Tag Archives: A View from the Bridge

Ink and the Case of the West End Transfer

Ink at the Duke of York's Theatre

For most theatres, a West End transfer is the Golden Ticket, the chance to take their work to that tiny patch of illustrious venues from Shaftesbury Avenue to Covent Garden. Sometimes these are a roaring success; the new transfer of Ink, such a joy at The Almeida, is every bit as perfect at its new home in the Duke of York’s, Andrew Scott’s Hamlet retained its lovely intimacy in the bigger Harold Pinter space and anyone who saw the Young Vic’s A View from the Bridge in any venue couldn’t help but be astounded by its impact. But a transfer is also a gamble, and every year numerous plays fail because the decision to open the performance to new audiences is predominantly a commercial one, with artistic drivers taking second place.

There are three main types of West End transfer; the ones that move within London from the high-performing venues that attract the mainstream critics, best described as “off-West-End”; there are regional transfers from the powerhouses of the Theatre Royal Bath, the Bristol Old Vic, the Chichester Festival Theatre, the RSC in Stratford and the like; and there are the shows that come from Broadway. The latter two categories seem to suffer more often in the glare of the West End, partly, as Lynne Gardner recently pointed out because a 5 star show from Edinburgh feels very different when you put it in London, and partly because transfers are too often a poor fit for their new space. Crucially then, context is all.

Ink and Hamlet may have successfully sidestepped these problems, and arguably off-West End transfers fare better because they’re in front of exactly the same set of critics as their original run, but not all of them succeed. This year the Menier Chocolate Factory’s production of Love in Idleness proved a sell-out at its tiny London Bridge home and critical applause meant a transfer was inevitable. Yet, when it finally landed at The Apollo, it’s evident original charm felt a little lost on the bigger stage, playing to a less than full house on a Friday night. Likewise, plaudits rained in for the RSC’s production of Queen Anne in Stratford but although the story was interesting enough and well performed, in the less-than-full auditorium of the capacious Theatre Royal Haymarket (TRH) on another Friday night, it felt meandering and stilted.

Last year’s Alan Ayckbourn revival of How the Other Half Loves also fell foul of the TRH effect, drowning its comedy in acres of space. Perhaps the critics don’t notice from the visual comfort of the Stalls, but siting in the Upper Circle or Balcony the action felt more remote than it should. Yet, it’s not always this way and plenty of shows manage to play as effectively to the top of the house as to the bottom, so what is happening? The answer is that too often shows are transferring kit and caboodle, without taking the time to think about how they fit into their new space. Transfers can happen months after the original run, by which time the Director and Designer are on to other projects, but without more considered input into how the show will play in the new space, you end up with reams of discounted seats. It’s no surprise to hear that you could barely get into Hamlet at the Harold Pinter but the TRH were practically paying you to see Queen Anne in its final weeks.

Shows fail to dazzle in the West End for other reasons of course and perfectly decent productions of well-known plays with star names can represent some of the very best work in their region. But with just so much choice, so many approaches to performance and younger theatres pushing boundaries, some of these transfers can seem a little too safe, traditional and even old-fashioned. When London theatre-goers are offered the choice of seeing the umpteenth version of Hay Fever or The Importance of Being Ernest with a star of yesteryear, or Ivo van Hove, Jamie Lloyd or Robert Icke deconstructing an equally classic play and blasting new life through it, its innovation that usually wins. The same applies to Broadway transfers, like this year’s The Mentor for example, which in many ways play much safer than London shows and don’t always achieve the same level of critical appreciation they had in the States.

The point of all of this is to show that a West End transfer is not an end in itself, and the shows that do well have to earn their audience in exactly the same way as any new play opening in WC2. There are soaring successes that can equally come the few miles across town, from across the country or across the pond, but they work so well because they pay attention to their new context, to a different size stage, to a theatre with multiple seating levels and to the audiences hungry for interesting stories told in exciting ways.

Recently, the American Repertory Theatre production of The Glass Menagerie made a spectacular impact at The Duke of York’s, Ian McEwan and Patrick Stewart’s toured in No Man’s Land before finally arriving for a triumphant run at the Wyndhams late last year, while Oslo is doing great business at The National Theatre and is sure to triumph at the Harold Pinter as well. Within London, shows of incredibly quality have also earned their place in the West End; who hasn’t been impressed by The Ferryman which came from The Royal Court, and re-watching Hamlet at the Harold Pinter last month, the production had matured beautifully from its original Almeida run, retaining its intimacy, as if Andrew Scott was holding you hand and whispering his soliloquies into your ear, a private excoriation of soul between you and him.

This is the context then for the transfer of James Graham’s fantastic new play Ink which received its Golden Ticket to the West End after a sold-out and highly acclaimed run at The Almeida from June. Seeing it back then, it was instantly clear that Graham’s work was a masterpiece, a perfectly constructed piece of theatre that months on is still worth gushing about. Happily, every word of this original review still stands and it’s transfer not only provided another opportunity to see it, but, with enormous competition, proved that so far it is undoubtedly this year’s best new play. That banner has already been handed to The Ferryman, which in a big year for new work set a high bar, but although excellent and expertly directed, didn’t quite hit the emotional pitch or degree of darkness that the early scenes implied would come. Even with promising shows like The Network and Graham’s own rival new play Labour of Love still to come, Ink is an extraordinary piece of writing that has easily made the leap into West End history.

With almost the entire original cast still onboard, the show’s elaborately staggered design by Bunny Christie looks like a seedy den of journalistic compromise with desks and cabinets piled high, and feels like it was built especially for the Duke of York’s, so snugly does it fit the stage. It’s video screen backdrop plays host to Sun headlines from its first year of operation, as well as indicating scenes set at other newspapers, and offers a trail of dripping ink as the mood darkens, which seems more noticeable than it had been at The Almeida, adding much to the changing tone.

A second viewing means the story is familiar so there’s plenty of time to enjoy all the subtleties of director Rupert Goold’s production and the extensive research that shines through the writing. The opening scene, two men spotlight from the back, feels more like a deal with the devil than it did before, while Goold brings out the growing sense of camaraderie that Sun Editor Larry Lamb builds from scratch among his team of Working Class outsiders, showing how that team ethos was a driving force behind the success of The Sun in the early months. But crucially, although they stand together in the good times, in the second half when things take a darker turn rifts develop among them, based on taste, and slowly the play devolves into a series of smaller and smaller conversations until Lamb is alone onstage once again, isolated by his own choices.

Richard Coyle’s Larry Lamb is every bit as repellently fascinating, sympathetic and hateful as it was earlier in the summer. In Coyle’s performance Lamb is the embodiment of The Sun, a traditional fleet street man turned on his head by the populist cavalcade he unleashes. Initially reluctant, Lamb becomes the leader he needs to be to make his mark on the clubbable world of Fleet Street, and Coyle shows him unleashing a monster as he seeks the next sensationalist headline that will ensure he meets his target of outselling his rivals.

Bertie Carvel’s Rupert Murdoch is equally fascinating, a slightly twisted sliver of darkness that sets in motion the biggest sea change that journalism had ever seen, but manages to keep culpability at arm’s length. It’s a very physical performance, with a slight stoop and way of holding his head to the side as he rails against the Establishment that won’t ever accept him. One of the most intriguing aspects of Graham’s characterisation is seeing this aspect of Murdoch, the innovator who brings business-thinking to the newspaper industry, modernising its approach but all the while knowing the audience will understand the consequences so many decades on.

With many of the cast members reprising their original roles, there is an excellent support for the leads which ensure this remains a fantastic ensemble piece with not a character wasted, each one adding layers to the drama and background to the newspaper business that made The Sun’s approach so radical. There are great supporting performances from Sophie Stanton as formidable Women’s Editor Joyce Hopkirk who holds her own in a world of men, Justin Salinger as Brian McConnell the crime writer turned right-hand-man to Lamb, one of the lads who fears the paper’s direction, and Tim Steed as the buttoned-up Bernard Shrimsley whose love of fonts adds much hilarity.

Ink has made the most of its Golden Ticket to the West End and remains one of this year’s most unmissable shows. Happily situated at the Duke of York’s, the staging fits the space entirely and the multi-level aspect of the set plays to all the theatre’s seating levels. Beautifully constructed and superbly performed, Graham’s play is a fascinating insight into one of Britain’s most important industries and the period that set it on a new track. Getting a West End transfer right may be a huge gamble, but by prioritising the artistic transition toits new home, Ink shows how it should be done. And that’s one bit of news that isn’t fake.

Ink is at the Duke of York’s Theatre until 6 January. Tickets start at £15 for day seats. Follow this blog on Twitter @culturalcap1       

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Review of the Year and What to See in 2016

2015 has been a golden year for London culture combining top-quality theatre with some of Britain’s leading actors, some game-changing exhibitions and probably the best London Film Festival so far. Coming up with at least 52 review posts seemed easy with so many incredible opportunities on offer and with current announcements it’s hard to see how 2016 is going to compete.  The big news this time last year was the impending arrival of what I termed ‘the big five’ to the London stage as James McAvoy, Mark Strong, Ralph Fiennes, Damien Lewis and Benedict Cumberbatch were all set to appear. The year opened with a deliciously dark production of The Ruling Class with McAvoy in fine fettle as the serenely insane Lord of the manor which saw him unicycling in his underwear and attached to a crucifix. It’s a performance that received a lot of awards attention – not just for the underwear – recently winning an Evening Standard Award as well as nominations for the 2016 What’s On Stage Awards but lost the Olivier to Mark Strong.

Next up the West End transfer of A View from the Bridge led by Mark Strong confirmed its place as the best production of recent years earning a clutch of awards before transferring to Broadway in the autumn to even more acclaim. Next came Ralph Fiennes in the National’s superb revival of Man and Superman that took a more modern approach to a classic play, and with Fiennes on stage for more than 3 hours award nominations seem likely. The National, on balance, had an excellent year under new Director Rufus Norris, staging wonderfully fresh productions of The Beaux’ Stratagem, Three Days in the Country and Husbands and Sons, but the less said about A Light Shining in Buckinghamshire the better, undoubtedly the worst and most tedious thing I saw this year.

In April Damien Lewis returned to the West End as the dangerously charming lead in a thoroughly enjoyable revival of David Mamet’s American Buffalo, happily bringing Jon Goodman and Tom Sturridge with him, and the ‘big five’ concluded with the probably the most hyped Hamlet of all time starring Benedict Cumberbatch at the Barbican. Selling out a year in advance, his performance was sadly overshadowed by there being more drama off-stage (about not signing autographs, cheeky early reviews and audience filming) that on and sadly the whole thing deflated by the time we got to see what was at best an average show. Good interpretation by Cumberbatch but drowned in a needlessly cavernous stage – pity.

But for all the excitement these star actors produced some of the biggest treats were unexpected hits including the Royal Court’s transfer of The Nether – a brilliant and challenging production – as well as the superb Hangmen which is undoubtedly the best new play of 2015 which you can now see at the Wyndhams until mid-February. Other unexpected gems were The Globe’s production of The Broken Heart, the Old Vic’s High Society and the Donmar’s Les Liaisons Dangereuses with commanding performances from Dominic West and Janet McTeer which also runs till February. Finally Kenneth Branagh delighted us by forming a theatre company and bringing two of five plays to the West End for a 10 month season at the Garrick, opening the delightfully staged Harlequinade and the utterly beautiful The Winter’s Tale with Judi Dench.

Branagh features heavily then in the 2016 shows to see with expectation now running high for his versions of Romeo and Juliet with Cinderella stars Lily James and Richard Madden, The Painkiller with Rob Brydon and an Olivier-esque role as The Entertainer in Osborne’s classic.  From what we’ve seen so far, these are bound to be delightful so booking now is advisable. Ralph Fiennes is also back in The Master Builder at the Old Vic which his performance is sure to raise, especially as recent offerings Future Conditional and the inexplicable The Hairy Ape have been a let-down (despite critical support). David Tennant is reprising his magnificent performance as Richard II at the Barbican as part of the RSC’s History play cycle early in the year which is another chance to see one of the best productions of recent times. Otherwise 2016 so far will be dominated by the Harry Potter stage show, announced with Jamie Parker as the lead after his show stealing performance in High Society, and several musicals including a West End Transfer for Sheridan Smith in Funny Girl, Glenn Close in Sunset Boulevard and the launch of Mowtown the Musical. Maybe not as inspiring yet as the start of 2015 was but undoubtedly more announcements to come.

Over in the exhibition sector 2015 marked a new raft of new approaches. Leading the pack was the V&A’s game-changer Alexander McQueen: Savage Beauty which stunned everyone with its dynamic approach to displaying beautiful fashion, necessitating 24 hour opening towards the end to meet the need. Smaller galleries also began to make their mark particularly the wonderful House of Illustration near King’s Cross that staged Ladybird by Design and E H Shepard: An Illustrator’s War taking a new and intelligent approach to familiar topics, so look out for the opening of their dedicate Quentin Blake gallery in 2016 and show about female comic book artists. Forensics and crime fascinated us first at the Wellcome’s utterly brilliant Forensics: The Anatomy of Crime, shortly followed by the Museum of London’s The Crime Museum Uncovered which runs till March. Finally Somerset House struck gold with its fantastic retrospective The Jam: About the Young Idea which took a fan-friendly approach to examine their glory years.

Sticking with the music theme in 2016, the British Library will profile the history of Punk at a new exhibition combining its document and sound archive which promises to be quite innovative, while it also host its first major show dedicated to Shakespeare looking at the interpretation and influence of his work in 10 key performances to celebrate the 400th anniversary of his death. They also have a free show looking at the image of Alice in Wonderland on display right now (review to follow next week).  The V&A have a big show about Boticelli while the National Portrait Gallery take up the fashion mantle with an exhibition of Vogue images which bodes well. The Royal Academy brings several classics together including Monet and Matisse to examine the evolution of the garden in painting, while the Barbican gets us thinking about being British in a show using the perspective of international photographers on our great nation.

Finally the London Film Festival showcased some of the best films of the year with some glitzy premiere opportunities. Opening with the excellent Suffragette, there was also Black Mass a less glamorised gangster film than we’ve seen in years attended by Johnny Depp and Benedict Cumberbatch, Carol attended by Cate Blanchett and Rooney Mara (although it wasn’t to my taste), the rather strange High Rise with Tom Hiddleston and Sienna Miller, and best of all the closing night gala, the brilliant Steve Jobs attended by Kate Winslet and Michael Fassbender – my ultimate 2015 highlight. But outside the festival, with Spectre letting me down somewhat, Fassbender also wowed in my film of the year – Macbeth, a gripping, glorious and breath-taking movie that a gave fresh interpretation while perfectly relaying the psychology of the play, film perfection in fact. Expect all of these films to end up walking away with plenty of awards in the next few months.

So there you have it, as we say goodbye to a glorious year for culture we have high hopes for 2016. Whether it can top the plethora of great opportunities we’re leaving behind remains to be seen, so let’s find out…

For reviews of London plays, exhibitions and culture follow this blog on Twitter @culturalcap1


A View from the Bridge – Wyndhams Theatre

Independently The Young Vic and the Wyndhams have been having quite a run of form with back-to-back critically acclaimed productions, so it was only a matter of time before they joined forces. Last year the Wyndhams played host to Cary Mulligan’s West End debut alongside Bill Nighy in the impressive Skylight, followed by the Charles III transferring from the Almeida, and will soon welcome Damien Lewis and Jon Goodman in American Buffalo. The Young Vic too had hit after hit, notably a pulsating Streetcar Named Desire and this remarkable version of A View from the Bridge, undoubtedly the best production of last year, transferring to the Wyndhams for a brief and welcome reprise.

It’s pretty rare for me to give an unequivocal five stars to any production and to do so twice in less than a year is unheard of, which should give you some indication of how very special this production is. Some give out five star reviews quite readily, but honestly I can think of only four productions I’ve ever seen that I would say were genuinely five star. And don’t get me wrong, I’ve been lucky enough to see a lot of really great shows and some of our finest actors which I’ve really enjoyed, but a truly five star production is something more than good acting/script/production values or the frisson of seeing a famous star, it has something I can only describe as an added ‘magic’. It means you don’t just empathise with the characters you live it with them – at the risk of sounding even more pretentious, the play becomes transcendental and nothing else exists except what’s happening on that stage.

It’s interesting then having been fulsome in my praise of this production last year to have the chance to watch it again. How could it possibly live up to that expectation, surely I couldn’t feel the same about it now I’d seen all the tricks? But in all honesty, this is every bit as incredible as it was last May, gripping, emotionally wrought and utterly mesmerising. It’s the story of Eddie Carbone, a dock worker living happily in the shadow of the Brooklyn Bridge with his wife and teenage niece. As the play opens the niece Catherine has a new job and Eddie’s dilemma begins; he wants to protect her and has in mind a glorious future she deserves, perhaps in Manhattan – a future that a woman in her position is unlikely to attain. Their situation is further muddied when Catherine falls in love with Rodolpho who is working illegally in the US and living with the Carbones. What follows is an epic struggle where Eddie, a man who ‘never knew he had a destiny’ finds he cannot escape it.

So much about Ivo van Hove’s interpretation is so simple, just the actors and the words in a confined space to emphasise the inevitability of what is happening to them, as well as the limitations of their community. Where innovations are used, they enhance the storytelling rather than distract, and it’s great to see the design transfer so successfully from the Young Vic. There, this was performed on a three-sided thrust stage and the Wyndhams only has a proscenium arch, but the giant black-box remains with the lid rising up instead of a curtain to reveal the players caught inside. And this does mean that incredibly ending is retained– I’m not going to spoil this for you, but it’s every bit as bold and electrifying as last year. And the Wyndhams have cleverly added four rows of stage seating in the wings which means you get right up close to the action and I recommend booking these if you can for that all-involving experience as well as a bit of potential celebrity spotting- Rupert Everett was nearby when I went.

Seeing this for the second time gave me a better chance to see the various layers of performance and although I referenced the themes of masculinity and honour in my previous review, these elements came across even more strongly this time, through Eddie’s competitive boxing with the young Rodolpho and mocking his looks and singing, designed to show Catherine he’s somehow less of a man. Even a small scene when Eddie and Marco (Rodolpho’s brother) undergo a test of strength is a glimpse into their need for manly display and the battle between the generations – challenging the dominant male in the pack.

The acting is perfect and seeing it again showed how all the characters are complicit in events, from Nicola Walker’s resigned Beatrice (Eddie’s wife), quietly trying to separate her husband from her niece, to Phoebe Fox’s stifled Catherine struggling to attain the life she wants rather than the one Eddie wants her to have. Mark Strong’s performance as Eddie is sublime; a mass of contradictions utterly unaware of the fatal flaw that drives him to destruction – completely believable, blind and heart-breaking. Towards the end when the tension is at its highest point and you don’t think your emotions can take any more, Strong powers to a new level as Eddie demands respect for his name, it’s amazing.

I said earlier that you live a five star production with the characters, and this is the most compelling aspect of this show. You feel every emotional flicker, every change of tone and as the doom plays out you will want to run up to them and beg the characters to stop. You’ll want to shake Eddie until he sees what he’s doing because you just know it’s going to end very very badly and there’s no way to stop it. By the way, talking to the actors and generally involving yourself in the production is frowned upon, so you’ll just have to sit there and watch it all happen as powerless to stop it as the characters themselves.

Last year I wrote that ‘the drama in this breath-taking production thumps into you and when you’re down kicks you a few more times’ and the force of it is something that stayed with me in between. This was certainly true the second time as well and I left the theatre feeling shaken by what I’d seen. So this production has thoroughly earned its collective ten stars from me, and if you never see another piece of theatre for the rest of your life, make sure you see this. You’ll never forget it.

A View from the Bridge is at the Wyndhams Theatre until 11 April and tickets start at £19.50 for the balcony and on-stage seating, and a range of prices for the rest of the auditorium. Follow this blog on Twitter @culturalcap1


A View from the Bridge – Young Vic

I should start by saying that this is the best production I’ve seen so far this year but I wasn’t expecting it to be. I’ve only experience one other Arthur Miller play before, an A-Level Theatre Studies visit to The Crucible showing in Canterbury, which was one of the most tedious evenings I have ever spent and several of my classmates fell asleep. So The Crucible and The Doll’s House are probably the only two plays that I will never see again – I appreciate they are much loved, but you could not pay me enough. The Young Vic’s version of A View From the Bridge however is an astounding piece of theatre.

Eddie Carbone lives with his wife Beatrice and their orphaned niece Catherine in a small Italian-American community close to the Brooklyn Bridge in 1950s New York. In the opening scenes we see the strong bond between the 17-year-old Catherine and her uncle but their happiness is disrupted by the arrival of Italian immigrant brother Marco and Rodolpho who have entered the US illegally to work in the area. As Catherine and Rodolpho grow closer, Eddie’s possessive love for her begins to infect the family, leading to a terrible betrayal with shattering consequences.

This is a true Shakespearian-style tragedy – a protagonist with a fatal flaw which, unrecognised by him, leads to his eventual destruction. The decision to run the play straight through with no interval adds to this sense of entrapment and gives a compelling drive to the events before you. Mark Strong is amazing as the troubled Eddie, initially a respected member of the community whose unwillingness to allow his niece her freedom becomes an obsessive compulsion to save her from a man he sees as ‘not right’. He dreams she will have a better life, perhaps across the bridge in Manhattan. Everyone around him sees his love for her has become corrupted and inappropriate, but he cannot admit this to himself. Simultaneously, Eddie is a very macho figure, a hard-working man, respected and keen to display his masculine traits in impromptu bouts of boxing and belief in ‘respect’.  Strong’s performance brilliantly captures these multiple sides to Eddie, all with an intensity that is utterly gripping – the overt manliness, the need for control and the protective emotional fixation with Catherine. It is a remarkable performance which makes the conclusion all the more devastating.

There is not a weak link in the rest of the cast either. Nicola Walker brings a real sadness to Eddie’s wife Beatrice who powerlessly and resignedly observes the changing relationship of her husband and niece. She keeps the family together, turning a blind eye until it must be confronted. Phoebe Fox’s Catherine has to grow-up in front of the audience and watching her childlike idolatry of Eddie curdle into confusion and revulsion was impressive. The Italian brothers and Eddie’s lawyer friend, who acts as the Chorus are also excellent, with the latter becoming more dishevelled as the play goes on emphasising the incurable decay at the heart of the family.

Significant praise must also go to the director Ivo van Hove and the design team for some extremely bold decisions that enhance the tragic story. The set is an empty black box and the top lifts up for us to see the caged characters trapped in their world. They all hope for better lives but none of them will escape this setting. Throughout we get a subtle mixture of musical styles from melancholic choral works to tapped beats that ratchet-up the confrontational tension. The final scene is a masterstroke which I won’t spoil for you, but it is wholly shocking and a little bit awe-inspiring in its daring.

Critics often use the word ‘powerful’ to describe intensely dramatic theatre, but here the adjective assumes its full meaning. The drama in this breath-taking production thumps into you and when you’re down kicks you a few more times, but it’s worth it. The respectful silence that followed the curtain going down was followed by resounding applause and a near entire audience on its feet. You will be profoundly moved and emotionally wrought at the end, knowing you have experienced a very special piece of theatre. My perfect-view ticket only cost £10 but delivered many many times its value. I may never want to see The Crucible again but A View from the Bridge will stick in the memory for a very long time.

A View From the Bridge is at the Young Vic until 26 May. The show is understandably sold out but £5 standing tickets and day seats are available from the box office.


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