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- Festival Theatre Production Presented in London by the National Theatre
David Suchet is probably best known for his acclaimed television portrayal of Agatha Christie's detective Hercule Poirot. His recent West End theatre credits includes Eugene O'Neill's Long Day's Journey Into Night (Apollo Theatre 2012), Arthur Miller's All My Sons (Apollo Theatre 2010), Joe Sutton's Complicit (Old Vic Theatre 2009), Roger Crane's The Last Confession (Haymarket Theatre 2007) and Terence Rattigan's Man and Boy (Duchess Theatre 2005).
When this production opened here at the Vaudeville Theatre in July 2015, Quentin Letts in the Daily Mail highlighted that, "directed by Adrian Noble, this is a quick and often funny Earnest, though occasionally over-strenuous in its gurning and chest-clutching.... Oscar Wilde's masterly hit has seldom been as playfully contorted." Paul Taylor in the Independent hailed it as being a "highly entertaining production." Neil Norman in Daily Express thought that it was a "lively if slightly overheated production." Dominic Cavendish in the Daily Telegraph commented that "while David Suchet acquits himself admirably in a part habitually played by leading ladies of high renown, the bulk of the evening, directed by former RSC chief Adrian Noble, is as much a trial as poor Oscar's courtroom ordeals." Dominic Maxwell in the Times wrote that "it's not often we see David Suchet playing for laughs, but he seizes the opportunity with both lacy-gloved hands here to play a marvellously monstrous Lady Bracknell in this thoroughly frisky revival... He pulls off his cross-dressing a treat, but really, happily, it's an ensemble triumph. Big fun." Michael Billington in the Guardian described how David Suchet "gives a majestically funny performance in an Adrian Noble production that plays up Wilde's farcical exuberance at the expense of his running commentary on Victorian life.," concluding that "this is a thoroughly enjoyable production and, at its centre, lies a superb performance by Suchet." Fiona Mountford in the London Evening Standard said that "Adrian Noble's production contains some smart touches, not least the delineation between Cecily and Gwendolen, who make a snappy double act of innocence and experience, country and city. I suspect that I personally never need see this play again. But Suchet fans won't be disappointed." Sarah Hemming in the Financial Times thought that "there's plenty to like in this sunny production, but it strains rather too much for breeziness."
"It's not just David Suchet, cross-dressing as Lady Bracknell, who is beautifully upholstered. Peter McKintosh's sets are fit for an arriviste oligarch: pre-Raphaelite murals, a marble-pillared library in the William Morris style and rose-bowered courtyards framing rolling countryside. Impressive, but is it set changes or potential bar revenue that necessitate a second interval? Adrian Noble's otherwise sprightly production is winningly acted... Suchet's Lady B is a delightful curiosity... Mining every inflection, his eyebrows plucked to perpetual outrage and his war paint businesslike, he is nonetheless a female impostor, not an impersonator: little effort is made to raise his register." The Sunday Times
"David Suchet is a splendid actor: who should be giving us his Master Builder or Prospero. Instead he has decided to don a chignon as Wilde's doughty dowager in a performance that is so pantomime dame, so staccato and lacking in nuance, one wishes he had gone down the Ian McKellen route and played Widow Twankey. That the play survives so well is due to the excellence of the remaining cast and Adrian Noble`s direction. At times he applies it too lavishly: the famous tea-party scene between Gwendolen and Cecily steers dangerously close to French and Saunders. Overall, however; the production is full of rich and unexpected delights, from Algernon's prairie oyster hangover cure to Cecily's climactic aversion to his name." The Sunday Express
"The Importance of Being Earnest was described by its author Oscar Wilde as 'a trivial comedy for serious people', and the gender-bending in this production in theory should add to the riot of paradoxes and false personas that make this his funniest play. But for the most part, this show cranks up the laughter at the expense of anything genuinely tender or delicate, which is a shame in some ways, as the evening feels like a jolly Wodehouse farce rather than the subtle satire it is. At his worst, Suchet lapses into Mrs Slocombe-like effrontery. But mostly he's his own woman, the rasping voice curdled with disdain as Lady B's gun-turrets swivel in search of a fresh target. He's too brilliant an actor to miss his opportunities." The Mail on Sunday
Play by George Bernard Shaw. Joan of Arc. Innocent country girl. Visionary. Military tactican. Nationalist. Political prisoner. Ultimate romantic heroine. George Bernard Shaw's Joan is all these; a fact which ultimately leads to her destruction at the hands of lesser men.
Judi Dench has played two roles in London: firstly as 'Cecily Cardew' (opposite Alec McCowen as 'Algy) in Michael Benthall's 1959 revival; and secondly as 'Lady Bracknell' in Peter Hall's 1982 revival for the National Theatre.
Play by William Shakespeare. Old King Lear resolves to share the British kingdom between his three daughters on the condition that they declare their love for him unconditionally. Cordelia, his youngest daughter, refuses to do so, is banished and the kingdom is divided between his two elder daughters. The two sisters divest Lear of his remaining power and eventually turn him out into a stormy night. Meanwhile, Lear's loyal friend, Gloucester, is abused by Edmund, his illegitimate son, who has turned him against Edgar, his legitimate son. When Cordelia returns from France with an army to conquer England for her father, the tragedy reaches its terrible climax.
Lucy Gutteridge was originally scheduled to play 'Cecily Cardew' but she withdrew prior to the start of previews. Presented by the newly formed production company The Royalty Theatre Company as the first of a series of short (six week runs) of late 19th-century and early 20th century plays.
Ross Noble has presented his stand-up shows in the West End for a number of season including Ross Noble: Things at the Apollo Theatre in 2009; Ross Noble: Noodlemeister at the Apollo Theatre in 2004; and Ross Noble: Unrealtime at the Garrick Theatre in 2003.
Sybil Thorndike is the actress most closely associated with playing 'Saint Joan' - she has played the role the most number of times on the London stage - just over 450 performances - than any other actress. Interestingly her daughter, Ann Casson, also played the title role in London in 1946.