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Headlong’s Jeremy Herrin: “Men in positions of power certainly have to be conscious of the privilege their gender gives them.”

Headlong artistic director Jeremy Herrin slopes into our meeting at the Southbank Canteen looking like a man who has just popped to the shops. I ask if he can tell me what is in the bag. “No,” he says drolly.

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Jeremy Herrin

“It’s for a particular project that I can’t talk about… So, like the great journalist that you are -you’ve ferreted out the story and I can’t talk about it. I just can’t.”

Never mind.

This has been another ripe year for Herrin; a west end transfer of James Graham’s This House and a collaboration with the Michael Grandage Company for Labour of Love. A Broadway transfer & UK Tour of People, Places & Things. He also directed Jack Thorne’s Junkyard at Bristol Old Vic and The House They Grew Up In, at Chichester.

We talk about Sarah Lancashire pulling out of the world premiere of Labour of Love on doctor’s advice – during rehearsals.  “When you consider the terrifying challenge of losing Sarah to illness, then you could say we really landed on our feet to get the magic Tamsin Greig,” he says.

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Martin Freeman & Tamsin Greig in Labour of Love

“I am really delighted with how it’s all worked out. The commercial pressure when producing in the West End is enormous. Actors fall away because of certain problems but Labour of Love is very much an ensemble and a great company, so we survived. Tamsin & Martin are on stage at all times. You could argue that Jean is the emotional heart of the story so it was challenging to lose Sarah but we overcame it.”

Earlier this summer, DC Moore’s play Common was critically mauled and opened to terrible reviews at the National’s Olivier theatre. I ask how he feels about the show, a few months on.

What I felt about Common at the end of an undoubtedly challenging experience was that it was worth a go; it simply didn’t come together as a show,” he explains. “That was obvious as soon as we put it in front of audience. I’m sure it would have been less exposed in another space. It’s easier to learn a lot on the ones that don’t entirely work. If it had happened earlier in my career then it may have upset me more.” Does critical seal of approval still matter?

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Ann Marie-Duff in Common

“I’ve directed shows that haven’t worked and yet have got really good reviews – I’ve directed shows that have worked but have got really bad reviews and I’ve directed shows that haven’t worked that got bad reviews,” says Herrin.

“Just because a show gets bad reviews doesn’t mean it’s a bad show. We’re in hock with the critical community; we’ve made a deal, which is we get free publicity but we dance the dance and we gamble that they will like the shows well enough to shout about them. Common, in that way sort of fell through the gap… The advice to pass on, if there is any, is to be absolutely certain about where you get your validation from.” 

He continues: “I’m very clear about my relationship with my work, I know better than anyone how successful it is or not. Well before press night, I’d already worked out that Common wasn’t hitting the target. There is that phrase: ‘success has many fathers, failure is an orphan’ that’s so true,” he says.

He is, though, very clear about his craft: “Directing is finding a language of performance – finding a bridge between an audience and a dramatic work. Allowing that synthesis to create something completely new,” he says.

“Sometimes the most invisible bit of directing is the most important. Beginning by David Eldridge is brilliantly directed – I loved it. Apart from a couple of sound cues – I couldn’t see Polly’s (Findlay) hand in it. Obviously, a design process had taken place and really detailed character work but I wasn’t aware of any direction – that is sometimes the best sort of directing.” 

Jeremy inherited Headlong from Rupert Goold, now artistic director of the Almeida. Coincidentally, two of James Grahams plays (Labour of Love & Ink) are playing on St Martin’s Lane – directed by both men. Herrin is a bit older than Goold, I ask if they have a competitive relationship. “Are we friends? We’re really friendly,” he says.

“I’m not really close to him and we don’t get in touch much, just every now and again. I have a lot of respect for him. I don’t feel like I’m competitive with him because I feel like what we do is very different.”  

“I have to admit that when I watched Ink I thought about what my production of it would be like because James is a writer that I was lucky enough to get hold of first. I just did This House, so Ink is like a little brother or sister to This House,” he decides.

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This House

Headlong has no venue (it is based in a small office in Waterloo) but partners with theatres around the country and internationally working with regional venues, and brings exciting new plays to cities all around the country. “The first thing you realise when you run a touring company is how wide the economic gap is between London and the regions,” he says.

“In London there seems to be plenty of people with plenty of money willing to spend it on plays. In the regions it can be more challenging, even with enlightened policies and subsidised ticket prices. What’s initially galling, and ultimately inspiring is the fact that people go to the theatre at all. My feeling is that when they do, the work needs to be of the highest possible quality and as meaningful as we can make it. That’s where Headlong comes in. It’s our mission to provide that.”

What are the biggest challenges of leading a touring company in the current climate? “When we tour shows we are basically spending our subsidy. It’s a question of how much we are going to lose. So, PPT on the UK Tour is doing really well – creatively, it does what I want it to do – which is that it makes an argument for what the medium of theatre is –  but that costs a fortune because it’s an ambitious and technically daring show,” he says.

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There are moments in our conversation where he loses me completely. It is almost as if he talks the way he makes theatre happen – inspired, dynamic, associative and extremely concise. But he also has a rare ability to return to ground and answer questions unflinchingly.

When asked about the bullying and sexual harassment crisis engulfing the industry, he responds directly. “Headlong were very pleased to sign up to the joint statement, which says there can be no place for sexual harassment in the world of theatre,” he says.

“It’s true to say that there is an inherent systemic sexism in our society, and internationally, and of course that is going to filter down and become an expression of male power in every industry. Our industry happens to be theatre, male power has been expressing itself like that forever. Collectively the people (women and men) that feel that they have been victimised by this imbalance now have negotiated a safe space in which they can call it out.”

We talk about Weinstein, Spacey and names that have come up. “It will probably be a bit turbulent for a while as stories come out and these voices are heard,” says Herrin. 

“Men in positions of power certainly have to be conscious of the privilege their gender gives them and it’s appropriate for them to consider their behaviour and audit their past. Any human being has a certain amount of unpicking to do, to think about relationships and consider what those relationships were based on, and how power plays into it.”

It must be hard to choose one thing that he is most proud of, so I ask what production he would most like to revisit. This House and PPT are the most visible ones, but two from the last year that were excellent shows that haven’t yet exhausted their full potential are Junkyard and The House They Grew Up In – I feel like I have unfinished business with those shows,” he says, smiling.

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Junkyard

The House They Grew Up In did something remarkably potent and political to that audience. There was something significant happening in that space – it really infuriated them to start with and as it went on it was really cathartic and ultimately transcendent. The audience battled with feeling for those two difficult characters and eventually Deborah’s writing seduced them and they fell in love with the characters and it was a joyous and hilarious and uplifting occasion. And Junkyard was pure pleasure: a great young cast and an evening of politics, jokes and charm. It’s a huge hit waiting for the right home.”

People Places Things is at Liverpool Playhouse and then Cambridge Arts Theatre until 25 November  

Labour of Love is at the Noël Coward theatre, London, until 2 December. Box office: 0844-482 5141.

 

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Young Frankenstein: do we all make our own monsters?

The gender roles in Young Frankenstein raise huge questions around our own collusion as audiences and Mel Brooks’ musical comedy starring Ross Noble, Hadley Fraser, Summer Strallen and Lesley Joseph is ruffling feathers.

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The background is that, in Natasha Tripney’s two-star review for The Stage she makes her case very pertinently about how certain attitudes towards women feed in to a culture that is damaging to women. “You could argue that I’m taking things too seriously, that this show is basically benign and just out to make its audience laugh, but this stuff matters. It adds up. It contributes to a culture in which men in positions of power, movie producers say, can treat women like they exist solely for their titillation and amusement. It’s damaging – and it’s just not funny anymore.

Similarly, Alice Saville wrote a piece for Exeunt (Let’s not forget that Tripney co-founded Exeunt) examining mass culture and sexism within the industry, but misses a trick of weighing the best of the present against the worst of the past. Saville too seems to think that the Guardian’s Chief Theatre critic is conspiring against women: “If the most common way to deal with women who call out sexism and harassment is silence, a close second is this time-honoured strategy of casting people who object to rape jokes and sexism as humourless. Michael Billington’s Guardian review seems to do so, too, albeit in a weird coded way – “This may not be a show for sensitive souls whose idea of a jolly evening is sitting at home reading Walter Pater. For the rest of us, who cherish popular theatre’s roots in laughter and song, it offers two-and-a-half hours of time-suspending pleasure.”

Good grief.

This recurring debate speaks volumes – and prompts this writer’s irony-meter to explode – especially when Young Frankenstein is a musical from a lost vaudevillian universe where the women were leggy and offence was given (and taken) in the spirit it was intended. This all happened in a time pre ‘Trial By Social Media.’

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Can the imagery of gender stereotypes, now so deeply carved on our brains, prevent us from looking beyond the roles assigned to us? I found the elements in question to be a subversive use of entertainment as a means of consciousness-raising. This show is portraying a period, with humour and accuracy.

I felt uncomfortable at times. But isn’t that the point?

Post-Weinstein, I was hyper-aware about my own gaze at the females on stage; but the performances in question here are very funny and subtly ridiculing that.

Even when Hadley Fraser lecherously embraces his fiancé and she pushes his tongue back into his mouth, singing ‘Please Don’t Touch Me’ – I couldn’t but applaud what in other hands might seem tasteless. It could be argued that the show is an inappropriate artefact and should be *at the very least* seriously reconstructed or consigned to the archives. Or, how about not watching it?

Amid the frenzy, we should also pause to remember the Mel Brooks’ heyday as a filmmaker was in the 1960s and 1970s, when sociopath Richard Nixon was in office. Brooks is one of the greatest comedians of the twentieth century whose work is slapstick, irreverent and certainly not polemic.

It’s true that some genres, such as comedy, have thrived on dementedly sexualised and explicitly demeaning imagery of leggy women and ‘funny-sexy’ for decades, but this old-fashioned approach should not represent a line being crossed. I think it’s slightly naïve to beat up the past with the stick of the present.

We know now that sex and sexuality is always going to be part of theatre, and always should be.

But that’s not to say it’s all plain sailing…

After the show I asked ten humans, who identified as female, whether they found anything in Young Frankenstein to be a) offensive or b) misogynistic. Interestingly, they all said no. One woman told me: “I am actually pretty sick and tired of all this right-on idiocy. I have three daughters and I have raised them as independent women. We have loved every minute of it.”

Another woman that I was sat next to told me: “I didn’t want a female Doctor Who – but here we are. I don’t need approval from anybody to enjoy the theatre, I don’t read reviews because the writers often bring their own agenda.”

Nevertheless, just because the ten women did not have a problem with the content of the musical as a misogyny-fest does not mean that no female humans will have a problem with the representation of women on stage.

If a lost British musical was unearthed tomorrow featuring a cartoon monster raping a woman in a cave as a term of abuse, would Cameron Mackintosh commission it, or would he censor it? He’d censor it.

Perhaps there should have been a 2017 sensibility to Young Frankenstein, in much the same way that racist elements are removed from repeats of 1970’s sitcoms on daytime TV. Arguments that “they’ve been playing it uncensored for decades” are irrelevant: society moves on, which is why slavery is a crime, marriage is equal, homosexuality is not a crime and why women are allowed to vote.

Obviously, the history of patriarchy is extensive and entrenched. So, do we remake these stories and tell them differently if we are going to change our own culture and its attitudes towards women? Progress on justice for women is slow, but it’s happening. Young Frankenstein has been directed with aplomb by Broadway’s finest director-choreographer, Susan Stroman. What’s that? A female director, in the West End.

Whether it is cynical, misogynistic, artistic, all three or none, perhaps this will prove a cultural blip, a peculiar aberration like the huge success of the Take That musical: The Band that theatre fans in the future will look back on as nothing more than a snapshot of pop culture in 2017.

But it is hard not to feel that in 2077, people are more likely to look back on the fuss around Young Frankenstein in the way we now regard the reaction, 50 years ago, to the uproar of ‘Springtime for Hitler’ featuring goose-stepping chorus girls and choreographed swastikas: as rather quaint.

I salute Young Frankenstein for sticking a bonfire under good taste and scorching political correctness. Theatre is full of surprises. All we can do, as audiences, is say it how we see it and respond accordingly because there’s nothing more miserable than silence.

We all make our own monsters and I don’t think that anybody associated with Young Frankenstein is one.

Anyway, there is something rotten in the world if you need approval to laugh at a Mel Brooks musical.

Go and see it for yourself.

N.B. I am, though, still upset that there wasn’t a gay bar in Transylvania.

Young Frankenstein runs at the Garrick Theatre until September 2018.

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UK Theatre Awards 2017: A blow by blow account

12.30pm I arrive at the Guildhall, London and head for the drinks reception in the Crypts. It’s quite posh. I have a glass of champagne and bump into theatre critic Mark Shenton. “Hello! I’m surprised you managed to fit this in between all your meetings,” he says, laughing. We have a quick gossip.

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Mark Shenton

12.45pm I mingle and bump into critics Lyn Gardner and Fiona Mountford, which is nice. “What on earth are you doing here!?,” Lyn says. I wouldn’t miss it for the world – congratulations, Mrs. I say. Bless.

12.55pm A man from Scottish Ballet asks me to take his photo around forty times – because the lighting is not flattering. I oblige. Great days.

1.00pm Everyone is having lunch. Here is the menu.

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(I was afforded a cheese roll, a banana and a Kit Kat. Beggars can’t be choosers.

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Guildhall, City of London: The Great Hall.

1.30pm The guy from Scottish Ballet appears. “I need somewhere to throw up my gum,” he says to me and the chap from UK Theatre. Words fail me. I suggest a bin around the corner.

2.00pm It’s starting. I think.

2.05pm Oh here comes Gemma Bodinetz who has won the Best Director award for artistic directorship of Liverpool Everyman and Playhouse’s new repertory season. “I’m looking forward to the whole thing now: I can get drunk,” she says. Amazing.

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Gemma Bodinetz

2.08pm “Yayyy Gemma!” Shrinking violet Sam Hodges is gate crashing my interview, which is a bit annoying. Oh well, he’s charismatic.

2.14pm Anyway, why is today so important to Gemma? “I’m absolutely thrilled…  It’s taken me 14 years to win this award. It’s a very important thing for us as an organisation,” she states.

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Samuel Hodges chatting away

2.16pm Let’s have a quick chat with Nuffield Southampton Theatres Sam Hodges then. He has just picked up the Renee Stepham Award for Best Presentation of Touring Theatre for Roald Dahl’s Fantastic Mr Fox. Why is today so important for him and this production, I ask. “It’s a massive deal; it was a glorious show. We’d never done anything on this scale and arguably we shouldn’t have – luckily our board backed this decision fully and this is the icing on the cake,” he says, smiling.

2.18pm I lose the thread of what’s going on and before I know it along comes actor Joseph Millson who has won Best Performance in a Play. What is it about regional theatre that is sexy? “I am hugely devoted to the supporting of local and regional theatres; it saved my life when I grew up in the middle of nowhere,” he says. “Even if it hadn’t doesn’t make you an actor – it gives young people such an independence.” He continues. “There’s something so individual and so much expression. If everyone just bought one ticket a year at their local theatre then everybody could reap the benefits.”

2.25pm I have a glass of white wine. 7/10.

2.30pm Sharon Duncan-Brewster has deservedly won Best Supporting Performance for A Streetcar Named Desire at Manchester’s Royal Exchange Theatre. “A lot of people do not venture out to do any work outside of London, so when I was asked to be in Streetcar I thought the only role I could play is the negro woman,” she says, candidly. What does this win mean to her? “Every city or town that I go perform in, there are people who look like me in the theatre and its time they saw themselves represented on stage,” she says. “I would love to see more of the amazing diverse work happening out in regional theatre coming into London,” she pauses and has a little cry. We have a hug.

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Sharon Duncan-Brewster

2.41pm I run to the toilet and bump into West End Producer Nica Burns(!) She looks fierce in a white gown- I am too scared to talk to her, which is a shame.

2.45pm Best Touring Production went to The Who’s Tommy, which was co-produced by New Wolsey Theatre Ipswich and Ramps on the Moon. The two organisations also received the award for Promotion of Diversity for their groundbreaking work in the inclusion and integration of deaf and disabled individuals. Here comes the Former Artistic Director of Theatre Royal Stratford East, Kerry Michael. What more needs to be done on the diversity front, going forward? “We need continue making inclusive show because they are so exciting – we’ve got to keep winning awards which aren’t just about inclusion but are about high-quality art,” he replies. Indeed.

3.00pm There is a break. Everyone has a chat, dessert and more wine.

3.25pm Sheffield Theatres’ production of Everybody’s Talking About Jamie, which will open at London’s Apollo Theatre in November, wins Best Musical Production. John McCrea, who plays the eponymous role of Jamie, won the award for Best Performance in a Musical. Here come the boys.

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Everybody’s Talking About Jamie lads

3.30pm I have a quick photo with John McCrea who is wearing a rather fetching scarf indoors. ‘Trendy’.

3.34pm Personality vortex Freddie Fox appears with Playwright Sir David Hare. Hare is the recipient of the Gielgud Award for Excellence in the Dramatic Arts from The Shakespeare Guild. We have a photo (I’m really very shy) and I collar Freddie for a chat. “Stories need to be told everywhere all over the country and the world. Not just London. It’s a chance to be heard and seen and celebrated – it clearly means an awful lot to many people,” he says.

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Freddie Fox and Sir David Hare

3.40pm I decide to have another glass of wine. ‘Lol’.

4.00pm Lyn Gardner is this year’s recipient of the Outstanding Contribution to British Theatre award and so actual Emma Rice is here to introduce her. That’s pretty amazing. The whole thing feels quite exciting now.

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4.03pm “A critic being honoured by the theatre industry? John Osborne once suggested most of you are supposed to feel towards people like me the way: “a lamp-post feels about dogs.”” Gardner says, which gets a big laugh. She continues. “If you want to see theatre’s future, then get on a train.” The whole place erupts into applause. Inspirational.

4.10pm Lyn Gardner walks up to me clutching her award. I ask her how would she describe her state of mind? “Discombobulated,” she says. Why is this annual event so significant for the sector, I enquire. “Quite simply, too often regional theatre is not as celebrated as it should be. Regional theatre is a thing in itself – it is not simply a training ground or somewhere where people begin their careers until they move to London. It’s where the vast majority of the population live,” she says, emphatically. She’s got a point. Also, Surely she should get an OBE soon – Billington has one.

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Emma Rice and Lyn Gardner

4.12pm Emma Rice looks uncomfortable and our eyes meet. As someone who is moving forward with a regional company (Wise Children), why do you think regional theatre should be celebrated, I ask quickly. She smiles, enigmaticly. “At Kneehigh – we lived by the Joan Miró quote “To be universal, you also have to be local” – you find communities with stories to tell and friends that they want to tell them with. That’s integrity and that’s the real deal,” she says.

4.15pm What a day. The ceremony concludes and I go and find somewhere to eat a burger.

The end.

Find out more about UK Theatre at UKTheatre.org

UK THEATRE AWARDS 2017 WINNERS

The Renee Stepham Award For Best Presentation Of Touring Theatre

Nuffield Southampton Theatres for the world premiere touring musical production of Roald Dahl’s Fantastic Mr Fox

Best Show for Children and Young People

The Snow Queen, New Vic Theatre

Best Director

Gemma Bodinetz, Liverpool Everyman and Playhouse new repertory season

Best Touring Production

The Who’s Tommy, New Wolsey Theatre and Ramps on the Moon

Best Supporting Performance

Sharon Duncan-Brewster, A Streetcar Named Desire, Royal Exchange Theatre

Best Performance in a Play

Joseph Millson, The Rover, Royal Shakespeare Company

Best New Play

Narvik by Lizzie Nunnery

Theatre Employee Of The Year

Jane Claire, English Touring Theatre and Liz Leck, Birmingham Hippodrome Theatre Trust

Clothworkers’ Theatre Award

Derby Theatre

Best Design

Jon Bausor, The Grinning Man, Bristol Old Vic

Achievement in Dance

Scottish Ballet for the European premiere of Crystal Pite’s striking one-act ballet Emergence

Promotion of Diversity

New Wolsey Theatre and Ramps on the Moon for their groundbreaking work in the inclusion and integration of deaf and disabled individuals

Achievement in Opera

Scottish Opera, Pelléas And Mélisande

Gielgud Award

David Hare

Best Performance in a Musical

John McCrea, Everybody’s Talking About Jamie, Sheffield Theatres

Best Musical Production

Everybody’s Talking About Jamie, Sheffield Theatres

UK’s Most Welcoming Theatre 2017 with Smooth Radio

The Mill at Sonning

Achievement in Marketing/Audience Development

Scottish Ballet for its Digital Season in April 2017

Outstanding Contribution To British Theatre 2017

Lyn Gardner

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Five Things You Should Know About Follies

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1.    Let’s cut to the chase: Follies contains some of the greatest performances I’ve ever seen in a musical.

It features Stephen Sondheim veterans Philip Quast, Imelda Staunton and Janie Dee. Most incredible of all, the way this sparkly ensemble revisit their former lives from 30 years ago to when they first met while working as Follies dancers. The ghosts of the past send shivers up your spine. Also, Tracie Bennett in particular steals the show on a few occasions in a hall of mirrors for all shades of misery

2.    With a near 30-year history and a world-class reputation, Sondheim shows are no strangers to the National Theatre (Judi Dench appeared in ‘A Little Night Music’ in the Olivier, 1995 and Philip Quast in ‘Sunday in the Park With George’ in the Lyttelton Theatre, 1990 etc, etc and so on).

It’s hard to avoid the fact that most of Follies’ action takes place on a stage revolve resembling a merry-go-round in West Side Story. The beauty of this show lies in the precision that draws the multi-layered elements together.

3.    There are incredibly few directors who could carry off at least three quarters of this show. Dominic Cooke’s production for the National Theatre has kept the songs in the faithful style – the orchestra are sublime – but when Imelda delivers a refreshingly devastating low-key version of ‘Losing My Mind’, it’s the night’s highlight. A haunting exploration of character.

This is an inventively staged production with a cast and the arrangements are of a phenomenally high standard. As well as being expertly written the majority of these songs are also skilfully structured and only serve to reaffirm Sondheim’s Godlike genius.

 

4.    The choreography itself is beautiful, reflecting the sorrow, torment and human resilience in both the music and the performances. Everything slots perfectly into place in this magnificent evocation of showbiz. Sweeping across the stage are buckets of Swarovski crystals, sashes, sequined frocks and outfits that reel you in from start to finish.

This is the first time Dominic Cooke has directed a musical. Luckily, there’s a clarity of vision that’s practically unrivalled in the current musical theatre scene. Follies feels effortlessly enchanting.

5.    Vicky Mortimer’s show-making set and costume design uses a crumbling theatre on a revolving set to remind us how the characters’ lives are confined and ravaged by theatre; Bill Dreamer’s vivid choreography, deserves a mention again, his work with ‘Loveland’ pays hymn to the showbiz past; and the orchestra has a glorious, brassy ring.

The production’s centrepiece – to these eyes, anyway – is ‘I’m Still Here’, a track for which Apple Music single song repeat function could well have been invented. A dazzle to watch. 

But the show is not perfect and I can see people’s concerns about Imelda’s suitability as a ‘Showgirl’ or that her vocals may be underpowered. They are missing the point; these things add to the charm of the production. The no interval thing is a bit crap….

Nevertheless, nothing is left to chance here, folks.

I make that a considered, authoritative and concrete 9/10. Also: Looks like my work here is done. Time to go to the pub.

Follies runs in the Olivier Theatre at the National until 3 January.

‘FYI’ Follies will be broadcast by NT Live to cinemas in the UK and internationally on Thursday 16 November.

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‘Man to Man’ looks quite good doesn’t it.

Good news everyone: Wales Millennium Centre’s poignant and powerful production of Manfred Karge’s Man to Man opens in Cardiff at the Bute Theatre on September 8 – 9 with just 2 performances prior to a nationwide tour visiting London – Wilton’s Music Hall (Sep 12 – 23), Birmingham – REP (Sep 26 – 30), Edinburgh – Traverse Theatre (Oct 11 – 14), Newcastle – Northern Stage (Oct 17 – 18) and Liverpool – Everyman Theatre (Oct 25 – 28). Man to Man then embarks for New York to play at the Brooklyn Academy of Music (Nov 7 – 11).

This will be Wales Millennium Centre’s first production in the USA.  So well done to them. 

This one woman play tells the life story of a woman called Ella Gericke, who lived with her husband Max until one day he died. Then the Nazis arrived…

Based on a true story, we witness Ella’s struggle and determination in a volatile 20th century Germany where she adopts the identity of her dead husband to survive.

Man to Man is a striking and spellbinding modern fairy tale inspired by the traditions of German storytelling. It gives audiences an incredible insight into what life was like in 20th century Germany, including the radical changes of the Nazi’s rise to power, the Cold War and the Berlin Wall coming down.

Renowned as one of the UK’s leading presenting houses, Wales Millennium Centre has recently embarked on producing work with the intention of taking the very best made in Wales to the world. As one of our first productions, Man to Man demonstrates the bold ambition of Wales Millennium Centre as a national home to the performing arts – to Inspire our Nation and Impress the World.

Man to Man opened to 5 star reviews in Edinburgh Fringe Festival in 2015. Translated by award-winning playwright, Alexandra Wood, this new version unites the talents of a multi-Olivier and Tony award-winning creative team, led by directors Bruce Guthrie (Director of RENT the Musical & The Last Mermaid) and Scott Graham (Artistic Director of Frantic Assembly and Movement Director of Olivier-winning West End/Broadway production The Curious Incident of the Dog in the Night-Time).

These people are capable of excellent theatre.

Bruce Guthrie, said: “Man to Man is a series of fragmented memories that our protagonist Ella is remembering and  re-living. She is a working class character with no sense of self pity: a hero in many ways who finds herself having to make life and death choices on a daily basis.  I found that compelling when I first read the script. It is a familiar yet alien world. This version is about taking the audience on a sensory journey, evoking different reactions based on the series of potent memories explored.”

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Maggie Bain in ‘Man to Man’ image copyright Polly Thomas

Man to Man

CREDITS

By Manfred Karge

Translated by Alexandra Wood

Performed by Maggie Bain

Directed by Bruce Guthrie & Scott Graham

Design by Richard Kent

Lighting Design by Rick Fisher

Sound Design by Mike Walker

Video Design by Andrzej Goulding

Music by Matthew Scott

Produced by Pádraig Cusack

‘Wales Millennium Centre’s licence to present Manfred Karge’s MAN TO MAN is granted by Rosica Colin Limited, London, by arrangement with henschel SCHAUSPIEL, Berlin.’

Age Guidance: 14+ (Contains strong language and adult themes, apparently.

Here is a trailer. No idea what’s going on but it all looks quite exciting.

TOUR DATES/

Manfred Karge’s Man to Man 2017

Cardiff – Bute Theatre – Royal Welsh College of Music & Drama

Sep 8 – 9

On sale soon

rwcmd.ac.uk – 029 2039 1391/wmc.org.uk – 029 2063 6464

 

London – Wilton’s Music Hall

Sep 12 – 23

Now on sale

nationaltheatre.org.uk – 0207 452 3000/wiltons.org.uk – 0207 702 2789

http://bit.ly/M2Mwiltons

 

Birmingham – Repertory Theatre

Sep 26 – 30

On sale soon

birmingham-rep.co.uk – 0121 236 4455

http://bit.ly/M2Mbirmingham

Edinburgh – Traverse theatre

Oct 11 – 14

On sale date:

Monday, August 21

traverse.co.uk – 0131 228 1404

 

Newcastle – Northern Stage

Oct 17 – 18

On sale Mon 5th June to members, on sale Thurs 15th June to general public

northernstage.co.uk – 0191 230 5151

http://bit.ly/M2Mnewcastle

Liverpool – Everyman Theatre

Oct 25 – 28

On sale soon

everymanplayhouse.com – 0151 709 4776

New York – Brooklyn Academy of Music (BAM)

Nov 7 – 11

On sale date:

Monday, August 7

bam.org