever seen on stage. That is no exaggeration at all. The play, written by Suzie Miller and directed by Justin Martin is the story of a defence barrister who finds herself on the other side in more than one way after she is sexually assaulted by a colleague defence barrister.

For 100 minutes Jodie is the sole performer who narrates, plays Tessa and Tessa impersonating a multitude of other key characters using simply alterations in her physicality and voice.  She seamlessly changes tone and emotion as she hardly pauses for breath through the highly verbose and lengthy script whilst also changing her clothes, doing her make-up, turning lights and candles on and off and moving furniture around!! As we have come to expect of Jodie Comer, she explores her vast emotional range through her facial expressions and body posture and movement as she uses the entire stage, furniture and props to demonstrate to us all that is going on in the play. She takes Tessa from in control, expertly trained barrister witty and dramatic in her defence of her latest client accused of sexual assault proudly pronouncing that the legal truth is more important than any so-called actual truth to defenceless, vulnerable victim, a broken woman trying to win her case with the actual truth of her assault. For any of us it would be difficult enough to memorise the entire script but she truly performs it and gets all the business in too! Absolutely extraordinary!! A True Tour De Force

 

Prima Facie – Review by TheRestrictedReviewer © 2022

P.S. Other Reviews:

https://www.theguardian.com/stage/2022/apr/27/prima-facie-review-jodie-comer-on-formidable-form-in-roaring-drama

 

https://www.standard.co.uk/culture/theatre/prima-facie-review-jodie-comer-harold-pinter-theatre-b996782.html

 

https://www.theweek.co.uk/arts-life/culture/theatre/956644/prima-facie-review-awards-will-follow