Tag Archives: Trevor Fox
"Peggy For You" at the Hampstead Theatre
Alan Plater's 1999 play tackles two subjects. As a day in the life of theatrical legend Margaret Ramsay, it's about a formidable and fascinating woman. And Peggy For You is also a play about plays. This strong revival, carefully directed by Richard Wilson, gives both topics their due: both are interesting but I'll admit to preferring one far more than the other.
Both Plater and Peggy have plenty to say about plays. And Art with a capital A. Tricks and techniques of the trade are plentiful, some of them are funny (even for those of us who don't work in the theatre). But the insights are heavy handed. It's hard not to make this subject feel rarified. Meta-theatrical moments are clumsy.
Plater shows us three ages of the playwright. There's the newcomer, the man of the moment and a former most-promising but now out of fashion. Trouble is, it feels all these descriptions should have a capital letter. The characters are well played by Josh Finan, Jos Vantyler and Trevor Fox. But each role is slim. Only Fox's old-timer has much to say or do.
Plater suggests there is a high price to pay for plays yet doesn't explore this idea enough. Another author kills himself. But this offstage character isn't vivid enough to have much impact. What interests is Peggy's cold reaction to the death. Indeed, all the way through the play, it's Peggy who interests most.
A great source of anecdotes and one-liners, Plater gives a wonderful depiction of his own agent. Explicit that the play is "a pack of lies", the strategy aims at creating a portrait close to the truth. His Peggy is complex and entertaining, the depiction cleverly affectionate while acknowledging her many faults.
Taking this starring role, Tamsin Greig's performance is phenomenal. It would be all too easy to exaggerate this larger than life woman. Greig, while always funny, shows incredible control. Volatile emotions and a sharp intellect are clear, imperiousness is balanced with vulnerability. Ramsay was a woman to watch and Greig mirrors this – the performance makes for compulsive viewing. A bully the wrong side of loveable eccentricity, a passion for danger gives the character edge. Does Peggy's commitment to the theatre excuse it all? No, but Peggy will choose a pub theatre over the National, and who doesn't admire that?
www.hampsteadtheatre.com
Photo by Helen Maybanks
Hampstead TheatreJos VantylerJosh FinanRichard WilsonTamsin GreigTrevor Fox
"The Tempest" at Shakespeare's Globe
17 November 2014 Edward Lukes	Leave a comment
Even if there's still a chill in the air, for theatre-lovers the summer starts with a trip to Shakespeare's Globe. The Theatre's 'Season of Plenty' begins with The Tempest, a difficult play that director Jeremy Herrin, confident in the venue's unusual power and his excellent cast, tackles with a light touch. It has been the fashion to subject the story of Prospero and his elaborate revenge on those who exiled him to a great deal of analysis. Herrin's focus is on the theme of reconciliation and the magic in the play comes to the fore.
There is little threat on this island – the machinations that landed Prospero there aren't given much attention. Instead, there's a lot of laughs, led by the drunkards Stephano and Trunculo (played by exuberant double act Sam Cox and Trevor Fox) – and even Caliban gets to join in the singing. Indeed, the island seems too homely, almost drab – its attraction is the detailed depiction of the relationship between Prospero and his daughter Miranda. Jessie Buckley is a revelation in the role, captivating and able enough to bring on her suitor Ferdinand (Joshua James) to some charming scenes of romance.
Colin Morgan as Ariel
The pace of the production is skilfully developed, with Colin Morgan's Ariel pivotal, injecting a spellbinding touch (in scenes of startlingly confident theatricality) and bringing home the play's concerns with freedom. Morgan is athletic and otherworldly, mellow rather than mischievous and played with an intelligent depth that builds up the fascinating relationship with his master Prospero: it is here that the understated quality of Herrin's production finds its power.
Only an actor as fine as Roger Allam, who takes on the central role, could make such a domesticated Prospero work. A model of clarity, Allam was born to play the Globe – he's worth the price of the ticket and then some. His nuanced performance as a former Duke can be commanding and his dour touches delight, but it is as a father, the man behind the magic, that he becomes magnificent. He enjoys his power to enchant with such glee that abandoning it has added pathos, but renounce it he does – in order to become more human and experience the freedom that entails.
Until 18 August 2013
Photos by Marc Brenner
Written 3 May 2013 for The London Magazine
Colin MorganJeremy HerrinJessie BuckleyJoshua JamesRoger AllamSam CoxShakespeare's Globe TheatreTrevor Fox