This House
NT Live - Olivier Theatre, London
This a fantastic play about a period in British history when turbelance in the country was reflected in the politics of the time. This play follows the events within the Houses of Parliament between the 1974 and 1979 elections, from the point of view of the whips. It has the hints of a Brechtian production because playwright James Graham does not want you to connect with the characters but to observe. From the two whips offices the political situation is described, whilst the rest of the play consists of the whips using whatever means to persuade dozens of MPs to join their side in the voting lobby.
Elsewhere there is a sense that traditions and symbols are challenged and that things are changing within British politics. Gradually the number of deaths amongst the older generation increase and during the second act the conservatives start to mention "she". The play basically shows the events as they happened; a digestible two and a half hour history lesson.
A history lesson however that holds one's attention the whole way through. The play continuously moves, at times at break-neck speed, and thanks to James Graham's writing every point is clearly made, and a lot of the time with humour. What also helps is that the production has the speaker, played by both Matthew Pidgeon and Andrew Havill, identifying every MP by their constituency, as though in the middle of a Parliamentary session.. This helps to distinguish several characters whilst keeping the pace going.
Elsewhere there is a sense that traditions and symbols are challenged and that things are changing within British politics. Gradually the number of deaths amongst the older generation increase and during the second act the conservatives start to mention "she". The play basically shows the events as they happened; a digestible two and a half hour history lesson.
A history lesson however that holds one's attention the whole way through. The play continuously moves, at times at break-neck speed, and thanks to James Graham's writing every point is clearly made, and a lot of the time with humour. What also helps is that the production has the speaker, played by both Matthew Pidgeon and Andrew Havill, identifying every MP by their constituency, as though in the middle of a Parliamentary session.. This helps to distinguish several characters whilst keeping the pace going.
The star of this show however is the ensemble. On the Labour side, the whigs are first led by the tough but pessimistic Bob Mellish, played by Phil Daniels, and then the floundering Michael Cocks, played by Vincent Franklyn. Reece Dinsdale portrays a proud, optimistic and sly Walter Harrison who knows where to find any source of infomation. Lauren O'Neil meanwhile plays newcomer, Ann Taylor, who despite being accepted amongst her co-workers struggles to fit into a male dominated world.
The conservatives are led by an imperious and patronising Humphrey Atkins, played by Julian Wadham. Against Walter Harrison is a flamboyant yet tactful Jack Weatherill, played by Charles Edwards, though the two display a poignant relationship. Another newcomer is the new whip Fred Silvester, portrayed by Ed Hughes as laid back but quick to learn.
The rest of the cast shine because they have to play multiple roles as numerous MPs for different parties and comsitutions. To name a few, Rupert Vansittart as a blustering colonel for Esher, Christopher Godwin as a loyal Alfred Broughton for Batley and Morley, Matthew Pidgeon as a dandy Norman St John-Stevas for Chelmsford, and Helena Lymbery as an idealistic Audrey Wise for Coventry South-West.
The whole Olivier stage has been successfully turned into the Commons Chamber. Whilst the production was originally put on in an adapted traverse stage in the Cottesloe Theatre, the commons benches are now onstage where members of the audience sat as though they were MPs. The benches are continuously turning around on revolving stages as the play moves between the party offices, and the Commons Chamber. The cast have created some well choreographed moments, such as when the MP Michael Heseltine swung the mace.
Ever present is the face of Big Ben behind the Commons Chamber balcony above the stage. A rock band is situated on this balcony and they occasionally play music to accompany the action, but it was never distracting. The balcony and various hidden spaces are used by the cast as the play necessities it. Lighting helps to distinguish different rooms and at times the deaths of MPs are represented with them "going into the light".
Together with James Graham's writing and the cast there is no weak link in this production. If you are unfamiliar with British politics then this might be challenging to digest, and as I said this play was not written to be emotionally involving. It was written to entertainingly show what happened in a 5 year period of upheaval in British politics. I strongly recommend it at a Full Price.
The conservatives are led by an imperious and patronising Humphrey Atkins, played by Julian Wadham. Against Walter Harrison is a flamboyant yet tactful Jack Weatherill, played by Charles Edwards, though the two display a poignant relationship. Another newcomer is the new whip Fred Silvester, portrayed by Ed Hughes as laid back but quick to learn.
The rest of the cast shine because they have to play multiple roles as numerous MPs for different parties and comsitutions. To name a few, Rupert Vansittart as a blustering colonel for Esher, Christopher Godwin as a loyal Alfred Broughton for Batley and Morley, Matthew Pidgeon as a dandy Norman St John-Stevas for Chelmsford, and Helena Lymbery as an idealistic Audrey Wise for Coventry South-West.
The whole Olivier stage has been successfully turned into the Commons Chamber. Whilst the production was originally put on in an adapted traverse stage in the Cottesloe Theatre, the commons benches are now onstage where members of the audience sat as though they were MPs. The benches are continuously turning around on revolving stages as the play moves between the party offices, and the Commons Chamber. The cast have created some well choreographed moments, such as when the MP Michael Heseltine swung the mace.
Ever present is the face of Big Ben behind the Commons Chamber balcony above the stage. A rock band is situated on this balcony and they occasionally play music to accompany the action, but it was never distracting. The balcony and various hidden spaces are used by the cast as the play necessities it. Lighting helps to distinguish different rooms and at times the deaths of MPs are represented with them "going into the light".
Together with James Graham's writing and the cast there is no weak link in this production. If you are unfamiliar with British politics then this might be challenging to digest, and as I said this play was not written to be emotionally involving. It was written to entertainingly show what happened in a 5 year period of upheaval in British politics. I strongly recommend it at a Full Price.
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