The Plough and the Stars

by Sean O'Casey

seen at the National Theatre (Lyttleton) on 25 August 2016

Jeremy Herrin and Howard Davies have co-directed this revival of Sean O'Casey's play set in 1915 and 1916, marking the centenary of the Easter Rising in Dublin. The set, designed by Vicki Mortimer, shows us a crumbling tenement in Dublin - first the Clitheroe's flat, then a nearby pub, then the outside of the tenement, and finally the attic flat. A clever use of the revolve reveals the general seediness of the area, and, later, the dangers arising from the street fighting of the uprising.

The Deep Blue Sea

by Terrence Rattigan

seen at the National Theatre (Lyttleton) on 15 August 2016

Carrie Cracknell directs Helen McCrory as Hester Collyer, Tom Burke as Freddie Page and Peter Sullivan as William Collyer in this fine revival of Rattigan's 1952 play. 

Tom Scutt's stage design reveals both the living room and the kitchen of the flat where 'Mr and Mrs Page' live, with the bedroom hinted at when necessary through a gauze screen. Behind the door to the flat we can glimpse the common stairway to other flats, and indeed the main walls of the storey above are also revealed instead of implying an implausibly high ceiling. This clever use of the space allows other residents to come and go (mainly one presumes leaving for work in the morning and returning in the evening), reminding us that we are being shown just one crisis in one flat amongst thousands.

Young Chekhov

Platonov, Ivanov and The Seagull reversioned by David Hare

seen at the National Theatre (Olivier) on 13 August 2016

Anton Chekhov's three early plays - the first of which was not performed in his lifetime - were presented last year at the Chichester Festival as a unified insight into the dramatist's development. Most of the original cast have been reassembled to present the plays in London this summer. The three plays were directed by Jonathan Kent and the sets - variations on Russian country estates - were designed by Tom Pye.

In many ways the best way to appreciate this ambitious undertaking is to see all three plays on the same day. Patterns and themes emerge - there are references to Hamlet in each play; there is a significant part for a doctor in each play, though the three doctors are utterly different in style and personality; there is an idealistic but frustrated young man in each, colliding with an idealistic and frustrated young woman with painful consequences; surrounding the main characters are an assortment of hangers-on, older but not necessarily wiser relatives who are part of a wider and often stifling society. But the fascination of all this is that though the situations may appear similar in bald summary, the tone of each play, and the way the characters interact (or fail to interact) in each, makes for a wide and rich spectrum of human behaviour. Chekhov is revealed to be the master of social comedy and romantic melodrama just as much as his more well-known bittersweet examination of thwarted idealism and crippling ennui. 

Faith Healer

by Brian Friel

seen at the Donmar Warehouse on 1 August 2016

Directed by Lyndsey Turner and designed by Es Devlin, this production features Stephen Dillane as Frank, the faith healer, Gina McKee as his partner Grace and Ron Cook as Teddy his manager.

The play consists of four monologues given by Frank, Grace, Freddy then Frank again, each actor alone on the stage in a different setting, each recounting directly to the audience some episodes from Frank's itinerant journeys around Wales, Scotland and Ireland as a faith healer who occasionally (but not often) effects cures.

It is an extraordinary theatrical device, removing the usual situation in which characters on stage can interact with one another, and instead relying on extended reminiscence to reveal both character and narrative. Matters are further complicated by the fact that the accounts of the three speakers differ so markedly in some details that it is impossible to know exactly what happened; or rather, it becomes necessary for the audience to include these contradictions in its assessment of the characters and their experiences. Although the general shape of the 'story' seems relatively clear, the different accounts of it are impossible to reconcile with absolute finality.