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Posts Tagged ‘Chiwetel Ejiofor’

Blue / Orange

Posted in Theatre, tagged , , , , , , , , , , , on May 18, 2016| Leave a Comment »

It’s sixteen years since this Joe Penhall play, probably his most successful (if we don’t count the Kinks musical Sunny Afternoon), premiered at the National Theatre and went on to win awards and transfer to the West End. It starred Bill Nighy, Andrew Lincoln and a young Chiwetel Ejiofor. I must have enjoyed it as I went twice.

We begin at a meeting between trainee psychiatrist Bruce and his patient, afro-caribbean Christopher, the day before his scheduled discharge from hospital. Bruce clearly believes Chris isn’t ready, but Chris is desperate to go home. They are joined by senior consultant Robert, Bruce’s boss, who is very much for discharge, though maybe for reasons of expediency (to free up a bed). 

Bruce and Robert disagree on the diagnosis, somewhere between borderline personality disorder and schizophrenia, and argue, sometimes in front of their patient. We learn Bruce has been sucking up to Robert socially and of Robert’s research into connections between mental health and ethnicity. In the second act, Robert meets Chris without Bruce and this results in an investigation which threatens Bruce’s career. In the third act, the senior and junior doctor play out their disagreements in front of Chris. In all of this, the patient’s interests are somewhat buried.

The play explores the motivations of the three characters as well as issues of medical ethics and racism, but I’m afraid I found it somewhat implausible this time around. Though I am prepared to believe health policies, the need for authority, research and career interests may all affect people’s behaviour, I just couldn’t believe that these two professionals would behave like they do in front of their patient. The acting of David Haig as Robert is unrestrained and over-the-top, as is that of Luke Norris as Bruce in the final act. Somewhat ironically, Daniel Kaluuya’s outstanding performance as Chris is more restrained, subtle and intelligent and his sudden switches from funny to manic are deftly handled.

Jeremy Herbert’s design echoes his one for Hamlet here four years ago, as he requires you to walk through a replica of the stage set consulting room underneath it, on a mystery tour to find your seats in one of the four banks of seating looking down on an island stage. 

I’m afraid I thought Matthew Xia’s production didn’t serve the play well, but it’s worth seeing for another fine performance by Daniel Kakuuya. 

 

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Everyman

Posted in Theatre, tagged , , , , , , , , on June 3, 2015| Leave a Comment »

Rufus Norris’ first production as Artistic Director of the National Theatre somehow seems wholly appropriate. Carol Anne Duffy’s excellent adaptation of this 15th Century English morality play (which may be based on Flemish or Latin originals) is something no-one else could or would do on this scale. It also brings Chiwetel Ejiofor back to the NT after 15 years.

In this contemporary Everyman, he is celebrating his 40th birthday in a somewhat hedonistic way. He’s a successful businessman and his friends (each representing one of the senses or wits) spring a surprise party at the top of a London building. There’s drink, dancing and a brilliantly choreographed communal cocaine snort by Javier De Frutos. We next see him awaken, hung over, to meet Kate Duchene’s cleaning lady God and Dermot Crowley’s droll Death, who set him off on a journey to account for himself, starting with his family who he has all but deserted and continuing through his life, career and relationships.

Duffy’s modern verse sparkles and I think it’s the chief reason the play works so well today. It’s performed on a bare stage in front of a giant video wall with a pit at the rear for most entrances and exits. A few tables, some mannequins and a lot of rubbish are the only props, but with great lighting, music and a giant wind machine it all seems epic. In addition to a brilliant but exhausting performance from a sweat-drained Ejiofor, and the terrific turns from Duchene and Crowley, the 20 strong supporting cast includes the wonderful Sharon D Clarke as his mother (who gets to sing Stormy Weather) and Nick Holder as Strength.

We haven’t seen Everyman in modern times as much as we have it’s contemporary The Mysteries and its great to see it staged at last, particularly in such a fine production on the Olivier stage led by one of the greatest actors of his generation.

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A Season in the Congo

Posted in Theatre, tagged , , , , , , , , , , on July 13, 2013| Leave a Comment »

Walking through the doors into the Young Vic auditorium has become one of life’s exciting little adventures; you never know what you’re going to see. This occasion was particularly exciting, confronted by Lizzie (Shunt) Clachan’s giant two-tier set that takes up half the space, with a disused empty swimming pool filled with tables & chairs for the audience!

I have to confess that this is a slice of history which has passed me by, probably because I was too young to engage with it as ‘current affairs’ and it somehow hasn’t become modern history yet. We’re in the Congo as the 50’s become the 60’s. It’s still a Belgian colony when charismatic beer salesman Patrice Lumumba sets up a political party. Within 5 years he’s Prime Minister. Within 7 months he’s dead.

Though Aime Cesaire’s 1966 play focuses on little more than a year in one African country, it could be the story of the African continent – predatory European colonists (Belgium, Britain, France, Portugal) and their greedy unprincipled corporations followed by imperialist superpowers (The US, USSR and now China), an ineffectual UN and local bullies all after the same thing, none giving a shit about the African people. We get Lumumba’s tragic personal story, but we also get the big geopolitical picture. It’s fascinating.

Erstwhile film director Joe Wright’s staging is, as one might expect, on a spectacular scale. There’s an atmospheric soundtrack and lots of wonderful Congolese music, some played live by Kaspy N’Dia. The US, USSR and greedy businessmen are represented by puppets. With the help of choreographer-of-the-moment Sidi Larbi Cherkaoui, there’s great dancing and stylised movement. Kabongo Yshisensa, when not playing beautiful Likembe, acts as a sort of spirit-of-Africa narrator, speaking in Congolese and translated by other actors. Women play men and black actors play white roles with elasticated noses or blonde wigs!

Joseph Mydell is excellent as the president who turns and Daniel Kaluuya is terrific as Mobuto, the army colonel who goes on to rule for 32 years – what a long way Kaluuya as come since Sucker Punch & Oxford Street at the Royal Court. Towering above them all is Chiwetel Ejiofor as Lumumba, whose trajectory from humble salesman to Mandela-like hero and ultimately martyr is played with great subtlety; a stunning performance.

Another triumph for the Young Vic; not to be missed!

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Othello

Posted in Theatre, tagged , , , , , , , , , , , , , , , on May 2, 2013| Leave a Comment »

I was so excited about two of my favourite actors cast as Othello (Adrian Lester) and Iago (Rory Kinnear), heightened by seeing Lester play Ira Aldridge play Othello in Red Velvet at the Tricycle last year, there was a big risk of disappointment. The surprise turns out to be  how much else I loved about Nicholas Hytner’s production and how the exciting casting didn’t overshadow it at all. This is one of the best Othello’s I’ve ever seen, and one of the best modern settings of Shakespeare.

After the initial scenes in Venice, we are propelled to a hyper-realistic army camp in Cyprus, brilliantly designed by Vicki Mortimer. As soon as you get into the rhythm of the verse, this is a contemporary thriller, not a 400-year-old play. It builds brilliantly and draws you in to the story of power, jealousy and revenge. About the only implausibility in a contemporary world is that it all rests on a handkerchief!

The racism Othello is subjected to struck me more than ever. Iago seems much more complex here than I’ve ever felt before. The scene where the authorities decide to send Othello to Cyprus could be a cabinet meeting at the outset of the Iraq war. In the barrack room, the soldiers play drinking games and get drunk, as they would. Ludovico arriving by helicopter rather than ship makes complete sense. This is intelligent rather than gimmicky, though perhaps Roderigo as Prince William is a little tongue in cheek! From the moment that Othello takes Iago’s bait (in the gents!) it unfolds like the best thrillers.

Neither Lester nor Kinnear disappoint and compare favourably with my other Othello’s, from Ben Kingsley (when it was acceptable!) to Chiwetel Ejiofor, and Iago’s, from Ian McKellen to Ewan McGregor. Lyndsey Marshall as a soldier Emilia is the best interpretation of this role I’ve ever seen. In a distinctly unstarry company, there is fine support from William Chubb as Brabantio and Nick Sampson as Ludovico, amongst others.

I think I enjoyed this even more than any of the other Hytner Olivier Shakespeare’s and at the end I was desperately hoping his departure as AD won’t mean its the last.

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