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"The Hour We Knew Nothing of Each Other": Often the monkey
wonders what would happen if everyone forgot their words... this rather answers
the question. Frankly, it is totally your call whether to treat the production
as a brave theatrical experiment or a reason the National Theatre should lose
every penny of arts funding on the grounds it is taking the rise out of the
establishment.
If you can see beauty in modern ballet and sculpture then this is for you. This
is the theatrical equivalent of the Tate Modern for sure. Simple observation of
people - physically and of the shape of their lives is the order here. Yes, it
is free if you stood outside the theatre... but probably safer and warmer
indoors; and the actors make a wonderful effort to create so many briefly
appearing characters.
Perchance you'll wonder at this show, and wonder on because time won't make
anything plain. May be worth a visit just for an unusual experience.
"Never So Good": For those like the monkey, for whom Macmillian
is just an historical quotation, this is an effective potted biography and
review of mid-20th century British political events. Those with silverback
tendencies will no doubt find a much deeper meaning in this work as events they
also lived through are discussed.
Overlooking the odd dragging moments, Macmillan's remarkable military service is
striking to the younger generation, the later politics a proof that little
changes at Westminster but the prices on the 'John Lewis' list. Howard Brenton
seems to be sympathetic to his subject and the National offer another very fine
staging.
Jeremy Irons can chalk up another personal success, along with his director
Howard Davies and the rest of the cast, who should be proud to have this among
their credits.
"The Year of Magical Thinking": The monkey hasn't read the book
on which this is based, but it admires the skill it takes to bring any example
of the genre to the stage. Ninety minutes is a long time for an actor to play
too, but both her and the director manage to sustain interest throughout.
Hampering the emotion is the fact this is a large theatre - the Cottesloe might
have been more intimate, as might a commercial space like the Duchess,
Ambassadors or Trafalgar Studio Two. The only advantages of the Lyttelton are
the number of tickets available and the stage design which could perhaps be
beyond the means of a West End run.
What still comes across is a very human tale of fate and coping with its
machinations. Your own experiences will probably determine your exact response -
but you'll certainly have one. Not an animated theatrical event, but an
important one.
"Afterlife": Not available.
"A Slight Ache": Not available.
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