LONDON — Few actors might stare down mortality higher than Simon Russell Beale in “Bach & Sons,” a problematic new play on the Bridge Theater that advantages from a piercing central efficiency.
Telling of the customarily testy relationship between the composer Johann Sebastian Bach and two of his 20 kids, each sons who had been musicians as properly, the author Nina Raine has provide you with a research-heavy play that might be described as “Amadeus” lite. Like that play, Peter Shaffer’s celebrated tackle Mozart, “Bach & Sons” options prolonged discussions of the character of mediocrity, and in addition leans towards the scatological. Amid an expletive-heavy script, one character makes a passing reference to “a turd in the tureen.”
Nicholas Hytner’s manufacturing boasts an evocative design from Vicki Mortimer, with cascading keyboards hanging above the stage; as in “Amadeus,” the dialogue typically cuts off to make approach for excerpts from the composer’s output.
Beale with Racheal Ofori as Anna Magdalena Wilcke in one other scene from “Bach & Sons.” Credit…Manuel Harlan
Over time, Bach Sr. loses his sight and cedes floor to his son Carl (a vivid Samuel Blenkin), whom the daddy derides as musically “efficient” — a determined slight from a visionary who likes his artwork messier and extra inspiring. Yet all Carl needs is just to be beloved. (Another son, Wilhelm, is performed by Douggie McMeekin as an inventive prodigy doomed to failure.)
The household chat consists largely of extolling the facility of music, when you’ll be able to’t assist however really feel that, actually, they might have gotten on with making it. A climactic discourse on dissonance jogged my memory of Georges Seurat’s quest for concord within the musical “Sunday in the Park With George,” to quote a extra transferring depiction of the artistic course of than “Bach & Sons,” with its boilerplate pronouncements in regards to the worth of artwork.
Even so, Beale instructions consideration because the growing older and worn Bach fades away. The composer’s canon, we’re informed, might be characterised as a meditation on “the variety of grief,” and Beale communicates a man who has lived that grief himself: The actor cuts towards the sentimentality of the writing to catch straight on the coronary heart.
“You can’t go on living and living and living,” says a character in the beginning of Nick Payne’s “Constellations” — and so it’s not altogether shocking when this 70-minute play turns towards confronting dying in its second half.
Payne’s one-act two-hander was first seen on the Royal Court in 2012 earlier than transferring to the West End after which Broadway. The elegant staging from the director Michael Longhurst is now being revived on the Vaudeville Theater by means of Sept. 12, with the designer Tom Scutt’s buoyant cloudscape of balloons intact.
Peter Capaldi and Zoe Wanamaker in Nick Payne‘s “Constellations,” directed by Michael Longhurst on the Vaudeville Theater.Credit…Marc Brenner
This time, there are 4 casts rotating throughout the run, and London theatergoers have to this point had the chance to see two of them. (Among these nonetheless to come back is a homosexual coupling that can characteristic the TV and stage title Russell Tovey.) The altering gamers reveal wildly contrasting takes on a tough if accessible textual content through which occasions, giant and small, are replayed with completely different outcomes, in accordance with Payne’s curiosity within the existence of a “multiverse.” That notion of alternate worlds coexisting alongside ours fuels a play that explores the infinite variability of life’s each second, besides the ultimate one, which is at all times dying.
Peter Capaldi and Zoe Wanamaker, the oldest duo of the 4, are additionally the extra actorly of the 2 seen to this point: You really feel Wanamaker, particularly, standing outdoors her character, Marianne, a Cambridge brainiac who holds forth on quantum mechanics and string concept. The elements don’t really feel like a pure match for both performer, although Capaldi, a onetime Doctor Who on TV, compensates with an abundance of attraction.
A a lot youthful firm brings collectively Sheila Atim (who received an Olivier for her position in “Girl From the North Country”) and Ivanno Jeremiah, who’ve a visceral connection onstage. Jeremiah is instantly likable as Roland, a beekeeper who meets Marianne at a barbecue and engages along with her in a unusual dialog about licking your elbow — to be sincere, such exchanges work significantly better with the youthful solid.
Sheila Atim and Ivanno Jeremiah in “Constellations.”Credit…Marc Brenner
And when Marianne confronts her presumably foreshortened life, the astonishing Atim communicates the gravitas of the scenario at the same time as Payne’s play makes clear that her destiny might be rewritten with a happier ending in a parallel universe. These two are so good that, on a fourth viewing of the play, I felt as if I had been seeing “Constellations” afresh: Atim and Jeremiah replay acquainted materials so it appears new — a advantage in a play that makes a lot of repetition.
If “Constellations” is late in elevating the specter that its main girl will die too quickly, we all know from the beginning that that is what is going to occur to the heroine of “Last Easter,” the 2004 play by Bryony Lavery on the intimate Orange Tree Theater by means of Aug. 7. (The present will probably be livestreamed on the theater’s web site on July 22 and 23.) The director Tinuke Craig’s nimble manufacturing finds shocking ranges of comedy on this story of June (the wonderful Naana Agyei-Ampadu), a lighting designer with terminal most cancers who goes on a pilgrimage with three mates to Lourdes, France, as a result of — properly, why not? Maybe a miracle will occur.
June, it appears, is particularly keen on the painter Caravaggio, and the primary act veers away from something maudlin towards classes in artwork historical past one minute, a jaunty snatch or two from the music “Easter Parade” the following. The tone is unexpectedly breezy, and the camaraderie between June and her buddies, additionally theater practitioners, is properly executed. These friendships maintain June’s spirits buoyant, at the same time as her physique begins to let her down.
From left, Naana Agyei-Ampadu, Jodie Jacobs and Peter Caulfield in Bryony Lavery’s “Last Easter,” directed by Tinuke Craig on the Orange Tree Theater.Credit…Helen Murray
Yet after the intermission, as June’s situation worsens, the writing turns extra self-conscious. June’s devoted buddy Gash (Peter Caulfield) twice calls out “cliché alert,” and several other occasions are described as “undramatic,” an uncommon alternative of adjective for a dramatist. (The quartet additionally contains the character of a heavy-drinking actress who quickly wears out her welcome, each as written and carried out.)
The imminence of dying appears to defy this gifted author, who goes for the type of deathbed scene that has been seen onstage and in films many occasions over. Whatever the explanation for “Last Easter’s” prosaic closing scenes, they share with “Constellations” a sense that mortality comes finest in good firm.
Bach & Sons. Directed by Nicholas Hytner. Bridge Theater, by means of Sept. 11.
Constellations. Directed by Michael Longhurst. Vaudeville Theater, by means of Sept. 12.
Last Easter. Directed by Tinuke Craig. Orange Tree Theater, by means of Aug. 7.