What did you think of the show?
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theatreguys 
Monica
Grace Pervades.
I thoroughly enjoyed the performance and must confess didn’t know what to expect though Fredo’s comments helped. It was amusing and I loved some of the costumes. It was informative so enjoyed the ‘history’ which has made me look into it further.
Another type of staging which I thought was most effective
Thank you Fredo and Mike for another enjoyable evening.
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Grace Pervades
Electrifying, moving and unexpectedly hilarious, we thoroughly enjoyed this performance of Grace Pervades at the Theatre Royal Haymarket.
Ralph Fiennes mastered Sir Henry Irving’s dark intensity which was expertly balanced by Miranda Raison’s light and full hearted Ellen Terry. Together we found it a sparkling and moving portrayal of one of the most iconic partnerships in theatre history.
Using Terry’s two children Edith and Edward to narrate the play was a (mostly) effective device and added plenty of humour whilst exploring some of the play’s bigger themes about the purpose of theatre and for whom is it for? (I’m sure we’ve all ruminated on this when stuck next to a perpetual sweet rustler…).
A big thank you for the ‘Setting the Scene’ info beforehand and the recommendation of ‘Shadow Play’ by Joseph O’Connor – a must read if you’re interested in these giants of Victorian theatre.
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Grace Pervade
I would rate this play as quite entertaining. There were some good one-liners which, particularly when they dealt with theatre, actors and acting, were warmly received by the audience. Most of this humour was admirably delivered by Ralph Fiennes as Sir Henry Irving.
When Fiennes and Miranda Raison (Ellen Terry) were on stage the play had pace and interest but in many other scenes it felt flat and I do not really think it was the fault of the actors in the minor roles, more the drama itself.
It was still a pleasant way to spend an evening: thank you Fredo and MIke.
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Grace Pervades at the Haymarket Theatre
David Hare, one of our foremost living playwrights (now Tom Stoppard has died) has mostly written about the state of the nation, eg Murmuring Judges and Pravda, or recent history, eg Plenty and Straight Line Crazy. His one man play about his battle with Covid, Beat the Devil, starring Ralph FIennes, moved me to tears in its socially distanced presentation at the Bridge Theatre in late 2020.
In Grace Pervades, Hare turns his attention to Henry Irving and Ellen Terry, two Victorian theatrical greats who dragged theatre, and acting, into respectability through persistence, hard work and sheer talent. FIennes, again, and Miranda Raison are perfectly cast as Irving and Terry and watching them take us through the pair’s long professional and personal relationship is a pleasure.
However, Hare also seems fascinated by the history of theatrical production at the time and the interconnected relationships between its players (sorry) including Terry’s children, their lovers and associates. At times, it felt like we were ticking off the names of those people: Isadora Duncan, Stanislavsky, Vita Sackville West, George Bernard Shaw and even Peter Brook. I expect a playwright of Hare’s calibre to do his research but do I need to see it referenced in a play that starts to resemble an overstuffed Victorian sofa? Maybe Jeremy Herrin, the director, should have taken a red pen to the text in the way Irving famously did with Hamlet?
Conversely, another quibble is with omissions from the play. Bram Stoker, of Dracula fame, was Irving’s assistant for a long time but is not mentioned and nor is the play’s title explained. Grace Pervades refers to a contemporary review of Terry which stated “Grace Pervades the Hussy”. Ouch. Thankfully, as group members, we have Fredo to set the scene for us and fill in the gaps.
I’ve gone on too long, a bit like David Hare, but wanted to say I did enjoy watching two fine actors at the top of their game. We knew Ralph would be giving his considerable all when we saw his brother Joseph in the foyer before curtain up and he didn’t disappoint. And if Miranda Raison doesn’t get an Olivier nomination it’s a tragedy.
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Monica
Equus.
What can I add. This production was absolutely outstanding in every way and everyone involved to be congratulated. Despite a small stage the simplistic of staging ever seen?
Thank you Fredo and Mike for taking us to all these wonderful plays. You know what to choose.
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Equus
Am late again with my thoughts but have been interested to read the other Comments. It is interesting that we have seen 2 other outstanding plays recently, both of which deal with adolescent violence and how to account for it: we had Punch, about a random act of fatal aggression, and Mass, dealing with a school shooting. The former play set in Leicester and the latter in the US. Both crimes different in nature , with human victims both of the crime and its aftermath. Fifty years earlier we had horses as the victims, but still humans suffering the aftermath. This was an extraordinary, bleak production, with the empty spaces allowing a fluid movement between the rooms of the hospital – and it was neat that, in the absence of doors, medical staff were seen walking around the edge of the set before entering. We are used to seeing superb performances from Toby Stephens but Noah Valentine’s performance was riveting , every twitch and fleeting facial expression revealing his tortured soul. The horses were brilliantly conceived. We have been used to seeing animals presented by puppets (albeit being operated by humans) since War Horse nearly 20 years ago. These images with real live men was even more daring. One was always aware that
Alan’s intense physical involvement with the horses was a substitute for the love of a human, probably a man, in view of his bleak parental relations. Alan’s depths of emotion was envied by Martin Dysart whose own life was dry and dull. It’s open to discussion as to whether the end product of Alan’s passion was, in the end, to be envied. But who will care for the poor broken Martin? And what lies ahead for Alan anyway? The staging was superb, especially the final blinding of the horses, with the lighting and movement directors earning their Award Nominations some time down the line. But full marks to the rest of the cast who were all vivid and committed.
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Equus
Absolutely agree with the previous comments
Heart stopping tale of gods sex and horses.The reason Alan blinds the six horses unfolds as the play progresses.The incredible lighting highlights the movement and suggestion of the horses played by six men. An outstanding performance all round.
Thank you
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Equus
WOW – what a powerful drama. It was superbly acted and underlined how impressive a good performance can be. I thought the interpretation of horses was brilliantly done and I thoroughly enjoyed presentation. JEAN BIRCH
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EQUUS
What a tour de force Equus was last night
Jill M
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I’m so glad that you have said it all for me Garth as I am very short of time at present. Thank you for your excellent review.
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Equus
“Physician, heal thyself” – this ancient saying came to mind at the close of this wonderfully intense production. Just whose traumas had been subject to unpacking? Not that poor boy’s only. We are allowed to see as much into the uncertainties of the psychiatrist’s mind as into the distortions in that of his patient. And beyond that question, the scope of Peter Shaffer’s play seems almost cosmic, running through time and space, from the world of pagan gods to the commercially-drenched television era, from dreams of barbaric divination to porno cinema, from Christian belief to aggressive atheism, from teenage romance to disturbing eroticism. All this was concentrated into and enhanced by the Menier’s tight acting arena, where the dramatic range and energy of all the players were truly remarkable and where cruel coruscating lighting told us an unspeakable story.
The sequence of heated confrontations between the tweedy defensive shrink and the tortured youth and his uneasy parents might have come over as rather stagey in other hands. Here, however, they build into a convincing whole, matched in dramatic terms by the skilful unspoken passages between the entranced boy and the group of extraordinary equine figures. Here too there’s a powerful evocation of some sort of mythic heroic classical scenario absorbing the imaginations of both the boy and the doctor.
This was surely a triumphant and memorable realisation of Shaffer’s play – what an experience – come to the theatre and see the world!
Garth
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Equus
As Fredo has written this play ,when first performed ,was both successful and controversial. We saw the play at that time. However, such is memory I really could only recall its impact not its details. Before commenting on last nights production I must say The Menier does resemble a crumpled old timer. It does have character but the Donmar is considerably more comfortable. However, I have never seen a crumpled play here. Always they are glorious and their production of Equus was indeed splendid. We were captivated from the start and remained in thrall throughout. Each of the actors added a dimension to the story of the young man’s crime. The main protagonists were compelling. I really thought Noah Valentine as Alan Strang reminded me of a young Eddie Redmayne. I thought the use of actors as the horses was both very clever and moving. They were convincing when still and also when they performed their breathtaking acrobatics. So the Menier can continue with its shabby chic if continues to offer such brilliant theatre. However, there are some who don’t agree The gentleman next to me did not return after the interval although his companion did so.
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Les Liaisons Dangereuses
Shocking, thrilling, and thoroughly debauched, what a disturbingly good way to round off the Bank Holiday at the NT with Marianne Elliott’s Les Liaisons Dangereuses. This was a mesmerising play that, although difficult to watch at times, unflinchingly portrayed the cruelty and corrupting influence of the late 18th century French aristocracy.
Had it not been for the great casting, the calculating Marquise de Merteuil and the lupine Vicomte de Valmont could have slipped into caricatures of malice, and yet the wonderful Lesley Manville and Aidan Turner brought glimpses of humanity to their characters (and even flashes of the very vulnerability they so despise in their ‘prey’).
A special shout out to Tom Jackson Greaves’s choreography: the frenzied dance sequences and sweeping balletic performances intensified the urgency and physicality of the play. The clever use of smoke and mirrors also added to the themes of distortion, deception and vanity that underscored the play.
Thank you Fredo & Mike for the excellent seats, we felt right in the heart of the drama!
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Monica and Robin
Les Liaisons Dangereuses
A Big, bold, lavish and colourful spectacle on such a large stage which we enjoyed.
Robin did have trouble hearing though not with Leslie Manville who was a tour de force. As Maggie said, Aidan Turner’s Irish accent was quite noticeable.
Thank you again Fredo and Mike for giving us another entertaining evening.
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Les Liaisons Dangereuses
Spectacular production costumes set and choreography. Lesley Manville and Aidan Turner were excellent .Aidan’s Irish accent was quite noticeable .The first half had a lot of humour ,the second more serious as the two main characters used seduction to ruin lives as revenge . This caused the collapse of the partnership and self destruction of Merțueil and Valmont. Sadly grooming is prominent to this day .
Thank you Fredo and Mike also it must be the quickest journey to and from the theatre .
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Les Liaisons Dangereuses
I enjoyed this slick production of a witty text; my companion did not: Marmite?
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