Tag Archives: Romeo and Juliet

Running Wilde: How to Manage a Theatre Season

Oscar Wilde Season - An Ideal Husband

As Classic Spring’s year-long Oscar Wilde season comes to a close, its timely to reflect on what it has achieved. Every theatre describes its forthcoming programme as a season, loosely tying together the varied collection of plays it will present in a 4-6 month period, releasing tickets for them all simultaneously. Here, though, a season refers to the external take-over of a theatre building by a Company formed specifically around a particular individual or to celebrate the work of one writer – as the Kenneth Branagh Theatre Company and Classic Spring have done. Aside from its commercial purpose to attract as many patrons as possible, has London’s second major theatre season in three years really added anything to our perception of Oscar Wilde and his work?

This time last year Dominic Dromgoole’s newly-formed Company was preparing for its opening show – A Woman of No Importance – and promising that the programme would reposition Wilde in the theatre landscape, allowing us to view his writing and contribution with fresh eyes. With the rather lacklustre and ill-conceived version of The Importance of Being Earnest showered with largely 2* reviews and acres of disappointment, has Dromgoole failed where Branagh arguably succeeded? And what should a successful theatre season actually look like?

  • Play Selection is Crucial

With only four or five available spots each limited to an 8-10 week run, there are three important criteria for deciding which productions to include in the season. First is artistic value, the second commercial viability and the third variety. Classic Spring’s choices, including the two plays mentioned above along with Lady Windermere’s Fan and An Ideal Husband easily demonstrated the value of Wilde’s work, presenting his best-loved plays which guaranteed a healthy box-office return. Rarely off stage, Wilde has audiences flocking to the West End most years, a guaranteed crowd-pleaser each time.

Yet, with a season dedicated to one writer, predominantly working in one genre, variety is more difficult to achieve through the selection of work – how the forthcoming Pinter season manages this will be an interesting point of comparison. Branagh’s season could more easily offer a broad selection just by having a much wider pool of possible material, but it shrewdly combined the classics with modern drama, comedy and tragedy across the run. Yet, both seasons within their own confines gave dedicated audiences the chance to see work they would know well alongside more unusual or less-frequently performed pieces. Branagh’s curveball was the hilarious farce The Painkiller, in which our noble knight dropped his trousers, while Classic Spring cleverly opened with the lesser-performed A Woman of No Importance which offered the chance to see the more serious and emotional side of Wilde beneath the polished veneer and witty epigrams.

  • Vary the Presentation

Play selection might offer a Company all kinds of opportunities to present different types of production from different eras, but variety in staging and design can add considerably to arguments about the ongoing relevance of particular writers and their ability to draw on the consistent human emotions and behaviours that defy historical era. While each play is a standalone piece true to the purpose of the writer, a season should think more broadly about the visual effect it wants to create to offer variation and possibly even innovation for the repeat customer – it will be interesting to see the approach taken to setting and tone by the forthcoming Pinter season where up to four separate short plays will be presented on the same night.

Branagh’s season managed this well, often using the same design team across several plays, and presented five very different but thematically unified worlds to the audience. Running in repertory, viewers were taken from the magical pseudo-nineteenth-century kingdom of Leontes in The Winter’s Tale to the chaotic 1950s touring theatre of Harlequinade, with its faux medieval references in the costumes. The Painkiller, set in a Boutique Hotel, was a modern split screen with a sharp-suited assassin, while Romeo and Juliet referenced the monochrome glamour of 1960s La Dolce Vita Italy, before faded 1950s working-class Britain became the backdrop to The Entertainer. Each play was unique and individually designed to take the audience back and forth in time, but the human tragedy and delusion at the heart of every piece was always crystal clear, providing a unity across the work.

By contrast, the Wilde season seemed frustratingly unadventurous, despite different directors and designers separately taking charge of the four plays. Together they produced a remarkably unvarying and one-note portrayal of late nineteenth-century grandeur. Audiences have a passion for traditional Wilde, so it would be perfectly understandable that two or even three of the shows would want to retain their period-specific focus, but the hope that at least one would take a more creative path was soon dashed.

Of all the work presented in this season, An Ideal Husband most lends itself to taking a more unusual approach to characters and scenarios that more obviously reference the modern day. Most audience members may not regularly dine with the aristocracy, but politicians with dark secrets about the origins of their power being blackmailed by unscrupulous outsiders with plenty to gain is a recognisable and relatable construct. It becomes even more prescient when we consider that the inflexibility of the black and white morale code that Wilde toys with through the character of Gertrude, and which now reflects our Post-World War cultural love-affair with the anti-hero where a bad deed done for the right reason is forgivable and even desirably human.

Traditionalists will argue that to see Wilde performed well is always welcome, and An Ideal Husband was a particular highlight, but what is a season for if not to offer a creative opportunity to see the work afresh. One key way to do that is through the setting, imagining why the play has survived so well and what it has to say – Wilde’s writing is more than a string of funny lines, there is something about the fundamental human condition that runs through his work, which the repetitive framing failed to satisfactorily draw out.

  • Have a Point of View and a Grand Finale

Knowing what you want audiences to take-away from the work is the next key criteria, and strongly relates to the arguments above. As a collective body of work, what is it that the Company wants to say about the writer or the specific collection of plays that they have chosen to present? Or is the whole enterprise a cynical money-making scheme? Classic Spring’s original intent was to celebrate ‘proscenium playwrights’, rediscovering their ‘original brilliant wit and bold social critique,’ and across the four plays it is the former that has been the focus.

Emphasising the ways in which the work ‘still speak to us piercingly and profoundly today’ has been less clear, and after the emotionalism of A Woman of No Importance and the allusions we drew for ourselves in An Ideal Husband the productions themselves haven’t radically repositioned Wilde as a political commentator or collectively highlighted the foibles of social expectation, status and behaviour that could have drawn the four shows together. We enjoyed some of them as individual productions, but with a changing cast, director and designer they all felt independent of one another, and we haven’t learnt anything new from them as a collective experience.

The Wilde season built-up to The Importance of Being Earnest, rightly saving its most famous piece for the big finish. The end of the season is the opportunity to draw all of the strands together in the one production that visualises the season’s original themes, sending audiences away with a clear sense of its purpose and eager to see what the Company does next. Alas, The Importance of Being Earnest was a damp-squib, easily the worst of the set, an overly-forced disappointment receiving a heap of poor reviews. With little that was truly remarkable or insightful, where Classic Spring goes from here is hard to say.

By contrast, the Branagh season generate its own momentum, taking risks in the choice of production and style, while drawing the strands together in a loose but considered way. Thematically it focused on the theatrical life and particularly a desperation and delusion that prevented characters seeing their situations or themselves as they really are. From the faded starlets of Harlequinade to the star-crossed lovers driven to despair by family rivalry, audiences were able to form a picture across the series, culminating in the ultimate portrait of stale desperation in The Entertainer. A theatre season has to be more than the sum of its parts, we can love the individual plays but, through staging or unusual show selection, it should develop connections and insights for an audience that didn’t exist before.

  • Venue and Casting

Finding the right space is often more about availability than design, but in choosing the Vaudeville Classic Spring added an extra dimension to the work, meeting one of their key purposes of the season to stage shows in the place the playwright created them. Along with the added frisson, the Vaudeville also works for audiences with good sight lines from most seats. The Garrick was more frustrating for Branagh fans with a significant curve in the upper levels that obscured half of the stage, while the stalls seating is insufficiently raked for viewing.

Both seasons attracted plenty of famous faces guaranteed to draw audiences with Freddie and Edward Fox, Eve Best, Sophie Thompson and well-loved comedian Jennifer Saunders embodying some of Oscar Wilde’s most well-loved creations. Arguably by retaining some continuity of cast and crew between shows, Branagh’s approach had a deeper purpose, offering a form of repertory training for emerging talent on and off-stage, while providing platforms for actors fresh from drama school to work alongside theatrical titans including Judi Dench, Derek Jacobi, Greta Scacchi, and Branagh himself, as well as up-and-coming actors including Lily James, Richard Madden, Jessie Buckley and Tom Bateman who had previously or would go on to work again with the notably loyal actor-director.

  • Critical Data

While the Critic no longer wields the make-or-break power they once held as audiences draw on a range of information when selecting a show, the reviews are still a valuable indicator of a production’s value in the wider landscape. Looking at the star ratings apportioned to each show in the Wilde and Branagh seasons by the leading publications is very revealing, and, in terms of average critical acclaim, The Branagh Theatre Company outperformed Classic Spring overall.

Looking at averages for The Times, The Guardian, The Telegraph, The Independent, Time Out, The Stage, WhatsonStage and The Reviews Hub reveals:*

Season Averages

Only An Ideal Husband earned 3.5 stars or more, while three of Branagh’s shows achieved that. And despite a 5* outlier from Whatsonstage, The Importance of Being Earnest only received a damming 2.8 stars, Branagh’s lowest scoring show being Romeo and Juliet with 3.3 stars. The critics clearly found less to love in the Wilde season for some of the reasons mentioned above.

The dedicated theatre season is slowly becoming a notable and much-anticipated feature of West End scheduling, but running one is never as straightforward as it may seem. Putting on a series of shows loosely strung together has lessened the impact of the Wilde season, missing an opportunity to offer the promised new perspective. With a 6-month season dedicated to Harold Pinter about to begin over at the theatre named after him, Jamie Lloyd and his theatre company can learn some lessons from Classic Spring. With plenty of star names, rarely seen work and Lloyd’s particular touch, let’s hope London’s next big theatre season is one to remember.

The Classic Spring Oscar Wilde Season concludes with The Importance of Being Earnest until 20 October. The Pinter at the Pinter Season begins in September with tickets from £15. Follow this blog on Twitter @culturalcap1

* The full data from the critics:

Critics Data

Key – Tm – The Times, Tl -The Telegraph, Gd – The Guardian, In – The Independent, St – The Stage, TO – Time Out, Wh – WhatsonStage, RH – The Reviews Hub

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Were We Entertained? Reviewing a Year of Branagh Theatre

branagh-theatre

In a little over two weeks the curtain will come down on The Branagh Theatre Company’s (KBTC) year-long season at The Garrick. It opened last October with The Winter’s Tale and Harlequinade / All on Her Own in repertory – starring acting heavyweights Judi Dench, Michael Pennington and Zoe Wannamaker – it scooped-up the West End transfer of Red Velvet, before French farce The Painkiller in March with Rob Brydon. Romeo and Juliet followed in May with rising stars Lily James and Richard Madden, before ending with the elegiac The Entertainer which opened at the end of August. Twelve months, six plays and several star names later, but what has the company achieved and what does this mean for London theatre?

The concept of the actor-manager goes back almost 500 years but became more common in the Victorian era, with Henry Irving being the most successful, before the professionalization of backstage roles altered the ways in which the commercial and artistic development of shows were managed. Kenneth Branagh’s has himself attempted the role before in the Renaissance Theatre Company from 1987-1992 which combined a variety of fringe, West End and touring shows over several years before branching out into the films that eventually took Branagh away from the theatre. Coming back to it nearly 25 years later is, then, an interesting choice – possible a sense of unfinished business for the youthful Branagh that has culminated in this series of new productions.

In many ways the season felt like a coming together of the last two decades of Branagh’s career, working with people he likes and knows well, while integrating his knowledge of film and TV techniques with his arguable preference for fairly classic-forms of theatre production. The most damning criticism levelled at his productions by the critics has been that they are ‘old-fashioned’, but even if you consider them to be – and I’m not sure I do – there is a place for the traditional alongside the innovative in the London theatre landscape, as the popularity of fairly straightforward touring productions would suggest.

But Branagh and his co-director Rob Ashford have taken risks both in the interpretation of some elements of the text and in the production values that speak to some of the modern trends in current theatre. It was Romeo and Juliet that copped-it most from the critics with what was, in my view, an overly harsh blasting of the interpretation and male lead performance. Instead I saw an attempt to play-up the more comic elements of the text, particularly in the balcony scene which became less mushy and more in tune with out slightly derisory take on modern love, that would appeal to the younger crowd attracted by the TV-star leads.

Likewise critical comment on his interpretation of The Entertainer mostly centred around the fact it wasn’t the same as the Olivier production, whereas Branagh’s interpretation of the lead role was necessarily different and extremely poignant, creating a fluidity between the scenes that is a mark of modern approaches to direction. In difficult circumstances, it added fresh insight into a play that is still tainted by the ghosts of its earlier performers.

The ‘old-fashioned’ tag that dogged the series can also be seen as a deliberate choice and actually part of a wider engagement with the biggest theatrical innovation of the twenty-first century – the live cinema screening. Branagh and Ashford’s presentation of Romeo and Juliet was like a 40s Fellini film in black and white. Now, that shouldn’t be the sole preoccupation of directors, but the way we consume theatre, particularly outside of London, is changing and a cinema broadcast could potentially reach more people in one night than attend an entire run, so it was interesting to see that they quite carefully incorporated ideas on how this would look into their finished stage version. The Winter’s Tale and, this week, The Entertainer were also broadcast so, increasingly production teams have an eye for the cinematic – even when it’s not being broadcast as the spectacular Red Barn currently at the National Theatre demonstrates – and while this may affect the staging and interpretation of live performance to a degree, it’s also something that’s not going away.

We should also remember that this was an inaugural season and without knowing what reaction the suite of productions would elicit or whether there was even a market for them, it seems natural that Branagh and co would play it safe both on the choice of shows and in choosing a bankable cast to attract audiences. It may not seem it now we’ve seen them, but the inclusion of Terence Rattigan’s Harlequinade, a 50s slapstick vehicle that was considerably out of fashion, and the French farce The Painkiller were both notable risks among the more sellable Shakespeare and modern classics. Yet critics and audiences generally loved them, adding much needed levity to a dramatic season and giving Branagh in particular a rare chance to show his comedic skill. Harlequinade especially has been given a new lease of life and we may see it crop-up more regularly in regional and touring productions, while the obsession with life behind-the-scenes that the play captures has arguably marked out an audience who may also be interested in the current revival of The Dresser.

As a new company, Branagh Theatre has also relied on star-power to attract audiences, not just the chance to see Branagh himself – having not appeared in London for 8 years – but in enticing well-loved names like Judi Dench and Derek Jacobi to bolster ticket sales. But this is something that every theatre is doing whether it has a company season or not and looking around the West End this year much of what you see is established star vehicles – from No Man’s Land with Stewart and McKellen next door, to Faustus with Kit Harrington, the stage return of Michael Crawford in The Go-Between and a bevy of others. Yet, this season has also given room to acting’s rising stars like Tom Bateman and Jessie Buckley, as well as some fresh-out of drama school graduates who have the chance to learn in exulted company – a training that was also offered to young directors associated with the KBTC. The creation of community and support for development is one of the vital roles a Company structure can play in developing the careers of young performers and the production team – what effect this will have on the individuals involved will be seen in the coming years but, while it may be less obvious to audiences, it is a meaningful way to induct new creatives into the profession.

So what does all of this mean for theatre and where should the KBTC go from here? London is never short of good plays but a Company season always feels a bit special, a collection of plays with something particular to say. And this first grouping took an affectionate look at the nature of theatre and theatre people, as well as examining a particular kind of human desperation – either born of love, loneliness or failure that have made Branagh’s own performances a significant highlight. But there have been companies before and will be again, whether this one survives remains to be seen.

We should hope for a second season in a year or two, but one that having now established itself, can be afford to be more experimental in its allocation of leading roles, in style of production and even in the incorporation of new writing among the classics. The choice of the Garrick was to some degree an unfortunate one, a lovely restored theatre, but the raking is too slight and the curvature of the auditorium so pronounced that many seats have a restricted view – although these were priced accordingly – but maybe somewhere like the Wyndhams would be better.

The commercial success and revenues generated by the inaugural Kenneth Branagh Theatre Company season may not be known for some time, but performances always felt full, while, artistically, on balance, it should be considered a success, presenting a variety of interesting and accessible work that created a genuine sense of anticipation and a clear affection among its audiences. Not least, the opportunity to see Branagh himself after so long an interval from the London stage has been a pleasure, and one we should hope will be soon repeated. Roll on season two!

The inaugural season of the Kenneth Branagh Theatre Company ran from 17 October 2015 – 12 November 2016 (when The Entertainer ends). The Entertainer will be broadcast live to cinemas on Thursday 27 October.


Romeo and Juliet – Garrick Theatre

Romeo & Juliet - Branagh Theatre

Perfectly timed to open at the tail-end of the Shakespeare 400 celebrations, the penultimate production in Kenneth Branagh’s year of theatre is Romeo and Juliet – probably the greatest tragic romance of all time and arguable the most well-known of his plays. Even if you’ve never seen a Shakespeare play in your life, chances are you’ll know the plot of Romeo and Juliet, potentially a couple of quotes and the fact it has a balcony scene (which was never actually specified in the text). As much as scholars and theatre-lovers may argue that Hamlet, Henry V, Richard III or any other has had a greater impact on the nature of theatre and on the acting profession, Romeo and Juliet has become an intrinsic and recognisable part of the pop culture landscape

Appropriate then, that Branagh’s two leads are most famous for their TV roles – Richard Madden as Game of Thrones Robb Stark and Lily James as Downton Abbey’s Lady Rose – bringing with them a sizeable young fan base that will have some familiarity with at least the story of this play. Yet it is a very difficult play to do well, largely because our tolerance for highly romantic language and the arduous innocence of the young lovers is, these days, tinged with considerable cynicism. As world-weary adults we condemn their teenage crush and feel sure that had they lived they probably would’ve been sick of each other within 6 months. So, the modern audience poses a considerable problem for a director who has to navigate the original language with shifting attitudes to this lovelorn tale.

Many of the critics assumed that Branagh’s stumbling block would be the comedies, most especially The Painkiller which instead proved a triumphant hit, not least with audiences who loved it. Of all the plays in the season, however, it was Romeo and Juliet that I had most doubts about for the reasons above and the relatively untested power of the leads. Yet, Branagh has again proven his mettle as a director by creating an imaginative and compelling piece of theatre that somehow perfectly navigates the pitfalls of this play.

Set in sleek 1950s Italy, it opens in the middle of a stone piazza, with café tables and idle young men in shirt sleeves enjoying the heat. Immediately you think of West Side Story (itself a version of this play) and we get a sense of a world in which the young feel oppressed by the authority of the old, desperate to fight each other but not daring to. It bristles with masculine energy as the warring Montagues and Capulets circle each other trading insults. The palette is entirely black, white and grey, implying a realm of respectability and power invested in ageing men, but one that offers glamorous women and fancy parties. And Branagh, with co-director and choreographer Rob Ashford, have introduced a number of innovations including a nice dance piece at the Capulet’s ball and having three sung speeches, including Juliet taking to the microphone at the party and spotting Romeo for the first time. It’s subtly done but adds a nice touch of variety and modernity to the delivery.

Perhaps the most interesting aspect is how funny it is in the first half, and clearly drawing on his recent productions, Branagh has repurposed some of the more sentimental speechifying and given it a comedy edge, not least in the (in)famous balcony scene. Usually this is played as an earnest confession of love, but here the 14 year old Juliet is drunk from the party and Romeo is still playing the charming lothario, and only towards the end of the scene do they both begin to express sincere emotion for one another. It’s done with restraint so the comedy is never overt and brings fresh interpretation to one of the most famous of Shakespeare’s scenes which will appeal to more current attitudes. Instead of laughing at the high-language we’re being shown the humour in the gaucheness and embarrassment of the characters as they try to express their feelings for each other. It works.

The second half is quite a different beast and here the full danger of inter-family rivalry and the tangled plot in which the lovers find themselves is realised. The atmosphere is permanently charged with emotion – be it grief, anger or love – and the more leisurely pace quickly increases as things converge. It is a marked change of tone which finally allows the actors to intensify their performances and love no longer has a comedic role, instead it is now driving events and becomes completely compelling.

Richard Madden and Lily James have real chemistry as the ‘star-crossed’ pair, and their desire for one another is entirely believable throughout. They nicely navigate their way from love at first sight, through their first nervous exchanges to a physical passion for one another that ultimately consumes them. Madden’s Romeo is initially harder to get to grips with as he rushes some lines and seems to be charming Juliet without entirely devoting himself, but it’s soon clear that this almost rehearsed smoothness is intentional, and it is only mid-way through the balcony scene that you see him realise she is more than another conquest to him and that he begins to feel deeply. Madden grows in the role as events play out and later he equates the violence of Romeo’s love with the more brutal side of his manliness which results in a number of deaths – so as his feelings for Juliet become more firmly established so to do his violent tendencies. Much later in the play as he discovers Juliet’s fate, Madden is excellent at conveying his devastation, making his final scenes quite moving and he will find greater depths of emotion as he gets more performances under his belt.

Lily James is also a great Juliet, capturing the girlish innocence of the 14 year old – an interesting decision to retain that element of the play – experiencing her first feelings of love, lust and rebellion. Of the two it’s the harder role to convince in because Juliet is all emotion so in the wrong hands can seem unvarying and mawkish. Unlike Romeo she has no other developed subplots and speaks almost entirely of love and marriage throughout the play (whether about Romeo or Paris), so in James’s performance it’s fascinating to see greater variety particularly adding texture to the changing relationship with her parents and a steeliness in her final act. And although the balcony scene emphasises the comedy it’s clear throughout that James has a feel for the verse which make Juliet’s declarations of love entirely convincing and heartfelt.

There has been much conjecture about Derek Jacobi’s casting as much older Mercutio than usual but in the context of this production it seems to work well, evidence of another Branagh / Ashford innovation in the way the text has been interpreted. Jacobi gives us a rather camp and effeminate Mercutio, who loves parties and makes a grand first entrance with a silky sway to the music at the Capulet’s ball. We see him then as a peacemaker, far removed from the family turf war and a bit of an old roué. And while it does make his final scene with Tybalt a little ridiculous – how on earth he thought he was going to beat a 20-something in a sword fight – it makes him the first innocent destroyed by the feud. Jacobi is part of the comic charm of the first act that makes his demise all the more shocking and a clear catalyst for the more serious business to come.

There’s a good supporting cast including Myra Syal extracting as much comedy as she can from the role of the Nurse, while Michael Rouse has a standout scene as Lord Capulet tearing into his undutiful daughter and emphasising the dangerous power of these senior men that can easily erupt into violence when crossed. A shame then that the war between the two families feels a little anaemic – and having Mercutio in a comedy role does take away from Romeo’s gang of young thugs –  so you don’t get that feeling of danger all the time or that peace is teetering on a knife’s edge. We see that potential in Rouse’s explosive scene but a little more of that early on would help to heighten the tension and make it clear what’s at stake.

Credit also to James, Syal and Marisa Berenson (playing Lady Capulet) for not allowing an audience member’s inexplicable screaming fit to derail their final scene. She was escorted out in less than 15 seconds and the actors resumed unphased. Overall then, Romeo and Juliet is a fine addition to the Branagh series and should garner positive reviews in a couple of days (the disadvantage of buying tickets a year ahead is never knowing when press night will be). It feels contemporary, has taken innovative approaches to some of the tricky aspects of performing this romantic tragedy and delivers a range of interesting performances, not least from its two star leads who will find more meaning as the run extends. And if the tragic ending (beautifully played incidentally) is not sad enough, this is the last Shakespeare of the inaugural season of the Kenneth Branagh Theatre Company and it means we only have one production left. With four wonderful shows under its belt, hopes are high for The Entertainer in August.

Romeo and Juliet is at the Garrick Theatre until 13 August. Tickets start at £15 for the daily front-row lottery and the show will be broadcast to cinemas on 7 July. Follow this blog on Twitter @culturalcap1


Harlequinade / All On Her Own – Garrick Theatre

by Johan PerssonAn earlier version was first published on The Reviews Hub Website.

It’s been eight years since Kenneth Branagh was last in the West End so the decision to form a theatre company and take up a prolonged residency at the Garrick has caused a great deal of excitement. Having been away too long, Branagh is clearly intending to make up for his absence with 5 plays in 10 months – an ambitious plan but one that evokes a more traditional age of theatre. It opens with his superb and near-perfect interpretation of Shakespeare’s The Winter’s Tale shown alongside the lesser known Rattigan farce Harlequinade performed in rep until January.

But the evening begins with a late addition to the programme, an unrelated Rattigan monologue All On Her Own performed by Zoe Wannamaker. It’s a useful two-for-one deal for an audience and ensures the evening reaches ninety minutes with the two together. Rosemary Hodge sees the last of her party guests off and begins a conversation with her dead husband. As the drinks flow, Rosemary feels his presence in the room and begins to imitate his voice in order to understand the cause of his death. Through this one-sided conversation she explores the tone of their marriage, hinting at not showing enough appreciation for him when he was alive. We also see that they were quite different people, Rosemary a prim, middle class woman in a well-appointed home, and her husband a builder with seemingly down-to-earth opinions – like chalk and cheese – but she clearly retains a deep affection for him. It’s a thoughtful and touching performance from Wannamaker who uses the comedic moments well for balance as she imitates her husband’s northern voice, exploring the pain of separation from someone she didn’t realise she loved. In this affecting short monologue Wannamaker takes us through a huge range of emotional responses as her anger and fear overtake her, leaving us questioning how much of this is grief and how much guilt.

Linking the two pieces is a short film about CEMA a post-war policy to bring theatre and music beyond London which is referenced in Harlequinade having provided the funding for the theatre troop in this story to visit a northern town. As the curtain rises on the main event we see a garish looking set complete with wobbly scenery – the location is the dress rehearsal of a hammy production of Romeo and Juliet starring Arthur Gosport (Branagh) and Edna Selby (Miranda Raison) the famous theatrical couple in the midst of the balcony scene. Soon they are gently bickering over their cues and interpretation, as well struggling to manage the mini-dramas within the company. But in the wings is a girl who claims to be Gosport’s daughter that threatens to derail the production and brings startling news that could affect Arthur and Edna’s long-established marriage.

Rattigan’s rarely performed and delightful farce may well be given a new lease of life by Branagh’s lightly charming production. What prevents this from becoming as garish as its scenery is the restraint with which Ashford and Branagh direct, as well as the carefully judged layers of performance which ensure there is a noticeable difference between the consciously exaggerated acting of Arthur and Edna in character as Romeo and Juliet, and the often oblivious people they are when the lights go up. It’s quite close to the bone on several occasions with its hilarious depiction of ‘luvvies’ so immersed in the theatre that real-life becomes a haze and much of the humour derives from the way in which trivial events like Arthur deciding whether to jump on a bench in the balcony scene assume cataclysmic importance while the real-life possibility of bigamy barely registers with him. It is utter nonsense, completely daft and laugh-out-loud funny, but by subtly emphasising the somewhat human side to these people it keeps the audience with them, rather than appearing as grotesques. And it’s comforting to know that some of the silliness Rattigan noticed in the theatre in the 1940s still resonates today – maybe not so much has changed after all.

Branagh displays an unexpected but delightful gift for comedy as Arthur Gosport, both deliciously hammy as Romeo and humorously self-involved as himself. There are a lot of in-jokes but Gosport’s entire submersion in the theatre and obsession with ageing create some of this production’s finest moments including his complete inability to understand the real world. On finding a baby in the wings his only concern is that it may ruin someone’s exit. Branagh even manages to make a wig joke funny in what is a wonderfully vacant performance – as Gosport’s stage manager says “you can’t scatter a void”.

Tom Bateman is excellent as Jack Wakefield, the exasperated stage manager who seems to be the voice of sanity amidst the actorly chaos, as he manages their production and their lives, at the expense of his own – although Bateman cleverly lets us see that for all Wakefield’s frustration, he’s as wedded to the theatre as any of them. Miranda Raison as the squeaky Edna is delightfully fey when it suits her but also incredibly sharp when her marriage or more importantly her part is threatened which is fun to watch, and Hadley Fraser as First Halberdier deserves a mention merely for delivering a line about London critics never noticing him. The whole piece builds to a nice farcical pace which sits well alongside its rep partner as well as providing some much welcome cheer in the West End.

Harlequinade is a great companion piece to The Winter’s Tale, as well as an advert for the forthcoming version of Romeo and Juliet next year, and a chance to see a rare Rattigan. It may lack the wit and sparkle of the finest Noel Coward comedies but this production has bags of charm. And what a delight it is to see Branagh back in the West End after so long. As an influential force in modern theatre the formation of Branagh’s Company is setting a high standard with its inaugural season. Welcome back Ken, we’ve missed you.

Harlequinade / All On Her Own are at the Garrick Theatre until 13 January. Tickets have largely sold out but check regularly for returns. Follow this blog on Twitter @culturalcap1

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