Not Quite a Train Wreck but Lohan's Inexperience Shows

2 The Gazette, Thursday October 9, 2014 The Critics | Theatre Not quite a train wreck but Lohan’s inexperience shows Most of the drama is offstage in miscast Mamet revival SPEED-THE-PLOW Playhouse Theatre ##$$$ The onstage action in Lindsay Posner’s much-hyped revival of Speed-the-Plow I OperaUpClose’s Marriage of Figaro. Picture: Christopher Tribble can’t begin to compete with its offstage drama. Ever since tabloid target Lindsay Lo- han’s casting was announced, people Farewell show is a delightful have been taking bets on her actually making it to the theatre, let alone giv- ing a West End-worthy performance. romp with sublime singing The bad news for vultures is that she’s not a total train wreck, requiring THE MARRIAGE OF FIGARO their less intelligent superi- just one audible prompt on press night, King’s Head, Islington ors at every turn. but offers an abject lesson in the differ- ##### Both talented comic per- ence between speaking lines and creat- formers and singers, they One tends to take for granted ing a fully realised character. are a joy to watch and hear. the sheer joy engendered by Nicholas Dwyer is both Mozart’s Marriage of Figaro. Childlike handsome and arrogant as With just a three piece In fairness, Mamet poses a challenge the Count, with a fashiona- orchestra comprising piano, with enigmatic Karen, the naïve temp ble beard like a pop star. clarinet and viola, Alex secretary who convinces newly ap- Fae Evelyn as his aban- Beetschen’s new orchestra- pointed Hollywood studio boss Bobby doned Countess is at first tion of that so familiar over- (Richard Schiff) to ditch producer wistful, and later full of fun ture soars through the Charlie’s (Nigel Lindsay) commercial when she joins plans to Kings Head filling the room dead cert in favour of adapting a mor- bring down her pompous with glorious sound. ally righteous tome. and egocentric husband. Instead of allowing the Yet Lohan, though appealingly child- Felicity Buckland is a audience to sit quietly and like, is convincing neither as an impas- perky Cherobino, the pretty listen to the opening music, sioned do-gooder nor a cunning manip- boy who loves the ladies, and director Sarah Tipple brings ulator, and her flat intonation grates. Henry Grant Kerswell looms on the actor/singers in their Most egregious, she lets her scene threateningly as Bartolo the modern dress to set up the partners down by switching off between lawyer who is assisting Mar- stage, bring on the dress lines, as if sensing the camera is no cellina (Mary-Jane de Ha- rails, arrange the furniture, longer on her. It’s an unmistakable vas) in her quest for either hang the drapes and set the indication of stage inexperience. marriage with Figaro or props ready for the perform- It’s not the only miscasting in Posn- monetary compensation. ance. er’s lethargic production, with Schiff Another witty and hilarious As the music ends the play struggling to convince as a hungrily libretto by Robin Norton begins with Figaro, played ambitious shark. Hale makes one sad that, by Alistair Sutherland, in This renders his dramatic 180 – often apart from a Christmas gala full voice and having donned a tough sell – essentially meaningless, season of repeat perform- his costume, measuring up though he’s on surer ground with Bob- ances of their most popular the stage, with Susanna – by’s crisis of conscience. productions, this is the last Rosie Bell – concentrating The least-talked-about actor is the new work by OperaUpClose I Lindsay Lohan, with Richard Schiff, switches off between lines delightedly on her wedding real star: Brit Lindsay is the sole cast to open at the Kings Head. hat forcing him to admit it is member to nail Mamet’s breakneck, lie as a sweaty, anxious hustler, aware rificing creative credibility for com- Their farewell show is a a millinery triumph. machine-gun rhythms. Rather than ap- that this is his last shot at financial se- mercial gain through the play itself, but delightful romp with sub- Sutherland and Bell are ing Kevin Spacey’s blistering psychotic curity – a resonant reading for our through the circumstances of its reviv- lime singing. ideal casting, facing the devil in Matthew Warchus’s superior times. Sadly, this Speed-the-Plow al. Until November 29. Not to be missed. problems of the servant class 2008 Old Vic version, he presents Char- doesn’t deliver satire of an industry sac- Marianka Swain Aline Waites with the ability to outwit Tavern hosts musical spiritland for Pete and co to play best tracks Shoreditch restaurant Merchants rating the venue’s pioneering Tavern is moonlighting as an analogue sound system, hailed as elegant setting for a stunningly the holy grail of auditory experi- wide range of music over the next ences. three months as a host of respect- Taking up residence in the bar of ed clubhouse DJs, artists and the former Victorian warehouse critics prepare to air playlists of on Charlotte Street, Spiritland their favourite tracks. hosts a season of curated events Each night, special guests until the New Year, when it including Hot Chip’s Alexis intends to open its own restau- Taylor, Flomotion DJ Nick rant, bar and members club with Luscombe and BBC 6 Music music at its heart. presenter Pete Paphides will play Monday October 27 will see a carefully-selected vinyl records of night dedicated to Lou Reed on the all genres from the past 50 years first anniversary of his death, – encompassing everything from while later in the season, there rock ‘n’ roll to soul, country, will even be a rare outing of Marx- reggae, R’n’B, jazz and blues. ist historian Eric Hobsbawm’s Prominent DJ Bill Brewster extensive jazz collection, loaned to launched the innovative new Spiritland by his family. musical venture – dubbed Spirit- Visit merchantstavern.co.uk . I land – on Monday before inaugu- Danny Wittenberg Spiritland is coming to the Merchants Tavern.

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