This is the first of a number, yet to be decided, of
blogs reviewing the highlights and perhaps the low lights of 2014. As you will
probably realise already Marion and I go to quite a lot of theatre, mainly to
the local Stephen Joseph Theatre in the Round and the West Yorkshire Playhouse
in Leeds. On occasion we do venture further afield, even to the bright lights
of London!!! So here are my top three theatrical experiences of 2014, a
personal choice, I would be glad if readers could leave theirs.
In Spring the Northern Broadsides company with the
inestimable Barry Rutter visited the SJT with their powerful tale commemorating
the start of the first World War, An August Bank Holiday Lark. The play is one
of innocence shattered by the reality of war, being a before and after tale.
Within the very tight confines of the SJT the cast recreate the Rushbearing
festivals of rural East Lancashire, on stage they built a two-storey rush cart.
The war was but a fleeting thought in the rural community. The overwhelming
impression is one of innocence and complete ignorance as to what the fighting
was about, even to the extent of having no idea where Belgium is. In contrast
the second half is about those returning from war, and those that did not and
the way in which the local community faces up to this, particularly their loss
of innocence. By taking the war to the hyper local level the 100th
anniversary was made more real. As with all Broadsides productions the integral
part of song and dance was hugely effective.
The contrast with that the second highlight, Great
Britain could not have been greater. Here was a play that was so contemporary
that it had to wait for the News International trial into phone hacking to
conclude before it could be staged. It was very funny indeed acerbic, cutting
in its satire, but with a very strong message. Though Billie Piper will take
the plaudits as indeed she should, the play relied on the timing of the whole cast.
As with the August Bank Holiday Lark the play left an impression that lasted
beyond the confines of the theatre. I have read much about the phone hacking
trial, but the visual medium of the theatre was both more powerful and
educational. Interestingly the portrayal of the Met Police Commissioner is
reflected later in the year by the TV series Babylon. The other lasting
impression is to be grateful to live in a country where the National Theatre
can critically commentate on, and lampoon the establishment.
Very early in the year we saw the RSC’s production of
Richard II at the Barbican. This was a “celebrity” play starring David Tennant,
but it was certainly one that did not fail to impress. The central performance
was immense in the portrayal of Richard as a fay monarch contrasting with the
macho presence of the knights at court and of the warring factions. One of the
great things about the night that we saw it was the audience; it was a complete
cross section of ages, all of who were obviously enthused by powerful theatre.
Honourable mentions must go to Henry IV parts one and
two which we saw on consecutive nights at Stratford with Anthony Sher as
Falstaff, and White Christmas that I wrote about in a previous blog.
Turkey of the year; Enjoy by Alan Bennett at the West
Yorkshire Playhouse. In fairness the audience gave the play a standing ovation,
while Marion and I wondered what the fuss was about. Just proves that you
cannot please all the people all of the time.
Best moment of the year, the look on my granddaughters
face when she was invited on stage during a performance of James & the
Giant Peach.
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