Tag Archives: Rachel Pickup

Stop Press – London Assurance Extension

A short sweet note to say that after the aforementioned ‘money review’ in the Wall Street Journal by Terry Teachout, our initial run of London Assurance has sold out.

We’ve extended for two weeks. Performances from 01/29 thru 02/09. Tickets are going fast…

 

The Power of the Press

I’ve been posting too frequently lately. After this update. I shall resume a sedate once-a-month-if-that routine. It’s the bushfires in Australia that have me so riled. A national emergency and an international crisis – anyway enough of that and plenty of my opinion in previous posts.

Meanwhile…

The astonishing power of a good review in a major newspaper…!

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From left to right: Those splendid actors Elliot Joseph, Evan Zes, Ian Holcomb, Brian Keane, Caroline Strang, and some portly bloke down right in the frame… photo by Carol Rosegg. 

We opened on the 15th December to some frankly glowing feedback from (in my opinion) a group of enlightened, perceptive, life-affirming critics in several publications and blogs of the greater NYC area. Except the mighty New York Times, where the opinion was at best mildly positive, but not enough to make you want to mash your smartphone and get on to the box office at the Irish Rep 212 727 2737

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The wonderful Rachel Pickup and, quoting from the New York Theatre Guide: “Colin McPhillamy … He plays it all for fun even launching his considerable girth in surprising leaps that recall a vaudevillian’s trick.”

Consequently our business was a very respectable 80% to 90%, nice, but with comedy it’s even nicer when you can’t get a seat.

Then…

Almost two weeks later Terry Teachout published his review in the Wall Street Journal. A rave. Sidebar: the WSJ may require you to subscribe to access the full review, my recommendation is just to come and see the show instead!

The phones began to ring off the hook. We are now almost sold out for the rest of the run. We’re due to close 01/26 and if you did plan to see the show, please organize a ticket before they put up the HOUSE FULL signs!

Happy New Year!

 

 

London Assurance at The Irish Rep

From a theatre history point of view London Assurance is unique. Dion Boucicault wrote it in three weeks in 1841. He was twenty. Some sources give his age as eighteen at the time.

That’s me sliding into character in the dressing room

The human Dionysus Boucicault captured some of the Dionysian spirit and poured it in this soufflé of a play. A piece which might also be called a keggeree, or a bubble-and-squeek. There are multiple overt and inferred Shakespearean references and themes, not to mention the derivation from Restoration and Carolinian drama generally. But then, if you were twenty (or eighteen) and had three weeks to write a play what would you do?

With the incomparably fabulous Rachel Pickup in rehearsal

Such derivative literary technique is time-honored of course. Shakespeare never bothered with an original plot as is well known, and looking forward through the 1800s, Oscar Wilde and Brandon Thomas evince traces of Boucicault – certainly Noel Coward in the 20th century took a minor character from London Assurance and made him famous as “Sollox” in Private Lives.

And the same moment, or just before, in performance

It’s always a vexed question for an actor as to whether to read reviews when the play opens. On this occasion I did. The press… well you can see for yourself at http://www.irishrep.org

Kudos to my fellow cast members, to numerous to list here but again, details at http://www.irishrep.org. Each of the actors I’m privileged to work with on this one, brings a lively inventiveness and vivid reality, helmed by the ever-creative Charlotte Moore, founder member of the Irish Rep, which translates to a sublime couple of hours in the theatre – Geez, I’m writing my own review here – reminds me of the famous dialogue between Anthony Sher when he played Richard III and Michael Caine who saw a performance.

Caine: And what about those reviews?!

Sher: Oh, I don’t read reviews.

Caine: Read ’em! You fuckin’ wrote ’em, didn’t you?

I am delighted to report that the show is selling well, we play thru January 26th 2020. The play among other things is an entertainment-antidote to the current state of world affairs, and I am able to write the time-honored marketing phrase, “Book now to avoid disappointment.” And just in case you missed it: London Assurance, directed by Charlotte Moore, tickets at http://www.irishrep.org

 

Nicely Busy

That young actress Patricia Conolly is back on Broadway, she gave her first performance as Mrs Debose yesterday in TO KILL A MOCKINGBIRD with the new cast at the Shubert Theatre with Ed Harris now playing Atticus Finch. Tickets are available at mind-numbing Broadway rates.

I haven’t seen the show yet, but judging by the audience response as I heard the last few lines of the play from the stage door, it sounds as if the price of admission might be justified. Understand that I say this as one whose first theatre-going set me back about 30 pence (50 cents), not the mortgage it takes today.

Meanwhile, in another part of the forest, or as we say here in NYC, Off-Broadway, I am rehearsing LONDON ASSURANCE at The Irish Rep. I’m playing Sir Harcourt Courtly a character descended from a long line of fops. There’s a puff piece here where you’ll also see a picture of the wonderful Rachel Pickup playing the unforgettably-named, Lady Gay Spanker.

That’s Simon Russell Beale in the 2010 National Theatre production.

Sir Harcourt Courtly has been personated by such giants of the stage as Donald Sinden in the legendary 1970, West End and Broadway production, and Brian Bedford 1997, Broadway and Stratford Ontario 2006.

I worked with Brian Bedford twice. He was a master at light comedy. One time I backed him into a corner and asked him to tell me his secrets, “Brian!” I said, “How do you do it!?! I have to know!” Brian gave it a little thought in that slightly puzzled quizzical manner which was one of his comic modes and finally said, modestly, “Well I don’t really know.” He did know of course, but in common with others of unusual ability, he knew it wasn’t a thing to be discussed. Why? Because that’s not what it’s for. And nothing lets the steam out of the bottle before the soufflé rises so surely as casual talk – so I had to be satisfied by just watching him. Which I did. But if Brian wishes to whisper any tips to me now that he’s playing the great stages in the sky, he’s more than welcome.

Tix at the Rep will set you back a manageable amount and they are available here. It’s a holiday show. We open December and play through January and I hear there’s a nice advance, so please book soon if you plan to come.

A big shout out to two colleagues of Irish Rep fame, Mick Mellamphy and Tim Ruddy, two of the lads who were also in THE SEAFARER with me, Andy Murray and Matthew Broderick at The Rep a couple of years back.

Matthew Broderick and Andy Murray in The Seafarer at the Irish Rep 2017

Mick performs and Tim directs THE CURE, tix here, and for the price of a couple of pints. It’s bare bones, storytelling magic at its best. Mick turns in a virtuoso performance with nothing much behind him in terms of set. Doesn’t matter, not needed.

He takes you to Cork and back.