'One Man, Two Guvnors' at The National, Lyttelton Theatre

A few nights ago I attended the premiere of ‘One Man, Two Guvnors’ at the National’s Lyttelton Theatre. This new English play, written by Richard Bean, is based on the Italian comedy, ‘The Servant of Two Masters’ by Carlo Goldoni.

The action takes place in Brighton, where an odd mix of characters come together after the murder of Roscoe Crabbe. Dodgy dealer Charlie “the duck” Clench had organised for his dippy daughter Pauline to marry Roscoe, but is now adjusting the engagement party for his daughter’s true love, melodramatic actor Alan Dangle. Meanwhile Francis Henshall, minder to Roscoe, believes his employer is still alive, which is apparently confirmed when Roscoe’s twin sister Rachel enters disguised as her dead brother. She is posing to claim the money her family are owed from Charlie, and also to protect her lover Stanley Stubbers, her brother’s killer. If all that isn’t confusing enough, Henshall has committed to working for both Rachel (in disguise as Roscoe) and undercover murderer Stanley, but neither must know of his dual alliance.

Hushed murmurs of excitement were audible as James Corden swaggered on stage as the food obsessed Francis Henshall, his larger than life personality immediately fills the auditorium. His performance is an impressive tour de force, Corden throws himself about the stage and isn’t shy of full on audience participation, though at times I felt he tried a little too hard and occasionally his rants came across as slapstick. Strong support is given from Jemima Rooper as convincingly disguised Rachel Crabbe, and Oliver Chris as the absolutely ridiculously funny posh lover Stanley Stubbers. The audience seemed to delight in watching Tom Edden playing the poor old man Alfie, who can barely talk or walk.

Brilliant direction from Nicholas Hytner is to be expected, but I was pleasantly surprised by the frequently changing retro set designed by Mark Thompson. Music plays a big part in this production, and this is provided by extremely talented crew of four, The Craze. Fresh new songs written by band member Grant Olding inject the evening with energy and fun, and provide a welcome distraction while the scene changes are made. The Craze aren’t afraid to experiment, playing a wide range of instruments including washboard, spoons, harmonica, ukulele, and even an accordion. Every actor gets a turn to play /sing in a number with the band, these musical interludes are well designed with the words, style and instrumentation all matching the performer’s character in the play... particularly humorous when Alan uses his bare chest as a percussive device.

Despite the tendency towards pantomime, ‘One Man, Two Guvnors’ really made me laugh and certainly entertained me a darn sight more than the National’s slow paced production of The Cherry Orchard.

Continues until July 26th, book here.

Cherry Orchard at The National, Olivier Theatre

‘The Cherry Orchard’ is Anton Chekhov’s final play, and has become one of his most familiar. Translated many times over, it is now regarded to be a classic all over the world. When I arrived for the first night of the National’s new production of the play I was aware that I was in the minority, having not seen this play performed before. The work is lengthy, as is much of Chekhov, and with very little storyline it is easy to get lost in the words and endless speeches, I felt quite dazed by the end. It doesn’t help that the character names are so difficult to distinguish to untutored ears.

We were lucky to be sitting in good central circle seats that only cost £5 each, thanks to the National’s brilliant entry pass scheme, and could see the huge stage well. The wooden set is simple but stunning and alludes perfectly to a picturesque Russian country estate. Aside from aesthetics, designer Bunny Christie has managed to create a real atmosphere and character with her insightful vision.

Ranyevskaya, a Russian aristocrat arrives back at her family home with her relatives and friends. The house includes a large and well-known cherry orchard that holds many memories for the family members. Unfortunately the land must be auctioned to pay off a mortgage debt. The family do very little throughout the play, talking about the importance of love and life and wandering about aimlessly or having a party. The property is eventually sold to the wealthy landowner, and the family leave to the devastating sound of the orchard being chopped down.

Zoe Wanamaker is the star appeal as glamorous Ranyevskaya, lady of the house, and on opening night she was truly worthy of her status. Wanamaker sweeps the stage with such charm that you can’t help but smile. Her features are quite similar to a cabbage patch doll, and there is something particularly endearing about her expressive face. Confident and assured, she gives a wonderful performance, at times hysterical. She is surrounded on stage by a brilliant cast; an excitable Charity Wakefield as the beautiful younger daughter Anya and Claudie Blakley, who is perfectly prim as the fastidious adopted daughter Varya. Of the smaller parts, it is Sarah Woodward that really stands out as jovial performer Charlotta.

Whether to define ‘The Cherry Orchard’ as a comedy or tragedy often causes debate, and it is a decision each director can determine in their portrayal. The final saddening moments of the National’s production reflect the overall contemplative feeling of the show, as we watch the poor old man struggle alone whilst everyone else has left the house and cherry orchard behind.

Cherry Orchard continues until July 28, book here.