Breakfast at Tiffany’s | UK Tour

Breakfast at Tiffany’s (UK Tour 2016)

Directed by Nikolai Foster

Grand Theatre, Leeds – 09 Apr 16

More than fifty years on from Audrey Hepburn’s iconic performance in the 1961 film, Breakfast at Tiffany’s has hit the UK’s theatres in a brand new stage adaptation by award-winning playwright Richard Greenberg. Based on the novella by Truman Capote, the story of Holly Golightly is rekindled for a new audience in this ‘stage play with music’, touring the country before settling in at London’s Theatre Royal Haymarket at the end of June.

Set in 1940s New York City, depicted through large prints of the city skyline and the Brooklyn Bridge, the play’s narrative is delivered by Fred (played by Matt Barber), who serves as both a character within the story and the narrator looking back on past happenings. Between addressing the audience directly and a subtle use of lighting by designer Ben Cracknell, the constant shift from past to present does not become jarring but instead retains a level of intrigue and a desire to follow the story though to its conclusion. This is impressive in itself, as in all honesty Breakfast at Tiffany’s does not have a strong plot and rather is simply a following of the escapades of Holly Golightly (played by Pixie Lott).

To follow in the footsteps of Hepburn was always going to be an immense challenge for any actress, but Lott’s performance should most definitely be applauded. It is always a great sign when it becomes difficult to spot the actor behind the character, and Lott’s characterisation is extremely convincing. From Capote’s style of language to the considerable number of costume changes it truly is a demanding role, and for her theatrical debut the result is really quite impressive.

One star of the show who must also receive a mention is Bob … the cat. Playing the small role of Holly’s feline companion, Bob induces the most audible reaction from the audience on each stage appearance. Admittedly, these ‘appearances’ generally consist of the actors carrying him about the stage, nevertheless his presence within the production provide fleeting moments of tenderness amongst a rush of exuberance and intensity.

To call this production ‘a stage play with music’ might be a bit of a push, as the musical moments are both rare and fleeting. With Pixie Lott in the leading role and the famous ‘Moon River’ scene from the film to provide inspiration it would have been strange for there to be no music at all, but whilst enjoyable in both their performance and in providing a change of pace these melodic interludes do not particularly add anything to the story itself. However, whilst Breakfast at Tiffany’s may not be the easiest play to follow with its slightly undefined plotline, it certainly ticks the boxes for a couple of hours of escapism which, after all, is why many of us go to the theatre in the first place.

The Importance of Being Earnest | The West End

The Importance of Being Earnest (The West End)

Directed by Adrian Noble

Vaudeville Theatre, London – 10 Jul 15

Think Downton Abbey with a generous helping of wit, hilarity and even a bit of drag, and you’ve got yourself the current West End production of The Importance of Being Earnest. Starring David Suchet as the domineering matriarch Lady Bracknell, this play is a terrific demonstration of the brilliance of English theatre. Overflowing with classic Wildean wit Earnest has more one-liners than a modern day comedian can dream of, whilst at the same time portraying a bygone world of feathered hats and cucumber sandwiches. The play is set in the Decadent period and follows the escapades of John ‘Jack’ Worthing (Michael Benz) and Algernon Moncrieff (Philip Cumbus), two friends who both pretend to be the disreputable Ernest … who is in fact non-existent. Kept simple with three acts and three scenes this is a play to satisfy all audiences, and only those lacking a rational sense of humour will fail to see the sparkle of this production.

The ultimate ideal night out at the theatre has got to be one of two options: the performance is of a quality that simply blows you away, or has you rolling around in hysterical laughter. If you go to see this play, you will experience both. Oscar Wilde’s style of playwriting is so recognisable, and like anything else in life, is not necessarily everyone’s cup of tea, but it cannot be denied that he knew how to tickle an audience. The characters in this production are almost ‘overplayed’, but rather than becoming a negative aspect it is more as if they are making a point and ridiculing their own characterisations. Cecily Cardew (Imogen Doel) is, for example, the naive young girl complete with breathy sighs and an over-romanticised view of life – so over-romanticised that she considers herself formally engaged to a man she has heard of but never actually met. Even the concept of ‘Englishness’ does not escape the clever mockery of this play. An altercation between Jack and Algernon in Act II turns into a full-blown argument over muffins, and an affronted stand-off between Cecily and the Hon. Gwendolen Fairfax (Emily Barber) cannot quite overcome the importance of afternoon tea.

The character of Lady Augusta Bracknell, a part that has previously been portrayed by the likes of Dame Judi Dench and Dame Maggie Smith, is brought to life in a whole new way through David Suchet’s wonderful versatility as an actor. In a massive leap from the quiet genius of Hercule Poirot, Suchet’s Lady Bracknell could possible top even Downton Abbey’s Dowager Countess of Grantham as the ultimate female vessel of upper-class power and arrogance. A character that you both love and despise, Lady Bracknell is unfortunately absent during Act II, but the quirks that Suchet brings to the portrayal will stay with you until well after the curtain calls have ended. Never has the simple act of opening a notebook raised such a reaction from an audience, but it is the small looks and gestures that make Suchet’s performance in Earnest so particularly superb.

It is difficult to beat truly classic English theatre, and Oscar Wilde’s plays definitely fall into this category. Aside from being rather ahead of his time with his use of epigrammatic wit and his views on society, Wilde also seems to pay tribute to one of his predecessors in classic theatrical work. With a plot full of mistaken identities, mixed lovers and a final scene that brings all of the characters together, Earnest could very well be a Shakespearean play. This may not be the most sophisticated of plotlines in the current theatrical world but nothing could be more fitting for a play so full of satiric wit and social commentary. On the whole, this production milks everything it can from Wilde’s virtuoso as a playwright and the result is, without a doubt, English theatre the way it ought to be.

NB: There will be a live cinema broadcast of this production on 8^th October – I highly recommend that you get that in the diary!