THOROUGHLY MODERN MAN: Goodbye Barcelona, Arcola Theatre

Firstly, the writers K S Lewkowicz and Judith Johnson must be commended for writing a musical about such a notable and tragic period of European history, and also for the sensitive way in which they have put this show together. For the press night a considerable number of Spaniards were present, and their reaction at the end spoke volumes about the emotional power of the evening.

Although 'Goodbye Barcelona' is not an account of a true story, it was largely inspired by interviews with five surviving Brigaders (men from across Europe who volunteered themselves to fight Franco's Fascist army during the Spanish Civil War.) The Republic forces resisted the Fascists for nearly three years despite the 'Non Intervention Policy' from Britain and France meaning that they were unable to purchase weapons, while the Fascists were supplied with state-of-the-art military equipment and personnel by Hitler and Mussolini. This whole period is glossed over by the History curriculum, and the fact that British men and women were among those who supported the movement is an almost unobserved fact. The great significance of the period is that it stands on the brink of the Second World War, and marks the beginning of the great fight against fascism. It is a terrific backdrop for theatre.

For the most part it succeeds. There was certainly an air of 'first night' about the opening half an hour or so: the cast were trying so hard to sell the show that they lost their way somewhat in the telling of the story. The musical opens in London's East End, and it was these opening scenes that seemed a bit jagged and over-cooked - not all the jokes were landing, and you could feel the nervous energy gathering. But once the action transferred to Spain and we heard 'La Pasionaria's Welcome' the cogs began to turn nicely. (The sporadic musical appearances of Laura Tebbutt's La Pasionaria were sung with real Spanish gusto and commitment.)
Spain arrives in a blaze of red sunrise, and the introduction of Pillar (Katie Bernstein) brings a real injection of positive energy to the play. Bernstein plays the role with such senstivity, hiding her grief and desperation behind a front of sensuality, confidence and Iberian determination. She grew with the performance, and with each scene you could feel her stripping away layers of Pillar's defences, baring herself to Sammy (Tom Gill), the eighteen year old East-End lad who is guided to Spain by his conscience and personal experiences of fascism. He is another who grew with the performance, and gave a highly convincing portrayal of a young man's fear in the face of brutality and war.

Sammy's mother, Rebecca (Lucy Bradshaw), is tortured by her son's departure, and leaves London to follow her son to Spain, becoming a volunteer nurse. She gave a beautifully measured performance, never indulgent or over-played. It was a shame that some backstage clunking and flapping scenery got in the way of some of her more poignant moments. Hopefully this will be remedied as the run continues.

The two stand out performances of the night were Mark Meadows, as the tortured soldier, Jack, and John Killoran as the wounded anarchist, Ernesto.

Mark Meadows' impressive CV reveals is the former musical director of the world-famous singing ensemble, The Swingle Singers. He has had an impressively varied career, performing with the ground across the world, including in La Scala, Milan, and recently having finished playing Frank Lockwood in 'Betty Blue Eyes' on the West End. In 'Goodbye Barcelona' he plays Jack, the essential comic ingredient. He knows how to make a joke stick, and that is vital in getting this show of the ground, and for providing the relief to the tragic backdrop of the show. Like Bernstein, he covers his own grief behind a wall of glossy confidence and cockiness, but his own history and experience is never far from the surface.

It is John Killoran who won it for me though. His relationship with Bradshaw is played out beautifully. What begins as some cheeky back-chat in a hospital ward quickly crescendos into something more serious, and, in the most unlikely way, the relationship between a Spanish anarchist and an East End widow becomes the most endearing and compelling plot-line of the whole show.

Ultimately, the show succeeds in hitting the spot - the second half is particularly well-tuned. But like so many musicals the story itself is slightly tarnished by failing to fully balance the score with the play. Occasionally, I felt that I was listening to dialogue which was only serving to pave the way for a new song. So few musicals really get this balance right. The music really needs to be blended into the text in order to get the right effect, particularly in shows which deal with such grandiose backdrops as the Spanish Civil War. For me, it is one massive reason why Les Miserables continues to enjoy such success around the world, and why Sondheim succeeds in creating such magic again and again: the linkages between spoken text and singing seem so seamless that you are barely aware of them. None of this should dissuade you from seeing and experiencing a wonderful night of theatre!

Goodbye Barcelona continues until 23 December, buy tickets here.

Written by a Thoroughly Modern Man, Alex Knox.

Uncle Vanya at Arcola Theatre

Dalston is a hip, vibrant area of London with a real buzz. The fabulous and original nail heaven WAH is here as well as cute little eateries serving up "a little of what you fancy". Turn a few corners away from Kingsland Road and you are at the Arcola, a bright independent theatre with a hefty helping of panache.

I was there at the new theatre opening a few months ago and the transformation is exciting, though the makeshift loos are still a treacherous journey away! Arcola treat their press people well with a complimentary array of nibbles (olives of every variety), and a beer on the house. There is a friendly welcome at the door.

This season the Arcola stage two Chekhov plays, Uncle Vanya and later in June, The Seagull. Chekhov is a writer who uses the mundane to express a broader opinion of life. I was immediately struck by the naturalness of both the writing and acting in this new production of Uncle Vanya, and for this I must congratulate the inspired director, Helena Kaut-Howson. She bravely took on the task of translating the famous script, offering a fresh and exciting new perspective that stays true to the spirit of the original.

Women seem to both fascinate and confuse Chekhov who often portrays them as crazed creatures, screaming and dancing madly round the room. This is true of both The Seagull and Uncle Vanya which both feature captivating young leading ladies. Marianne Oldham looks striking in a full length white gown as the temptress Yelena Andreyevna. Oldham successfully grasps the enigmatic persona of this much desired woman, though I noticed twinges of nervousness that occasionally broke the beguiling illusion.

The action is centred around a dysfunctional family, each character has their own pessimistic reasons for wanting to escape the boredom and monotony of the estate property. Uncle Vanya is the most frustrated, and finds relief in adoring and fantasising about Yelena. Jon Strickland is brilliant as Vanya, he creates a multi dimensional character and I was absorbed by his rendition.

There is a good ensemble balance throughout - one of the most intriguing scenes comes from the three drunken men, who are hilariously convincing as they stumble about giggling and joking. Simon Gregor gives a deeply thoughtful, nuanced performance as the handsome Doctor Mikhail Astrov and Paul Bigley is a hysterical asset to the cast as the kind Ilya Telegin.

Designer Sophie Jump must have had a fun job decorating the stage for this play; the space already has such a wonderful atmosphere it lends itself to dramatic work. Nonetheless Jump found some modest antiques to imbue the scene with Russian charm.

As ever, the Arcola delights with its instinctive and creative production. They succeeded with the original commissioned play The Painter, and now we see the genius of their updating of a classic - is there anything they can’t do?

Uncle Vanya continues until 4 June, book here.

The Painter at the new Arcola Theatre in Dalston

Hidden away behind Dalston High Street is the new home of the Arcola Theatre, a converted paint factory which Turner and Constable probably frequented at the start of the 19^th Century. Conveniently close to not one but two train stations, this area of London isn’t as distant as you may assume. Having said that, I did get a bit lost, despairing when I ended up in the messy aftermath of Dalston’s Friday food market. Resorting to technology, I consulted my blackberry and found that I’d walked right past the correct turning.

The theatre is still very much a work in progress with wires draped precariously down the walls, and many other temporary measures in place. The other visitors seemed to relish the treacherously trendy surroundings, perching on the edge of the battered sofas, glass of red wine in hand. I guess this kind of venue is what makes East London so cutting edge cool, all very Fringe Theatre.

We were all here for the opening of the new space and the special performance of ‘The Painter,’ a play written specially for the occasion by Rebecca Lenkiewicz. At 7.15 we were ushered into the theatre, an intimate auditorium with surrounding brick walls, I was immediately struck by the charming character of the place. The lighting is what makes this stage so magical, the romantic reflections, moody shadows and gentle chiaroscuro transport the audience to another age entirely. The stage is dressed beautifully with pigment stained cloths, pages and pages of drawings, candles and old furniture and most importantly the artist’s easel. When I wished to avert my eyes from the actors there was much to admire and examine on the set. As a daughter of two artists, I can honestly say this messy studio array was very accurate.

The play is split into twenty-three short scenes, fragments of the artist’s life and memories, much like a retrospective exhibition. The mesmerising Dido’s Lament begins and concludes each half of the play. Other musical excerpts are used throughout, and are mostly appropriate, although occasionally reminded me of the ‘Famous Five’ storybooks on cassette! We meet Turner as a young man in 1799, obsessive and strange, as he is starting out his career as an artist. He has just moved into his new studio with his father, to assist him. Lenkiewicz decides to focus on the artist’s emotions and reactions, unfortunately examining his fascinating body of work very little. The painful relationship he has with his vicious mother and his awkwardness with women dominate much of the story. He is loved but seems unable to love anything apart from the glorious seascapes and landscapes that he paints.

Artistic Director Mehmet Ergen has a strong set of actors to work with. Toby Jones is impressive as the great artist, the small man has great expression in his face, and becomes a persuasive lead as the play goes on. Turner’s father is played by Jim Bywater, a reserved man with a quiet demeanor, I found his performance very convincing and even quite moving at times. Niamh Cusack eventually persuades ‘Billy’ into commitment, as Turner’s widowed lover, though seems to later regret it as he ignores her, even when she is carrying his child. Denise Gough is a breath of fresh air as Turner’s prostitute friend and model Jenny, she is exciting to watch and has real presence on stage when speaking up to the arrogant artist.

There was the offer of an after show celebration, but I reluctantly declined remembering the long journey home. As we left, a brave girl stood by the door playing the accordion and singing a lilting Edith Piaf song with great gusto. It was beautiful, and a lovely end to a very memorable evening. I wish the new Arcola the best of luck and look forward to visiting again when they have the central heating working!

The Painter continues until 12 February 2011, book here.