Thursday February 18, 2016, H&H Series 3 Reviews :Theatre Modern passion in a revitalised Chekhov

UNCLE VANYA ALMEIDA ####$

fter putting a modern spin on the Oresteia, with memorable Aresults, director Robert Icke takes on another classic. No samovars here: Icke has stripped back, anglicised and revitalised Chekhov, obliterating the space between story and spectator. His zoomed-in vision offers rich, intimate psychology, but it’s also naturalism bereft of context – JOBS MATCHED present-day rural England as I Paul Rhys and Jessica Brown Findlay Picture: Manuel Harlan murky substitute for the remote 19th-century Russian province bouquet of flowers, burn bright, Findlay’s outwardly tough CV TO YOUR CV facing seismic change. but are swiftly snuffed out. Sonya lays herself open with Yet this is otherwise a Icke’s effective fragmentary exquisite hopefulness; Hilton beautifully detailed, immersive adaptation is composed of McRae’s professor is coolly world, unspooling over a quietly lyrical, darkly funny failed vampiric; Richard Lumsden Look local with mesmeric three-plus hours. Icke communications. When the offers a resonant running masterfully conveys the steady yearning for understanding gag, constantly pausing his march of time, the inexorable grows too great, the actors jump guitar playing to retune; and JOB futility of these unfulfilled lives. off the stage to deliver naked Ann Queensberry’s nurturing The farmer’s wasted years of confessionals directly to us. Nanny highlights the family’s unappreciated toil; the ageing Paul Rhys as the tragic title arrested development. Hildegard professor failing to achieve character is drained, pained Bechtler’s revolving set honours immortality through second- and genuinely dangerous, while different perspectives, but also rate work; the doctor’s losing the white-hot erotic encounter creates major sightline issues. battle against environmental that shatters the stasis of It’s an unnecessary addition to destruction; and the romantic Vanessa Kirby’s complex a version that finds resounding longing never to be sated. Vivid golden girl and Tobias Menzies’ contemporary passion in a releases; rocking out to Iggy comfortably numb doctor lingers timeless tale of inaction. Pop and Bowie; pummelling a agonisingly. Jessica Brown Marianka Swain Daring but jarring acts

CIRQUE BERSERK PEACOCK THEATRE ###$$

If circuses exist to make us gasp and suspend our disbelief, Cirque Berserk certainly provides the tricks and turns, but it forgets the beauty and magic. [email protected] There were awe-inspiring balancing acts, with handbalancer Kremena supporting herself - just - with unsteady objects piled on top of objects, holding her poise I Cirque Berserk Picture: Piet-Hein far up in the air. Acrobat Jackie twisted without any modern twist or enough to quicken the pulse - higher and higher on a story arc. but the music felt cheap. single rope, dangling by her In between the For such traditional - and hands and feet far above the performances, including a mainly first class - circus audience, without a safety net sickly knife-throwing double- acts, a big red tent might have or second chance. act, a clown performed weak created a more powerful and For petrolheads, four men and tiresome jokes which fun atmosphere and there on motorbikes revved up and involved tripping over. were few moments which drove around one another in The music hyped up the allowed the audience to pause a tiny white globe, defying tension until the second and wonder. collision and life-altering act became a never-ending The acts and costumes injuries. beat of adrenaline-thumping jarred and felt jammed into fi[email protected] It was a traditional circus drums. one another - with little transported onto the stage Tricks from the Tropicana originality, but plenty of with little thought for thematic Troupe, a tribal-inspired series flourish. costumes or backdrops - and of leaps brilliantly timed, were Anna Behrmann