Masturbating Welshman Turns Don Juan

On Tuesday I was in a pub in the West End with a friend of mine, knocking back a bottle of red in front of a fake fireplace, when my friend suddenly said: “That guy’s an actor, right?” I looked at him; towering over everyone there, blonde, dressed smart, looking around and eventually catching the eye of us wine-sipping blondes by the fire. It hit me. “It’s Hugh Grant’s room mate in Notting Hill” and she replied, earnestly and deadpan, “Ah! The masturbating Welshman!” adding, “He’s shockingly handsome in real life, isn’t he?”

This pretty much sums up the transition between Hugh’s furry friend in “Notting Hill” to Rhys Ifans’s role as Don Juan in his new play at the Donmar Warehouse. In the 1999 film he wasn’t… the romantic leading male for a reason. Now, looking at him, he does look – as she put it – shockingly handsome. Unfortunately we had to depart from the pub shortly after he walked in. Mostly due to a somewhat high alcohol level mixed with hysterical suppressed laughter regarding her initial statement. Very professional, indeed.

After finishing his A-levels, Rhys attended youth acting schools at Theatr Clwyd (it’s OK, I wouldn’t know how to begin to pronounce that either), and to further that sentiment he decided to use the Welsh spelling of his surname (English spelling would be “Evans”, not “Ifans”) just to be difficult. Welsh is obviously his first language, something he took advantage of by making a fair bit of Welsh language dramas, comedies and entertainment programmes before embarking on his movie and theatre career.

In film you may have seen him in the previously mentioned “Notting Hill” as Spike, Iki in “The 51st State”, William Dobbin in “Vanity Fair”, Danny Morgan in “Danny Deckchair”, Dek in “Once Upon A Time In The Midlands” alongside Robert Carlyle or pompous, arrogant Adrian in “Little Nicky”. Last year – 2005 – he picked up a Bafta for Peter Cook in “Not Only But Always”. Theatre-wise he’s performed at the National Theatre and the Royal Exchange in Manchester.

Musically, he was lead singer in “Super Furry Animals” (possibly where the “your little furry friend” line came from in “Notting Hill”?) for a short period, and has apprared in music videos such as “God Show Me Magic”, “Mulder and Scully”, “Mama Told Me Not To Come” as well as “The Importance of Being Idle” for which he accepted the award for video of the year at the NME Awards on behalf of Oasis.

Patrick Marber relocates Molière’s farcical, tragic, anarchic 17th century original to modern day Soho, London,

…it says on the Donmar Warehouse website. Rhys Ifans plays Don Juan, the infamous amoral hedonist in a society entranced by sensation, from 30th November.

"Porgy and Bess" Extends

I don’t know how long I’ve wanted to see the 1959 film starring Sidney Poitier, Dorothy Dandridge , Brock Peters and the unforgettable Sammy Davis, Jr. as drug dealer Sportin’ Life – a role that almost seemed like it was written for him. It’s now been extended in the West End for another seven months, until 27th October 2007 at the Savoy Theatre.

The few clips I’ve seen of the original movie, from various documentaries, has made me want to see it even more. For some reason, the Gershwin family have sought out to destroy all existing prints of this production – until they finally approved showing a collector’s print at the Museum of the Moving Image in Astoria, Queens, a couple of years back. It was, after all, one of the first movies ever to be shot in stereo sound.

So, “Porgy and Bess” is the story of the disreputable Bess (Dandridge) that tries to get away from her lover Crown (Peters) – a wanted murderer – and the only one willing to take her in is crippled Porgy. Obviously, the locals disapprove, Crown and Sportin’ Life try making their lives harder and it’s all wrapped up in a superb mixture of voices – though it’s only Davis, Jr. and Pearl Bailey (playing Maria) that do their own vocals.

Trevor Nunn directed the 2001 remake of the movie, then starring Cynthia Haymon and Gregg Baker in the leading roles, accompanies by the London Philharmonic Orchestra. Taking this into consideration, it’s hardly surprising that Trevor also directs this West End production. Cast in this production includes Clarke Peters (Porgy), Nicola Hughes (Bess), Cornell John (Crown) and O-T Fagbenle (Sportin’ Life).

Bring on “Summertiiime… and the livin’ is easy…” Porgy and Bess shows at the Savoy Theatre until 27th October 2007.

And the winners are…

The 2006 winners of the Evening Standard Theatre Awards are:

BEST PLAY:
“Rock ‘n’ Roll” by Tom Stoppard

BEST ACTOR:
Rufus Sewell for his performance in “Rock ‘n’ Roll”

BEST ACTRESS:
Kathleen Turner for her performance in “Who’s Afraid Of Virginia Woolf?”

THE SYDNEY EDWARDS AWARD FOR BEST DIRECTOR:
Marianne Elliott for “Pillars Of The Community”

THE CHARLES WINTOUR AWARD FOR MOST PROMISING PLAYWRIGHT:
Nina Raine for “Rabbit”

BEST MUSICAL:
“Caroline, Or Change”

BEST DESIGN:
Timothy Bird & David Farley for “Sunday In The Park With George”

THE MILTON SHULMAN AWARD FOR OUTSTANDING NEWCOMER:
Andrew Garfield for “Beautiful Thing; Burn/Chatroom/Citizenship; The Overwhelming”

EDITOR’S AWARD:
“Frost/Nixon”

SPECIAL AWARD:
The Tricycle Theatre for its pioneering work in political theatre

You can still catch:

• “Rock’n'Roll” at Duke of York’s
• “Caroline, or Change“ at the Royal National Theatre; South Bank

Last Chance For "Stones In His Pockets"

It’s not every day you get to see two people play seventeen roles in one go without confusing anyone – not even themselves. In Marie Jones’s play “Stones In His Pockets” two guys – in this case John Cronin and Conrad Kemp – get to be schizophrenic without getting calls from any shrinks wanting their case.

I’ve seen this play, myself, about four times. Once in London, and three times in Norway where the play has been on and off the stages all around the country for five years. There, the roles are played by Kaare Conradi and Oeystein Roeger – both already highly regarded actors before this play, but its success has made them two of the most sought-after talents in the country.

The difference between the first time I saw it in November 2001 and last time in November 2006 are massive. The characters have taken on lives of their own, and both actors are who they portray. They can change from snobbish American actress with the worst Irish accent ever (“…but it’s OK, because there’s been so many American actors playing Irish lead roles that everybody thinks we talk like this…”) into a cocky extra, a bolchy director and back to a diva in the duration of two minutes. And that’s just one of them. The other can go from a passive-aggressive career girl to a slurring drug addict, an extra, a little 12-year-old kid and back to being a testy female. It’s exceptionally fascinating.

When I saw the play in London in 2002, it was with Lloyd Hutchinson and Kieran Lagan. Both Irish actors that mastered everything from bad American-Irish to Cockney to Queen’s English and American perfectly. I don’t know what’s harder; for the English/Irish to do an American accent or the other way around, but in many cases you can immediately tell that something is not quite right. In this production, however, you can’t tell where anyone’s actually from. This, I think, translates into great skill.

Don’t miss this last chance to see this dark, schizophrenic comedy Stones in His Pockets at the Duchess Theatre until 2nd December.

Endings and Beginnings 27 Nov – 3 Dec

NEW THIS WEEK

• 11 Josephine House, Royal Court – Jerwood Theatre (on 29th November 2006 16.00 only) – Play
• Christmas with the Rat Pack, London palladium (3rd to 10th of December only) – Music
• Catch, Royal Court – Jerwood Theatre (from 1st until 22nd December only) – Play
• Dick Whittington and His Cat, Barbican Centre (from 29th November) – Pantomime
• Don Juan in Soho, Donmar Warehouse (from 30th November) – play
• Stan Won’t Dance, Royal Festival Hall (from 30th November until 1st December only) – Dance/Ballet
• The New Statesman, Trafalgar Studios (from 3rd December) – Play
• Walker Dance Park Music, Royal Opera House (from 29th November until 1st December only) – Dance/Ballet

LAST CHANCE

• The Gondoliers, Coliseum (ends 27th November) – Opera
• My Polish Roots (and other vegetables), Arts Theatre (ends 29th November) – Play
• The Pool, Arts Theatre (ends 30th November) – Play
• Stones in His Pockets, Duchess Theatre (ends 2nd December) -Play

Kristen Johnston Plays A Love Song

Remember the tall, mixed military-martial arts specialist Sally Solomon alongside John Litgow in “3rd Rock From The Sun” – the family (or “family”) of four aliens that awkwardly pretended to be humans to observe life on earth? What about Ivana Humpalot with the husky voice in “Austin Powers: The Spy Who Shagged Me”? The x-IT girl that fell out a window in “Sex & The City”? If the answer to those questions is yes, then you know who I’m referring to. Kristen Johnston enters the London West End tonight at the New Ambassador’s Theatre in John Kolvenbach’s “Love Song” – official opening night is 4th December.

Kristen Johnston is probably best known for her role in “3rd Rock From The Sun” and lately as Dr Eve Peyton in ER – the series that made, amongst others, George Clooney famous. However, she made her stage debut with the Altantic Theater Company where she appeared in plays such as “Stage Door”, “Girl’s Talk”, “As You Like It” and “Rosemary For Remembrance”. She was nominated for a Drama Desk Award as “Best Supporting Actress” for her role in “The Lights”. She was nominated for an Emmy Award three years in a row for “Outstanding Supporting Actress in a Comedy Series” in “3rd Rock From The Sun”, an award she took home twice.

After ending her run in this series in 2001, she went on to starring in “The Debt” that won “Best Short Film” in Cannes. Apart from featuring in two Austin Powers movies, she’s been in “The Flintstones In Viva Rock Vegas” as Wilma and recently filmed “Music and Lyrics By” opposite Hugh Grant that’s due out in 2007.

“Love Song” has been described as witty, biting, humorous, manic, physical and hilarious. “Love Song demonstrates that our lives need fantasies in order to deal with the stress of our chaotic times. Love Song offers us a glimpse of the power of fantasy and imagination where love can transform us from the mundane to the sublime. Love gets us to change, to be better humans. Experiencing love, no matter real or imagined, can reap rich rewards that will ignite our passions. The lesson of Love Song demands that we throw caution to the wind at times to embrace life, love and lust. That’s simply being human. Beane shows the way,” offered the Chicago Critic in April 2006.

It will be interesting to see what the British press have to say about this play next week. Until then, the European premiere of “Love Song” opens for previews tonight, starring Kristen Johnston, Neve Campbell, Michael McKean and Cillian Murphy.

BLOG EXCLUSIVE: 5 Questions With Karola Gajda

She lives in London, is from South Yorkshire and of Polish origin. Confused? “Terri’s West End Blog” has been given this exclusive interview with the brain and talent behind the current production at the Arts Theatre in London; “My Polish Roots (And Other Vegetables)”. Ladies and gentlemen, I present to you, Karola Gajda.

1) What inspired your latest production, “Polish Roots (And Other Vegetables)”?

Originally I wanted to do a piece about class and identity, which I have a bit of a fixation with. But the more I wrote and collaborated with my director Peta Lily, the more stuff came out about my (Polish) background, which consequently has given me a certain perception about how class and identity are forged.

I wrote huge amounts about my Polish parents and my upbringing in Doncaster, South Yorkshire. It just all came out – stuff about how my parents being immigrants in England change their identity, aspirations and lives really – and how that has rubbed off on me. Hence the obsession with class I think and my interesting the whole notion of ‘getting on in life’, whatever that awful phrase means.

I also realized I had to find out more about my parents’ lives – they are my Polish roots really – just find more out – not so much in a family tree kind of way, but I just had to try and delve into some of the huge areas of experience my parents went through but talked very little about. I really wanted to tell their stories – to work something out, what that is I’m not quite sure…

2) Can you tell me a little *about* your Polish roots?

Well, as said both my parents are Polish – and I’m from Doncaster, South Yorkshire. That’s where my parents settled and met after the war – a lot of Poles went there because of mining jobs and so that’s where I was born and brought up.

My mother was raised in eastern Poland – now probably Belarus – when I google her village ‘Ginowicze’ it doesn’t even exist! She was deported to Siberia during the war by Stalin – because of where she lived they were one of the first places to be invaded.

My dad’s from a small town south west of Warsaw called Piotrkow Trybunalski – he was in Germany during the war and worked on a farm there. Beyond them I have family in Poland that I’m close too – cousins and aunts and uncles, but I feel quite ambivalent about my sense of being Polish, as English is now my dominant language and I’m so much more English than Polish – I think.

3) This productions involves both live performance as well as animation – how did the desire to combine the two come about?

I think I just have an inbuilt desire to do both. Animation is so labour intensive you’d think that would be enough. But no – let’s embed it within a play and create even more work! Maybe that’s the worker ethic in me. But I do love both though. I love performing and writing and I love making things, drawing and filming. So it kind of all appears together.

4) What has been the working process from idea to finished piece, and who have you worked with?

It’s been a process of writing directly from life and then reviewing the material; collating it to make it coherent, clear, dramatic, real, entertaining and interesting. Not easy! Often I have been too close to something to see what it means and how it fits into the bigger picture. That’s why it has been great to work with my director Peta, who has a great understanding of autobiographical theatre and journeying a story through. She would help me shape my writing and asked me key questions along the way.

I also filmed things – mainly my family. I did a video diary while in Poland too, took photos and drew – all just to generate heaps of content. It’s like you make a big mess, then sift through and shape it – just like a sculpture.

I had a sound designer called Tim Brown too, who just keyed into the different moods that needed to be created for scenes – from funny to sad to tragic. Very little of that had to be tweaked as he’d just get it first time. And now, although there are so many elements, as the show comprises of just me, I can add to it here and there, refine this, swap that – add this line, take that one out.

I have a stand-up comedy background so I love to be real and connecting with the audience is totally key.

5) Why should the audience come see the show?

Do you like listening to real life human stories? Do you like to laugh – but be moved too? Are you Polish or do you have Polish roots (then you really have to come!) Are you interested in history and culture and how it shapes identity? Do you ever wonder what posh is? Do you like learning new things? Do you like beetroot soup (I cook it on stage and serve it up at the end). Do you like hand-crafted 2D and 3D animation? Do you like seeing art forms being integrated?

What audience members have said to me the most is that it’s a funny but also a profoundly moving piece, that they’ve had a lovely evening and learned new things. That makes me feel great.

Click to enlarge

 

My Polish Roots (and other vegetables), Arts Theatre on 24th and 29th November.

Animations and more show details at www.karolagajda.org.uk

Claire Bloom Back In The Limelight

I remember when I was about ten years old. I had taken a liking to some of those classic Charlie Chaplin movies – you know, the ones with the toothbrush mustache, bowler hat, bamboo cane and a funny walk. Then “Limelight” was shown on TV, my mother and I sat down to watch it – and about halfway through I distinctively remember asking my mother; “When is Chaplin coming on?” For those of you that have seen this classic movie, you’ll know why I asked – I wouldn’t have recognised him if I’d tripped over him looking like that. Nevermind that he actually had a voice in this one.

This isn’t about Charlie, however, but about the then 20-year-old Claire Bloom that appeared alongside Chaplin as the suicidally despondent ballet dancer Thereza Ambrose. This time she’s back as feisty retiree Lily whose target is to learn how to dance from outspoken dance instructor Michael (Billy Zane). I would say, by the description of the show, that it’s almost like… a slightly different “Dirty Dancing”. It’s got all the elements; foxtrot, tango, cha-cha-cha; man and woman stuck together dancing; spewing sarcasm that may or may not turn into something less professional – though not quite sure if this one has got any between-the-sheets action or topless dancing. Maybe just as well.

Claire Bloom made her debut in John Gielgud’s production of “The Lady’s Not For Burning” opposite Richard Burton in 1947. There are worse company to be in than a theatre legend and sex on legs for your debut, that’s for sure. She went on to playing Ophelia in “Hamlet” the following year – only one of the many Shakespeare performances she did at the Old Vic in London.

Maybe it was her role in “The Blind Goddess” that made Charlie Chaplin aware or her, maybe it was Richard Burton that whispered behind the scenes – whichever it is, she was handpicked by Chaplin to star alongside him in “Limelight” in 1952 – probably the film role she’s still most widely recognised for. Later she’s worked with some amazing individuals: Laurence Olivier wanted her in his “Richard III” (1955) production; Burton wanted her back for two more films, “Look Back In Anger” (1958) and “The Spy Who Came In From The Cold” (1963); Woody Allen cast her in his 1989 film “Crimes and Misdemeanors” – and this is to mention a few.

Now she’s in the West End alongside Billy Zane in “Six Dance Lessons In Six Weeks” at the Haymarket Theatre Royal from today, 23rd November.

A Moon Over Broadway

It’s just been confirmed that the London production of Eugene O’Neill’s “A Moon For The Misbegotten” – starring Kevin Spacey, Eve Best and Colm Meaney and directed by Howard Davies – will hit Broadway in March 2007. Previews begin on 29th March and opens 9th April at Brooks Atkinson Theater and will run for 84 performances. The play finishes its run London’s Old Vic Theatre on 23rd December.

I’ve been fortunate enough to see this play twice, and it’s been one of the most amazing experiences I can recall having at a theatre. To see a clip of this performance, check out the 9minute clip over at What’s On Stage and the video blog made by – mainly – Kevin Spacey.

Josie (Eve Best) and her father Phil (Colm Meaney) live alone on a ragged farm hey rent off failed Broadway actor and drunk Jim Tyrone (Kevin Spacey). Josie is brisk, blunt, aggressive and doesn’t let a chance to bring out her wooden club pass her by. Like father like daughter, some would argue – but only when he’s drunk, Himself argues. Jim’s occupation, after his mother’s death, is pretty much to wake up, drink, lust over Josie and pass out. Those are our main characters – on the surface.

The play starts out as a sarcastic exchange between father and daughter over Josie’s last brother (out of three) fleeding the farm. She’s very vocal about her reputation as the town slut, as well as her towering and unattractive self. Even her own father calls her a big cow – which is obviously what a woman’s self-esteem needs. Jim, however, sees her in a different light and says he likes tall, substantial women with big breasts. Unlike a lot of men, of course.

The moment Jim walks onto the set and he catches the eye of Josie, the air is practically sizzling. The attraction is clearly not just one-sided, however much she tries to convince her father (and herself) that it is. She makes excuses, that he’s into his skinny Broadway tarts, not women like her. She does, however, end up accepting a moonlight date alone with Jim – but he stands her up, something which brings a whole new meaning to “hell has no fury like a woman scorned”. It doesn’t help when her father, seemingly drunk, comes home and tells her that Jim has betrayed them both. She’s practically thirsting for revenge and cooks up a plan with her father to get back at him.

When Jim eventually shows up and they’re alone, that’s when the play starts shining. Whether Josie likes it or not, Jim – despite being drunk 98 percent of his waking time – has seen through her facade and her lies. Equally Josie sees through him and – through some highly charged emotional scenes that left me sweating in my chair – helps him find the peace he’s been looking for since his mother died. Before he passes out with his head between her thighs.

All three main actors deliver their characters with brilliance, Eve Best and Kevin Spacey exploring their emotional horizons to the extreme by showing their true selves through added anger and tears. It took about an hour to get to the intensity that makes the play what it is, and it left me wanting a happy ending for them both. In some ways, it is a happy ending, though not in the traditional sense.

Eugene O’Neill could easily have gone all the way with the clichés – “…and then they lived happily ever after…” – but luckily he manages to find another way to obtain inner peace for his characters. There were, however, some lines (all involving the word “love”) that were so typical of American romantic drama that made me glance over, but the way the actors tackled them made it work anyway. It’s not about what you say but how you say it.

I haven’t seen any plays by O’Neill previously, but having seen “A Moon For The Misbegotten” it makes me want to go back to “A Long Day’s Journey Into Night” to see the journey Jim Tyrone took to turn into the sad drunk he’s become. The current play is most definitely worth seeing – just be prepared for an emotional journey that leaves you sticking to your seat.

Don Johnson’s West End Debut

Let me know when this rings a bell; white suits, white shoes, white teeth, tight T-shirts, unholy deep tans, sunglasses, guns, fast cars, light swearing… need I go on, or did you say “it’s Miami Vice, right?” after “white shoes”?

We’re of course talking about Don Johnson. Now the 80s cop has to dust off his vocal chords rather than his 8mm as he’s about to take over as Nathan Detroit after Patrick Swayze leaves “Guys And Dolls” on 2 December. Good thing Don already has six years of experience playing cool, as the original role of this notorious gambler was played by none other than Frank Sinatra himself – possibly one of the coolest cats that ever walked a stage.

In the West End, however, he’s following the footsteps of Ewan McGregor, Neil Morrissey and Alex Ferns that’s set to take over directly after Swayze’s departure until Johnson’s arrival in January.

So stay tuned for one 80s hero taking over for another. Ironically, both Swayze and Johnson made their West End debut in “Guys And Dolls” at Piccadilly Theatre.