Jessica Swales

Theatre Bouquets 2017

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Once again we have been wowed by some fantastic theatre this year. Here, in order of viewing (and with the benefit of hindsight), are our favourite productions of 2017.

The Winter’s Tale – Lyceum Theatre, Edinburgh

The Winter's Tale

This thrilling, modern-day version of Shakespeare’s play was dynamic and audacious – with the whole fourth act recast in Scots. We loved every minute of it, especially Maureen Beattie’s performance as Paulina.

Chess: The Musical  – Festival Theatre, Edinburgh

Chess

The students from the Royal Conservatoire of Scotland thrilled the audience with a skilful display of all things theatrical. We loved the sophisticated choreography (often incorporating the real time use of video cameras) and choral singing that sent chills down our spines.

Nell Gwyn – King’s Theatre, Edinburgh

Nell Gwyn\

This superb production of Jessica Swales’ Olivier Award-winning comedy was a delight in just about every respect. From the superbly realised set, through to the opulent costumes and the lively period music, this was fabulous to behold.

Death of a Salesman – King’s Theatre, Edinburgh

Death of a Salesman

It was the direction that made this production so good: Abigail Graham did a wonderful job of clarifying everybody’s pain. And Nicholas Woodeson was perfect for the lead role, conveying Willy’s struggle with warmth and vitality.

The Toxic Avenger – Pleasance One, Edinburgh

The Toxic Avenger

A musical in the same vein that made Little Shop of Horrors such a pleasure, The Toxic Avenger was an unqualified delight, romping happily along powered by its own exuberance and the efforts of a stellar cast, who gave this everything they had – and then some.

The Power Behind the Crone – Assembly George Square, Edinburgh

The Power Behind the Crone

This was a wonderful piece of theatre, an exemplar of a Fringe show: beautifully scripted, and acted with precision and panache. Alison Skilbeck had absolute control of the material and created an impressive range of distinct, believable characters.

Seagulls – The Leith Volcano, Edinburgh

Volcano Theatre SEagulls at Edinburgh Fringe Festival

This was the most ambitious, exhilarating piece of theatre we saw this year. Site-specific productions – when the site is as spectacular and relevant as this (we were in an abandoned church, which had been flooded with forty-five tons of water) – can be truly exciting, and this one had a lot to offer.

Safe Place – Rose Street Theatre, Edinburgh

Safe Place

Safe Place provided a sensitive, insightful examination of the uneasy relationship between trans-activism and feminism. It asked (and answered) many questions, all within the framework of a nuanced and intelligent play.

Angels in America: NT Live – Festival Theatre, Edinburgh

Angels In America

Clocking in at just under eight hours, Tony Kushner’s play offered us a “gay fantasia on national themes” – a sprawling, painful and searingly funny depiction of New York in the 1980s, fractured and ill-prepared to deal with the AIDS epidemic. A truly iconic piece of theatre.

Twelfth Night/Romeo & Juliet – King’s Theatre, Edinburgh

Twelfth Night

Romeo & Juliet

Merely Theatre gave us some ‘stripped-back’ Shakespeare, performing Twelfth Night and Romeo & Juliet in rep. The plays featured only five actors and the casting was gender-blind. It all made for an interesting dynamic and prompted us to re-examine familiar scenes.

Cockpit – Lyceum Theatre, Edinburgh

Cockpit

Cockpit was a witty, clever play, which saw the Lyceum transformed into a truly immersive space.  Director Wils Wilson served up a fascinating piece of theatre: arresting, thought-provoking, provocative and demanding – and it kept us talking for hours afterwards.

Cinderella – King’s Theatre, Edinburgh

Cinderella

We never thought a pantomime would feature in any ‘best of’ list of ours but, for the second year running, the King’s Theatre’s stalwarts managed to wow us. Allan Stewart, Andy Gray and Grant Stott knew exactly how to work their audience, and the special effects were truly spectacular.

Susan Singfield & Philip Caveney

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Nell Gwynn

18/04/17

King’s Theatre, Edinburgh

Nell Gwynn is one of those historical characters that most of us know a little bit about. I knew, for instance, that she was a former prostitute with a sideline in selling oranges and I also knew that she had a famous affair with King Charles II, the ‘Merry Monarch’. I didn’t know that she was one of the first female actors ever to grace the English stage and that in her short meteoric career, she was acclaimed as something of a ground-breaker. And I didn’t know that a history lesson could be so enjoyable.,

This superb production from the English Touring Theatre of Jessica Swales’ Olivier Award-winning comedy is a delight in just about every respect. From the superbly realised set, through the opulent costumes and the lively period music, this is fabulous to behold, while Swales’ incredibly witty script, replete with double entendres and bawdy observations galore, will have you laughing heartily all the way through.

We are first treated to a brief excerpt from the latest production of the Theatre Royal, where the infamous actor Charles Hart (Sam Marks) is showing us examples of his celebrated stagecraft. He’s interrupted by a voice from the stalls and onto the stage wanders Nell (Laura Pitt-Pulford) and Hart quickly realises that she has some real potential as an actress. He takes her under his wing (and into his bed) and, pretty much overnight, a new star of the stage is born, much to the disgust of  Edward Kynaston (Esh Alladi), who up this point has managed to monopolise all the Theatre’s plum female roles. Nell becomes an overnight sensation but, of course, it isn’t long before King Charles II (Ben Righton) pays the theatre a visit and he too becomes somewhat enamoured of this new talent. Whereupon matters become rather complicated…

Nell Gwynn is proof, if ever it were needed, that historical costume drama doesn’t have to be dull and fusty – indeed, this is as bright and brilliant as you could possibly wish. Christopher Luscombe’s direction is accomplished and Laura Pitt-Pulford is sensational in the lead role but, if I’m honest, there isn’t a weak link in what really is an ensemble piece. And, should you find some of the antics on display hard to believe, a quick online search will reassure you that pretty much everything that happens here is supported by genuine historical evidence.

If you’re in the mood for a great night’s entertainment, this is one you really shouldn’t miss. Form an orderly queue.

4.8 stars

Philip Caveney