Three Days in May at the Richmond Theatre
By Carolin Kopplin
It is where the balance quivers and the proportions are veiled in mist, that the opportunity for world-saving decisions presents itself.
The World Premiere of Ben Brown’s political drama takes us behind the doors of Number Ten during three of the most pivotal days in British History, when appeasement was considered by some to be a viable option.
May 1940. The Norwegian debacle leads to Chamberlain’s resignation after Labour refuse to serve under him in a national coalition government. On the same day, Churchill becomes Prime Minister of the coalition after Halifax – preferred by the King, most of the aristocracy and much of his own party – declines it. Initially, Churchill’s appointment is widely suspect in Westminster because of his half-American ancestry and his uncouth manner. Chamberlain remains Party Leader and Halifax Foreign Secretary.
Having urgently assembled the British war cabinet, the new Prime Minister is suddenly confronted with a dangerous game of political chess as he tries to persuade peace treaty supporters Neville Chamberlain and Lord Halifax to give up on their appeasement policy and confront Hitler. Lord Halifax proposes a settlement with Hitler considering Mussolini as mediator to secure Britain’s independence and to save the British and French troops stranded in Dunkirk. General Dill makes it clear that the British forces are outnumbered on almost every level and defeat is a probability yet Churchill is not impressed by the German superiority, he believes that “our morale might save us.”
Churchill’s secretary Jock Colville serves as a narrator. He sets the scene at the beginning as the play opens with the cabinet praying in church on “the blackest day of all”. France is close to defeat leaving Britain at her knees with Hitler planning to invade. The play is a bit slow going at first but the pace soon picks up as it turns into a gripping and brilliantly acted political thriller providing minute historical details of those fateful three days.
Warren Clarke is outstanding as Winston Churchill. He gets all the mannerisms and rhetoric of this larger-than-life character right. Jeremy Clyde is suave and persuasive as Lord Halifax who is convinced he does the right thing no matter how disastrous the consequences. Robert Demeger’s Chamberlain is a broken man who sadly compares his book “My Struggle for Peace” with Churchill’s more accurate work “While England Slept”. There are also excellent performances by Timothy Kightley as Paul Reynaud, Paul Ridley as General Dill, Michael Sheldon as Clement Attlee, Dicken Ashworth as Arthur Greenwood, and James Alper as Jock Colville.
Three Days in May, directed by Alan Strachan, goes on a limited national tour prior to the West End.
Richmond Theatre, An Ambassador Theatre Group TheatreThe Green, Richmond, Surrey, TW9 1QJ
http://www.atgtickets.com/2654/659/Richmond/Richmond-Theatre/Three-Days-in-May-Tickets
Summit Conference by the aya theatre company
By Carolin KopplinWe both wanted men but we got institutions.
Robert David MacDonald’s play describes a fictional meeting of Eva Braun and Clara Petaccci, the mistresses of Hitler and Mussolini. During the course of the play the two women assume a range of male roles such as their dictator lovers, a fanatical Hitler Youth, and misogynists. As themselves they demonstrate how the continuance of an oppressive system is dependent upon the compliance of its victims.
The venue is an imposing eighteenth-century mansion at 32 Portland Place. Set in the diplomatic heart of central London, it provides the ideal backdrop for this surreal and disturbing production. Most of the action takes place in the living room but there are a few scenes on the stairs and in the hallway. The chorus consisting of three talented singers sees to it that every member of the audience has a good view of the actors.
When we follow the Soldier, dressed in a fascist uniform, into the living room we find Eva Braun and Clara Petacci in their underwear embracing and exchanging hot kisses. Dresses and underwear is draped over lamps and statues. They are drinking champagne and having a good time. Very soon their attention is directed towards the young man. Singing the all-time favourite Nazi hit „Die Fahne hoch“ they begin undressing the man, putting a dress on him while Braun and Petacci are now wearing trousers. The soldier has changed into the woman, the victim, while the mistresses act as chauvinist males at their worst. After assuming a variety of male roles Braun and Petacci lament their fate as mistresses of institutions. Although they have certain privileges they are never allowed to take their rightful place next to their men. Instead they are forced to live rather restricted lives. Like gangsters their dictator-lovers see women either as mothers or whores, and whores need to be kept tugged away, out of sight.
The production is an unsentimental examination of the cold eroticism of power, the oppression of the weak by their darker selves and the sordid politcs of oppression. The charismatic Laura Pradelska gives a stunning performance as Eva Braun, Elisa Terren is a captivating Clara Petacci and Martin Behrman is impressive and touching as the Soldier.
aya theatre company was formed by a collective of emerging theatre artists. Their next project is Burmese Days, adapted from George Orwell’s first novel.
Venue: 32 Portland Place W1B 1QE
Weds-Sat only, 7.30pm (Doors 6.45pm)until 4th September 2010
THIS IS A AN INVITE-ONLY FREE PERFORMANCE
Please go to the following webpage to reserve a ticket:
http://www.ayatheatre.com/iWeb/aya/SummitConference.html
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