Tag Archives: Lucy bailey

REVIEW: Love From a Stranger – Theatre Royal, Glasgow

Adapted from a 1934 short story Philomel Cottage, Agatha Christie wrote an unperformed stage version of the same name which itself was re-written as Love From a Stranger by actor and playwright Frank Vosper in 1936. Director Lucy Bailey, for Fiery Angel and Royal & Derngate Northampton, re-sets the action two decades later to the 1950s, all cut-glass accents and limited female opportunity.

This psychological thriller provides a great night’s entertainment, but be aware that this is a slow burn that smoulders along without ever fully bursting into flame.

Cecily Harrington (Helen Bradbury) comes up trumps in a sweepstake, and while Cecily wants to live large on her substantial winnings, her dull as ditch water fiancé Michae (Justin Avoth) arrives back from the Sudan to dash her plans and resign her to a life of domestic drudgery. When an attractive and adventurous American, Bruce Lovell (Sam Frencham) comes on the scene, Cecily’s world is turned on its head. Cecily marries Bruce, moving to an isolated cottage in the country.

The red herrings are positively scarlet. From the beginning it’s clear that Lovell isn’t what he seems. He lurks in the shadows, surreptitiously taking pictures of Cecily, sniffing her lingerie, constantly scribbling in a notebook. Moving her from friends and neighbours, the gaslighting continues until Cecily is an apparent puppet in Lovell’s hands, but all is never as it seems on the surface with Christie. As the tension builds and perspectives change, we are entertainingly led along the crooked path that Christie is so well known for.

This entire production is quite obviously influenced by Michael Powell’s 1960 British cinema classic, Peeping Tom. The sense of unease is cleverly created on Mike Britton’s sliding wall set with opaque panels where we can watch Lovell’s voyeuristic goings-on. Richard Hammarton’s sound design and Oliver Fenwick’s crimson-tinged lighting are characters in themselves, helping to ramp up the creeping tension.

The cast are uniformly solid given how affected the original dialogue sounds to an audience’s modern ear and the ‘heightened’ characterisations skirt (just) on the right side of caricature.

Christie rarely puts a foot wrong, and as a piece of ‘good, old-fashioned’ entertainment it is undoubtedly a winner.

Runs until 30 June 2018 | Image: Contributed, review originally written for The Reviews Hub

 

REVIEW: The Importance of Being Earnest – Theatre Royal, Glasgow

It is hard to fathom why there is any need to tamper with things that, in their original form, are pretty much perfect in every way. Oscar Wilde’s witty masterpiece is so well-loved that, as well as endless stage revivals it has had three big-screen adaptations in 1952, 1992 and 2002. The sole reason for Lucy Bailey’s re-imagining seems to be the accommodation of a rather mature cast in these somewhat youthful roles.

Framed as a group of am-drams, The Bunbury Company of Players, rehearsing for their umpteenth revival of The Importance of Being Earnest, the action takes place in the impressive home of their maturest member Lavinia, who, of course, will play Lady Bracknell. Novelist Simon Brett is charged with providing the additional material, not exactly an enviable task, and what results, for much of the first act is a poor man’s Noises Off. Thoroughly half-hearted, it fails to provide any interesting back story for the characters or enough comedy to set up the main event.

Thankfully the action settles in the second act, and the framing fades into the play proper. The actors are a thoroughly charming bunch and no strangers to the work (Nigel Havers and Martin Jarvis both starring in Peter Hall’s 1982, National Theatre production), and there’s little doubt about the actors’ talent, but casting such a vastly experienced group of actors as a troupe of amateurs just doesn’t convince. What does impress though is Sian Phillips’ turn as a spectacularly well-judged Lady Bracknell.

There may be some disappointed audience members who bought tickets believing they were about to see a ‘straight’ production of Wilde’s Classic and one can’t help thinking this would have been glorious had it been staged thus, but there’s a brace of fine performances and a visually pleasing set to keep the audience engaged. Ultimately, though, it’s a case of what might have been.

Image: Tristram Kenton

This review was originally written for and published at: http://www.thereviewshub.com/the-importance-of-being-earnest-theatre-royal-glasgow/