The Entertainer
by
John Osborne
The End Of The Pier Show
http://www.nimaxtheatres.com/garrick-theatre/the_entertainer/
When
music hall declined in post Second World War Britain, it wasn't just shows and
venues that were lost. A whole economic infrastructure of halls linked by the
railway network, agents, theatrical digs and a communal experience was also
ousted.
Written
by John Osborne at the age of 27, The Entertainer charts the dying days of
veteran Archie Rice's (Kenneth Branagh) musical hall and end-of-the-pier act on to which he has tacked on a nude revue
to keep the punters coming.
Archie
lives hand-to-mouth, a boarding house life on the circuit with his second wife
Phoebe ( a magnificently blowsy and touching Greta Scaatchi) and his son Frank (Jonah
Hauer-King), who has served a prison sentence for refusing compulsory military
conscription. His daughter Jean (Sophie McShera) from Archie's first wife lives
in London where she has become involved, on what seems to be a naive basis, in
left wing politics.
Alongside
their crumbling existence is one of Britain's last doomed imperial military adventures in 1956 to stop the nationalization of
the Suez Canal leading to the capture of the couple's son in the conflict, the more obediently
conscripted Mick, while serving his country.
The set designed by Christopher Oram encloses the family's domestic space in a dilapidated music hall. Director
Rob Ashford also chooses to blend stylizations from TV and film, music hall's nemeses, seeping into the family drama. This may well work on screen but, in
terms of this play, sits more uneasily in a theatre.
So
the showgirls are Billy Cotton glamour girls and Archie himself is reminiscent
of a toned Gene Kelly rather than a seedy roué. Nonetheless, it's one interpretation,
and one which may pay dividends when the show is broadcast on Thursday 27th October.
But
we were not sure it does justice on stage to the structure of Osborne's play,
surely a forerunner of shows such as Oh! What A Lovely War. The satire of The
Entertainer also predates the raft of 1960s satire with Beyond The Fringe and
That Was The Week That Was.
It did strike us that in 1956 the name Archie was perhaps most readily associated with the
popular radio ventriloquist doll Archie Andrews.
This may give a way into the Brechtian variety show sequences and Archie's proclamation that he is "dead behind the eyes". It. even intersects with Osborne's Archie's love life with both the dummy and the entertainer with much younger girlfriends.
This may give a way into the Brechtian variety show sequences and Archie's proclamation that he is "dead behind the eyes". It. even intersects with Osborne's Archie's love life with both the dummy and the entertainer with much younger girlfriends.
Most
of all, this turns Archie's performances, his set piece misogyny and racism
into grotesque mouthpieces, inherited it seems partly from his father Billy
(Gawn Grainger) who may also be the one with the connections and management
skills.
There
are moments of power, especially in the
second act when the fate of soldier son Mick resonates strongly with our times.
But, although it is in the script, there is little sense of a family and
entertainment industry caught in an unholy trap, a mirror of fractured global
politics and ideologies.
In the end, this feels like a too controlled and manicured production rather than a deadly Cold War Swiftian dart.There's more to be mined here and it's an amber light from TLT and her automotive music hall stooge.
In the end, this feels like a too controlled and manicured production rather than a deadly Cold War Swiftian dart.There's more to be mined here and it's an amber light from TLT and her automotive music hall stooge.
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