Vienna 1934 – Munich 1938 : Vanessa Redgrave at the Ustinov

I was intrigued when I saw that Vanessa Redgrave would  be appearing at the Ustinov Studio in Bath, in her own production, Vienna 1934 – Munich 1938

I wasn't sure what to expect, What we got, was a bit of a mixed bag - the production is based on period 1934-38, and some of issues around  the rise of the Nazis and  Socialist resisters in Vienna.  It includes encounters with Stephen Spender , Muriel Gardiner, and of course Michael and Corin Redgrave..

The story is narrated by Redgrave, in a very conversational way, which includes her passing her late uncle's journal (kept by him, per regulations, when he was  a Midshipman, in the 1930s)  to the front rows of the audience to look through during the first act. 

In between, the small cast - Robert Boulter , Paul Hilton and Lucy Doyle, are all very good, and all perform several roles, often narrating their character's thoughts rather than interacting with one another, as the action moves from Austria to England, and finishes with a long and impassioned extract from Thomas Mann's speech attacking appeasement.

I was left somewhat disappointed as there was such as strong cast, and fascinating material, but it never quite came together in a coherent narrative - it's more a series of anecdotes and history.

It is interesting, and the performers,  and in particular Redgrave herself, are good enough that the content grips you, but I felt that it could perhaps have done with  more input from an editor or director, to help bring the disparate threads together more.

I am not sure if it is touring, but if it is, it is definitely worth seeing (it would be worth seeing for Vanessa Redgrave alone)

Henry V - Shakespeare At The Tobacco Factory, at the Ustinov Studio

I don't think I have seen any previous Tobacco Factory productions, but I like Shakespeare and I've tended to enjoy plays at the Ustinov, so I was optimistic I would enjoy Henry V, and I was not disappointed.

The production, (directed by  Elizabeth Freestone) has a modern setting,with a minimal, stripped-down set.

At the outset, Ben Hall, as Hal, is still the party prince we know from Henry IV, returning home after a night out, and  the opening scenes, as his lords and bishops discuss his rights to the throne of France, takes place while they assist him to dress and wake up.

As the play progresses, he becomes more confident, but also more vulnerable - appearing a little uneasy in his power, and st times overwhelmed.

The threats made to the 'half achieved Harfleur' speech are made via radio, setting up an interesting question as to whether, and to what extent, Henry is bluffing, as his aides appear appalled, almost on the verge of interrupting him.

The production combines the roles of the Dauphin and Katharine,(played by Heledd Gwynn), which makes for a fascinating and deeply moving slant on the final scenes, and Henry's proposal. Her scene learning English vocabulary, as she cradles the body of her lover, one of the prisoners killed on Henry's order, is extraordinary.

It's a very good production, (and it was good to see women playing Exeter, Monyjoy, Bardolph and the Chorus, as well as the Dauphin)

The play is at the Ustinov until 21st July.

Photos of the show, and tour dates here 

Agnes Colander at the Ustinov

I was curious about this play, billed as a premiere, of a play by Harley Granville Barker, (author of The Voysey Inheritance ) written in 1900 but never previously performed.

Production photo: Otho and Agnes

It's been edited, as the text found was unclear in places, and is directed by Sir Trevor Nunn.

The play revolves around Agnes, (Naomi Frederick) who has left her husband due to his infidelity, and who is trying to make her way as an artist. She is admired by Otho (Matthew Flynn), a Danish artist, and Alexander (Freddy Carter), an impressionable and conventional young man, who knows her through her husband, and initially seeks to encourage her to return to him.

Agnes moves to France to live with Otho, with whom she has physical attraction, but she continues to struggle with the conflicting demands of work, love, sex and relationships, and her desire to grow and succeed as her own person, not merely as a wife or lover, and it become increasingly clear that  while she and Otho are physically compatible, he doesn't love her - and could be equally happy with any number of other women

It's interesting, and all the cast are convincing, but it does bear the marks of being an early work - and despite being unusually modern for the time it was written, it is dated in other ways. Good, interesting, but not great!

Agnes Colander is at the Ustinov Studio, Bath until 14th April

The North! The North!

On Wednesday night, I was in Bath at the Ustinov Studio, to see Chris Harrison's one man show, The North!, The North!.

I knew absolutely nothing about it, ahead of time (I won a complimentary ticket via the theatre's facebook page) 

It;'s a fascinating show - a mix of  narration, mime, animation (with hand-drawn art projected onto the set) and acting.

It describes itself as a 'modern myth'  - it can also be read as a modern fairy tale (with all the dark and deadly roots we know from the original versions of most older fairy tales) 

The starting point is the information that, In 1985, a fissure formed at England's centre and split the north from the south... we learn that this has led to all sorts of interesting Things awakening,and new individuals coming to power, and all the implications are simply dropped casually into the narrative for us to untangle.

It's a very imaginative, incredibly well executed production, and I'm very glad I got to see it. It was only in Bath for 2 nights, but keep your eyes own for other venues. Although you may feel the urge to leave the lights on for when you get home afterwards...

'Christmas Eve' at the Ustinov Studio

Earlier this year I saw a play at the Ustinov studio called The Mentor. It was by a German playwright, Daniel Kehlmann, and was very good. So when I saw that they were putting on another of his plays, Christmas Eve, I decided to book a ticket and see that, too.

Despite the title, this is not a cheery festive play. It's set entirely in a police interview room, somewhere in Germany, on Christmas Eve. It premiered in Vienna earlier this year, and this production is the UK premiere.

Anti-terror police officer Thomas (Patrick Baladi) is interviewing Philosophy professor Judith (Niamh Cusack) who is suspected of involvement in a planned terrorist incident. 

We get to watch as Judith is questioned, learning that she was in a taxi when she was stopped, and brought to be questioned, about... what, exactly? 

Writings saved on her laptop, which may or may not be preparation for a philosophy seminar? Her left-wing views, and past travels in South America? Her relationship with her former husband?

The audience is kept guessing as to whether this is an example of state paranoia, and oppression, as Judith argues, or whether there is a genuine terror threat. 

Despite the subject matter, there are comic moments - Thomas explaining to Judith that while she is entitled to have a written record of her right, it will be  terrible hassle to get a copy as it's christmas and all the typists are off (and she eventually gets an illegible, handwritten copy)

It's very well done. See it if you can.

It's on at Bath until 19th November.

The Mentor

Friday was a bank holiday, and on impulse, I called the theatre to see whether they had any availability for The Mentor, a play by German novelist and playwright, Daniel Kehlmann. This is, I think, the first English production. It's directed by Laurence Boswell, who also directed Intimate Apparel and Trouble in Mind

The production stars Oscar winner  F. Murray Abraham, as Benjamin Rubin, an ageing playwright persuaded, by a cultural institute,  to spend a week as mentor to a young, up and coming writer, Martin Wegner (Daniel Weyman).

Daniel Weyman, Jonathan Cullen, Naomi Frederick and F Murray Abraham.
Photograph: Simon Annand

They are joined by Martin's wife, Gina (Naomi Frederick) and Erwin Rudicek (Jonathan Cullen), the Institutes's representative, an unsuccessful painter.

We first meet Rubin as he arrives at the villa, simultaneously complaining to Rudicek about the driver sent to meet him and the furnishings in his room, and snubbing him. 

I don't want to spoil the plot, but it it very funny, and mercilessly skews the egos of both writers, in different ways, in between discussing questions around the subjectivity of art appreciation, and success.

I suspect that Murray Abraham, in particular, was having  lot of fun with his role.

It's not a lengthy play - just under an hour and a half, and perhaps some of the themes, such as Gina's back story, but it is well worth seeing, and great to see such a strong cast, and the intimacy of the Ustinov studio works very well for this play.

The Mentor is at the Ustinov until 6th May. If you are in or near Bath, and get the chance, go!

Busy, Busy

I haven't blogged for the last few weeks a I haven't had time - I've been too busy having guests, and being a guest!

First up was a visit from my parents, who were attending an event near me, which led to a slightly unsettling role reversal where I drove them to their 'do' then spent the evening at home waiting for them to phone for me to pick them up!  

The following day, my dad's cousin came over for Sunday lunch, which was nice.

The the following weekend by friends J and J came down for the weekend, and we spent a restful Saturday mostly eating and chatting, before heading into Bath in the evening for a rather nice meal, and to see 'Exit the King' at the Ustinov Studio. It was very suberb (if a little odd, which, given that it is by Ionesco and is 'theatre of the absurd', is not surprising!


The play featured Alun Armstrong as the King, Siobhan Redmond  as his first wife, who guides him in accepting his impending death, and William Gaunt as the Doctor.

The play is all about the King's death, and his difficulty in letting go, and is strange, but very good, and it benefited from the excellent cast!

I am not sure whether I would have booked had I not had guests coming, but am very glad that I did! 

And I loved having J and J here, and being able to spend a relaxing couple of days catching u, and playing with the kittens.

Catch up - Monty Python, Sandi Toksvig and Bad Jews

I've mostly been working over the last week or so, which is not terribly interesting for blogging purposes.

However, there have been some entertaining bits and pieces I haven't had time to write about.

I went over to Wells to the cinema to see the live broadcast of the Monty Python show, from the O2 Arena, which was lots of fun - predictable, of course, as any 'greatest hits' show was bound to be, but generally most entertaining. (I did get rather a lot of amusement from watching the family sitting in front of me - I don't think the parents were expecting the Penis Song or the giant candy-striped penis shaped confetti cannons!) And I loved the appearances of Professors Brian Cox and Stephen Hawking, and the sight of the Pythons, now all old, rich men themselves, performing the 'Four Yorkshiremen' sketch.

Then last week, Sandi Toksvig was in Bath promoting her recent book, 'Peas and Queues', and was speaking at an event organised by Topping & Co. - the evening was a lovely mix of personal anecdotes, and comments about manners, and finished up with a short Q and A session. As it was  a very warm night, and I was tired, and there were a lot of people, I didn't stay to get a book signed (or just to say hello - I loved that she specifically said that people were welcome to come just to say hi, and that no one had to buy the book, as it is available in libraries too!)

then on Friday I headed back into Bath to go to the Theatre Royal's Ustinov Studio to see Joshua Harmon's 'Bad Jews'. I booked it as I noticed that one of the actors involved was Ilan Goodman, who played 'Mr Marks', the shy Jewish haberdasher in the production of  'Intimate Apparel' I saw in June. 

This play is very different - a darkly comic tale about who should have a family heirloom, and why.. Special mention goes to Joe Coen, as Jonah, who has I think, the fewest lines, and whose character is b far the least dramatic, but whose anxious (and vain) attempts to avoid conflict are essential to the play.

It's playing until 30th August, and is well worth seeing if you are, or can be, in Bath.

'Intimate Apparel'

Last night I went to the Ustinov Studio in Bath (which is a small, studio theatre attached to the Theatre Royal) to see a production of Lynne Nottage's Intimate Apparel. 

Tanya Moodie as Esther

I visit the Theatre Royal pretty regularly, but this was the first time I've been to the Ustinov, which is a much smaller (and newer) theatre.  I really enjoyed the evening.

I have to admit that I'm not familiar with Lynne Nottage's work, but based on this performance, I have been missing out, and would like to see more of her work.

The play is set in New York in 1905, and is an imagined history of the author's own great-grandparents. Esther (Tanya Moodie) is a 35 year old seamstress, who has lived in the same  boarding house for 18 years, since walking to New York to seek work, and who sees other girls coming and going, moving on to marriage and motherhood.  She longs for love, and dreams of opening her own beauty parlour where poor, black women such as herself could go to be pampered and treated well.

Esther then receives a letter from George Armstrong (Chu Omambala), a labourer on the Panama Canal. Being illiterate, Esther relies on two of her clients, wealthy, unhappily married Mrs Van Buren (Sara Topman) and singer / prostitute Mayme (Rochelle Neil) to read the letters to her, and to compose replies.

Esther also has a friendship with Mr Marks, (Ilan Goodman) a Jewish haberdasher with whom she bonds over a shared love of fine fabrics.

Tanya Moodie's performance is perfect, creating a deeply moving, poignant character, longing to be loved.

George is a less obviously sympathetic character, particularly in the second half of the play, and I was slightly distracted by his accent, which seemed to slip from the Caribbean, to Bristol, to Ireland.

Over all, however, this is a fantastic performance, of a great play. And it's on in Bath until 28th June, so if you live locally, there is still time to see it. (and it is in London after that)

Go.