Cometh the hour, cometh the early
closures in the West End. The cover stars of this issue, in
Girl With A Pearl Earring, had in
fact vacated the Haymarket even before the magazine went to
press. A clutch of other closure announcements (including a
comfortable five months’ notice in the case of
Avenue Q) have led to the
inevitable rash of “crisis” articles. Well done Michael
Billington, then, for saying the nigh-unsayable in a blog at
http://www.guardian.co.uk/stage/
theatreblog/2008/oct/21/creditcrunch-theatre-westend – “The one
possibility never discussed is that some shows close early because they
are crap.” While he goes on to make some more debatable judgments
and connections, this is indeed something that it’s all too easy to
overlook.
Girl With A Pearl
Earring and
Riflemind aren’t
closing early because the global market has melted down: they’re
closing because, in these instances, the market is actually working the
way it’s so often claimed to. The Invisible Hand is swatting them
out of the way because there’s not enough demand for them, which is in
turn because they’re not good enough.
Newsworthy
Michael goes on to laud the current success of serious plays.
However, I’m not sure that’s something that we can congratulate
ourselves about. The day after
No
Man’s Land opened in the West End – a production by hot
director Rupert Goold, lauded on its première at the Gate in
Dublin, and combining serious and populist appeal with a cast including
Michael Gambon, David Bradley and David Walliams – two of our
heavyweight newspapers,
The Times and
the
Independent, decided that
the more newsworthy artistic event, the one they would cover in their
front pages, was the first concert in the latest tour by
Oasis. Yet, thanks to the Nobel Prize and other recent
accolades, it’s surely (if unexpectedly) the case that Harold Pinter is
in fact a more contemporary cultural figure than the Gallagher
brothers. Oh, well, nobody said these things had to make sense.
It can all be a matter of the direction from which you approach
matters. For instance, in reviews of Enda Walsh’s
The Walworth Farce at the National
Theatre, a number of reviews compare Walsh’s writing to that of Martin
McDonagh, with at least one implying that McDonagh was an influence on
Walsh; in fact Walsh is older, has been writing longer, and is moreover
actually Irish by birth and upbringing rather than simply by heritage
like McDonagh. Richard Woulfe rather gives himself away in his
Tribune review by implicitly
admitting that he has seen none of Walsh’s work before; at this point
it becomes apparent that he has been inadvertently telling us more
about his own process of classifying this writer than about any
objective context.
Antidisestablishmentarianism
Richard’s
Tribune supremo
Aleks Sierz wobbles a little, too, in his review of Waste at the
Almeida. Aleks can often be relied upon to buck the consensus,
and he does so here: whilst most reviews laud an excellent production
of a patchy play, Aleks finds it “long, tedious and emotionally
repellent” – so tedious, in fact, that it lulled him into a state where
he mistakes the protagonist’s sister for his wife. (That’s why
she hasn’t left him ere now, Aleks: it’s a different kind of
devotion.) Elsewhere among the reviews of
Waste, Tim Walker observes, “If
people are to have the right to freedom of expression, then the least
one can expect of them is that they have something interesting to
express”, which fulfils its own criterion by being aphoristic, if not
discernibly logical. And a merit point to Christopher Hart, the
only one of us who dared to use – with absolute legitimacy in terms of
the play and its plot – the word “antidisestablishmentarianism”.
(The
FT objected, I can
confide, because the word wouldn’t fit on a single line. Well, I
may never get another chance to use it as a paragraph cross-header, so…)
And finally, some unalloyed praise, in the territory of one of my more
rabid obsessions. I am full of admiration for
Piaf director Jamie Lloyd, for his
awareness that the show is not just a matter for the visual and
auditory senses. When one of his Parisian characters lights up a
cigarette onstage, a few seconds later the Vaudeville auditorium is
suffused with the authentic aroma of Gitanes. None of your herbal
rubbish there!
Written for Theatre
Record.