Review – For Services Rendered, Minerva Theatre, Chichester, 29th August 2015

For Services Rendered First Chichester weekend of the year, and a joint visit with our friends Lord Liverpool and the Countess of Cockfosters. The last time we saw them was for a show in Edinburgh, and it poured with rain. This time, in Chichester, it poured with rain again. We’re seeing them next weekend in Stratford. I don’t have much in the way of climactic expectations!

For Services Rendered 1979After a really superb lunch in the Minerva Brasserie (why would you go anywhere else pre-theatre in Chichester?) we took our seats in the Minerva Theatre for For Services Rendered. Described as a rarely performed play nowadays, I did get to see it at the National in 1979 – on September 14th, in fact, in seat G14 in the Stalls, priced £5.95. I remember it being a stunning production, featuring such stalwarts of the stage as Jean Anderson, Alison Fiske, Peter Jeffrey, Harold Innocent, Barbara Ferris and Phyllida Law. Of course the original production starred Flora Robson and Ralph Richardson – I bet that had the wow factor. But there’s no doubt that this new production at Chichester is, I’m sure, as fine as any in the past. Superb attention to period detail, a deep, beautiful, atmospheric set, and cut-glass acting as good as you’ll get anywhere.

Stella GonetWritten in 1932, this was Somerset Maugham’s last-but-one play, an examination of the fallout of World War One within a well-to-do English family. Fourteen years on, the Ardsleys are still just about surviving, with the oldest son and heir blinded in the war, and therefore unable to carry on the family business; one daughter having lost the man she’d hoped to marry; another having married outside her class (disgraceful) to a tenant farmer; and the third unmarried at 27 with no hope of finding a suitable gentleman in the backwater in which they live. Simon ChandlerIn addition, there is the hard-up ex-officer Collie Stratton, who opened a motor repair business that has fallen on its face, and a married couple with no apparent love for each other, but with the husband eager to seduce the Ardsleys’ youngest daughter. All that, and the doctor brother of the lady of the house has concerns about her health… Maugham weaves these threads together culminating in various degrees of tragedy, although there is one glimmer of happiness for a couple of the characters somewhere there – but on reflection, it’s unlikely to end well.

Anthony CalfWhilst this may be a play from several eras ago, and you may feel that the drawing-room, middle class setting is anachronistic in the post- Look Back in Anger age, there is much to admire and appreciate about this play. Staging it today shows how the general emancipation of women has come a long way; back in 1932 it just wasn’t done for women to make their own decisions about – well, anything really. Marrying outside of one’s class is shown to be a foolish venture, inevitably ending in disappointment; that is perhaps the one element in which this play has a dated feel. Apart from that, much that was relevant then is relevant today. Matilda ZieglerCoping with social shame and scandal can still result in suicide. Lives and relationships can still be ruined in the aftermath of war. As a nation, we still don’t look after our war veterans as we should; many of them still rely on drink or drugs as a prop on which some of them just about get by. Recessions and depressions affect our livelihoods and incomes; but there will always be those who have inordinately inappropriate sums of money at their fingertips, to keep for their own pleasure and fun without a thought for the wider community. If For Services Rendered had been written by Noel Coward, we might have expected a wittier touch or maybe a happier ending; but Maugham liked his gloom, and, despite a few ironically humorous scenes, the tone and vision remain bleak throughout – but appropriately so.

Justine MitchellHoward Davies’ classy production thrills you from the moment you enter the auditorium and are greeted by William Dudley’s elegant, tasteful set; in fact it was all I could do to deter Lord Liverpool from jumping on stage, lolling on one of the dining chairs, feet up on the table, feigning 1930s ennui with a tennis racquet in one hand and The Times in the other. The whole production oozes dignified restraint, from the rarely played wireless in the corner to the well-worn but once hideously expensive eastern carpets. Only the pantomime-like clap of thunder that heralds in the second act strikes an over the top note; I half-expected Mr Ardsley to burst out of a stylised bottle, bestowing three surprise wishes upon the impoverished Collie.

Joseph KloskaStella Gonet’s Mrs Ardsley is a strong matriarch, who knows precisely how to behave decently and will never stoop to depths unbecoming of a lady. Her altercation (such as it is) with youngest daughter Lois is a fine exercise in strict discretion, packing her off to spend months with a miserable aunt before she even has a chance to fiddle with her pearls. It’s a beautiful performance, blending practicality with decorum, and when her character has her own tragedy to contend with, she gives us a classic stiff-upper-lip experience that you can only admire Yolanda Kettleand hope you’d be like that in the same circumstances. As her husband, Simon Chandler is a little nugget of Victorian conservatism, decent but unbending, intelligent but without empathy; a walking, talking, emotional void who follows rules to the nth degree. Much of the ironic humour comes from his total inability to see the wood for the trees.

Jo HerbertAnthony Calf is excellent as always as the abysmal Wilfred Cedar, exuding friendship and bonhomie when it suits him, retreating into hostile selfishness when challenged. He very credibly gives the impression of someone falling in love with love, and there’s a huge element of the pathetic about his approaches to young Lois. Matilda Ziegler’s Gwen is a brilliant creation of a woman under pressure to keep her man, mixing sarcasm and ridicule with sheer venom. I also loved her opening scene where every comment she made could be taken as an insult – it was immaculately performed. There’s also a brilliant performance by Justine Mitchell as Eva, who’s sacrificed her own emotions to do the decent thing by blinded brother Sydney, but who just can’t take any more of that wretched chess.Nick Fletcher Her scene with Joseph Kloska, as the persistently irritated and irritating Sydney, where he’s criticising her on her chess moves, is electric. But it is Ms Mitchell’s semi-coquettish approaches to Nick Fletcher’s Collie, sending as strong a signal as is decently possible to suggest that, like Barkis, she is willing, that constitutes the stand-out performance of this play. She positively hurts with pointless optimism, as she tries to lend him money or suggest they would make a good couple together; but Eva is the character to whom Somerset Maugham most wants to deny happiness, and her increasing mental instability is movingly and convincingly played.

Sam CallisJo Herbert is excellent as the put-upon but stoic Ethel, Sam Callis also very good as the rough and ready farmer Howard with potentially straying hands. Yolanda Kettle is very convincing as the frustrated, teasing and not entirely demure Lois, and David Annen turns in a very nice performance as the doctor/brother, incapable of persuading his patient to do the right thing, and, when it comes to the crunch, resigned to (as he sees it) failure.

David AnnenA rewarding, thoughtful, and thoroughly traditional revival which kept everyone on the edge of their seats and really satisfied its audience. We all came out heaping praise on the performers and the production. If you’re not au fait with between-the-wars British drama this is a perfect opportunity to see how stiff those upper lips could be. Highly recommended.

Review – King Lear, Donmar Warehouse Tour, Milton Keynes Theatre, 16th March 2011

King LearWe’ve seen at least three Lears over the past few years. We were very lucky to get good seats for Ian McKellen’s Lear in London a few years ago, and more recently we were slightly less lucky to see the late Pete Postlethwaite’s Lear at the Young Vic. Postlethwaite was excellent but I had lots of problems with the production itself. On the other hand McKellen’s Lear was as majestic as you could imagine.

Derek Jacobi So it was with great expectations that we witnessed Derek Jacobi’s interpretation of Lear. And I must say it’s a very different, but completely valid and credible portrayal of the misguided king. Whereas Lear is often a towering, bullying, bossy kind of guy, Jacobi’s pre-heath Lear is spoilt, petulant and wheedling, insisting on a peck on the cheek from Goneril before she starts buttering him up, his voice going very high tenor when he wants to get his way – you can imagine his bedroom having a royal cot with lots of toys on the floor. His descent into madness isn’t as gradual as some Lears – to me he seemed pretty on top of his wits until his encounter with Poor Tom, which seemed to flip him over the edge. When he referred to Tom as a philosopher I felt the madness kick in. Technically, as you would expect from an actor of his stature, it’s a beautiful performance. Every word is clear; no line is wasted; his eyes and his manner convey precise meaning when the Shakespearian language gets a little dense.

Gina McKeeThere are lots of other jewels in this crown of a production. If self-deluded Lear is every inch a king then Gina McKee’s Goneril is every inch a bitch. When she tells Lear how much she loves him in the opening scene her words are not directed at her father but at Cordelia, her eyes challenging her to “beat that” when it comes to her turn. It’s a very mature and physical performance – when she comes on strong to Edmund she really turns on the sex-factor, frankly masturbating in front of him. You wouldn’t want to upset her; I’ve never seen Albany being grabbed by the testicles to mock his weakness before. “Goneril and the Gonads” makes a very sharp impression, and the audience cringes with discomfort.

Justine MitchellShe is well matched in villainy by Justine Mitchell’s Regan. Looking all butter-wouldn’t-melt she beautifully underplays the scorn with which she suggests Lear’s retinue is diminished from a hundred to barely one. Her squeal of childish glee when Gloucester’s eyes are removed was stunningly horrific. It had all the excitement of a little girl unable to contain herself at a birthday party.

Alec Newman As the other bastard in this play, although this time a real Bastard too, Alec Newman is a very dashing Edmund, and totally believable; you’d swear he was telling the truth about Edgar’s plot to kill his father. Some Edmunds are rather cold and collected in their approach to their plot, but this is a very excitable one, glorying in his wicked plans, impatient to get on in life. When he’s playing Goneril and Regan off against each other you can see his genuine delight at the sport, it’s a really sexy game for him.

Gideon Turner The rest of the cast all play their parts very well, Gideon Turner’s Cornwall was very convincing as the unapologetically malevolent putter-outer of Gloucester’s eyes (I particularly liked –if that is the word – the way he threw the second eye on to the floor and you heard it bounce) and Gwilym Lee Gwilym Lee as Edgar’s Poor Tom character did actually bring a tear to my eye with his sorrow at seeing his blind father. As is often the case, Lear’s entry with the dead Cordelia in his arms brought a lump to the throat. It was Jacobi’s “Howl! Howl! Howl!” (Act V Scene III, line 256) that did it.

One thing I really admired about this production is how there was barely any staging or furniture. The unchanging set is just three walls and a ceiling made of planks with various shades of white and grey daubed on them (with additional splashes of red after Gloucester’s blinding). Lights behind slim gaps between the planks create the lightning effect for the heath. For props and furniture, there was a chair, a joint-stool, a map, a few letters, some jewellery and swords and a bit of earth for Edgar’s Tom make-up. This really means that all your attention is on the words, the characters, the acting. Having seen a number of over-staged productions recently it’s thrilling to see the drama evolve unadulterated by minutiae.

Additionally I should mention that Adam Cork won the Olivier Award for best Sound Design for this production, which is a fitting reward for the moody, scary, disquieting atmospheres that he has created. Lear on the heath is a very different interpretation from the traditional – the words are delivered much more calmly and quietly than usual – but the sound design helps create a very spooky experience.

It’s excellent that the Donmar is making this production available to a much larger audience. The Milton Keynes Theatre was sold out for a Wednesday evening, which is good news for business. It’s a great, stark production that lets the text do the talking and with some fine characterisations of its villains and victims to inhabit it.