INTERVIEW - David Bamber

FROM films like Back To The Future and Sliding Doors to books such as The Lion The Witch And The Wardrobe and TV programmes like Dr Who, time travel has long held a fascination for many people.

This fascination and influence has extended to playwright Alan Ayckbourn who in 1994 wrote Communicating Doors, a comedy thriller in which three of the characters are each able to travel 20 years back in time.

A new production of the play, which won Ayckbourn the Writers’ Guild of Great Britain Best West End Play Award and the prestigious Molière Award in France has just opened at the Menier Chocolate Factory.

It boasts a star studded cast including award-winning actor David Bamber who plays the arch baddie of the piece, Julian Goodman.

It is a role that the married father of two admits has been a challenge, not least getting into the mindset of someone quite so evil.

In fact it's testament to his acting abilities that he's able to carry it off because during our conversation it's hard to see him as anything other than friendly and chatty.

"I've played nasty people before but not quite as bad as Julian so this is quite unusual," he laughs.

"However it was one of the things that interested me when I was offered the part and I was intrigued to see if I could do it.

"Julian is particularly ruthless - a terrible murderous henchman - and he has to come across as really scary and horrible so I was a bit nervous about that.

"It's not an enormous part in many ways - partly because it's more about the three women and how their lives interconnect - but when Lindsay Posner [the director] asked me to look at it I really wanted to do it.

"These sort of characters are fun to play, but this has got to work as Julian's got to be frightening and scary - there is no play if he doesn't come across like that.

"The premis is that he has killed his business partner's two wives over a 20 year period and we also find out he killed his mother and that he's about to kill another woman, Poopay.

"It's up to her and the two wives to stop him."

The murders he is alluding to are integral to the piece which is set initially in 2020.

Poopay, a hired dominatrix, arrives at the hotel room of businessman Reece Wells thinking it's just going to be a regular job. However, she finds him practically on his death bed and having a crisis of conscience about all the bad things he's done in his life.

To make amends he asks Poopay to become a signitory on a document he has written which confesses to his part in the murders of his two wives, which were committed by Julian.

However, things don't go according to plan as Julian discovers the document and decides that in order to stop Poopay from spilling the beans he will have to silence her for good, increasing his murder tally along the way.

In a further twist, when Poopay tries to escape by hiding in a cupboard she finds herself 20 years back in time and in the hotel room of Ruella Wells, Reece's second wife.

From there, once the two women have worked out what's going on and how, they resolve to stop Julian from killing them and Reece's first wife Jessica, which in turn alters history and their destiny.

David agrees it's a complicated plot but stresses it's down to Ayckbourn’s writing that makes it accessible and very funny.

"It's such a great play, incredibly well written and terribly clever the way it weaves together," he tells me.

"All the characters are great and very well crafted and there are some wonderful comic moments - particularly with the three women.

"I don't want to give too much away because there are a few twists and turns and a few surprise entrances but it's very theatrical, has plenty of dark humour and has a powerful, strong resolution."

He adds that it is also an homage to Hitchcock and Psycho of which there are a few references.

"It's quite scary which is unusual in theatre," he says. "There's far too much violence and scary stuff on TV, in fact I deplore it, but it's unusual to be scared at the theatre.

"In this there are clear references to Ayckbourn's influences including a nod to Psycho with a scene in which Julian tries to murder Poopay in the shower.

"But Ayckbourn does make a feature of time and location in many of his plays which is very clever and which is one of the things I love about his work."

And David says he too finds time travel intriguing.

"It would be wonderful and very interesting to go to the first night of Hamlet or the Marriage of Figaro and witness that moment," he muses.

"But equally you always want to re-do things in your own lives or maybe do something good for humanity like stopping Hitler.
"However, you don't know how it would trigger other things that may happen - there are always consequences.

"In this play it's all an accident that it happens - no one sets out to do it."

The play marks a welcome return to the Menier for David who last appeared there in Travels With My Aunt in 2013.

"It's a lovely theatre and a great place to work," he enthuses. "The team are great and put on fabulous stuff.

"They don't get any subsidy but continue to put on great productions. I love it here and very pleased to be here in this brilliant show with such a fantastic cast - what could be better?"

As for Julian, I wonder if he gets his just deserts.

David laughs and says: "The ending happens quite quickly. It's quite a shock and there are a couple of surprises where it could go either way. But you'll have to see it to find out."

Communicating Doors is on at the Menier Chocolate Factory until June 27. Tickets from £25. Visit www.menierchocolatefactory.com or call the box office on 020 7378 1713.

Improvathon weekend Lost Theatre

TINSELTOWN is coming to Wandsworth next week with a 50 hour non stop improvised comedy soap opera.

Taking its inspiration from the Hollywood movie studios, Improvathon will feature some of the very best improvisers from the UK and overseas playing a range of characters set in modern day Los Angeles.

They could include screen sirens, budding starlets, struggling writers, down at heel actors, out of work actors, the bar man, movie moghuls and big shot producers – but exactly who and what they are will not be known until the marathon event starts at the Lost Theatre in Wandsworth on 7pm on Friday, May 29.

A core group of about 20 actors and comedians will go without sleep to play the whole 50 hours which will be broken up into 25 episodes of one hour and 45 minutes with a 15 minute break between scenes, with guest performers dropping in from time to time.

This year the line up boasts the likes of improv maestro Mike McShane as well as Cariad Lloyd, Ruth Bratt, Mark Meer, Dan Starkey, Sarah-Louise Young and Sean McCann.

It will run until Sunday, May 31 at 9pm and people can buy tickets for the whole thing, or just for individual ‘episodes’.

It will be directed by Adam Meggido who tells me that anything can and will happen.

“This is the eighth year in a row we have been doing this event and are really pleased to be bringing it to the Lost Theatre,” he says.

“This year we’ve done an homage to Hollywood placing the action in the fictitious Sleepless Studios which is celebrating 100 years in the movie business.

“It’s a fabulous 50 hours in which the actors and comedians turn up with their costumes and an idea of who they are – for example the barman or a director – and an idea of their back story.

“But that’s as far as we plan it. I don't give them any ideas and in fact the less they get the easier it is for them.

“I will call the scene, those in it and where it takes place and that’s it. The actors come on and improvise the episode leading themselves and the audience on a wonderful journey.

“Anything can happen because it’s all made up on the spot. Other characters can come in and out which adds to the fun. Then I call another scene and we go on.”

The idea was originally created by award-winning Canadian group Die Nasty about 25 years ago and was brought to London in 2005.

Every year since it has featured a different setting and a different theme but what doesn’t change is the fact it’s all made up then and there on the stage by those taking part.

Each episode is self contained so the audience can either come and see just one episode or stay for the whole shebang.

The real genius of it though is when tiredness starts to kick in and that’s when things get interesting.

“After the first 24 hours everyone starts to get a bit tired but it’s when they hit 30 hours in that things start to happen,” chuckles Adam.

“After 30 hours the part of your brain that censors you can no longer function - so for improvisation it’s extraordinary and those on stage play with this incredible freedom and abandon,

“When the sun comes up your body kicks in and then you feel tried again. Those who stay awake enter what we call the Gates Of Hell as it becomes weird.

“Some people fall asleep on stage and walk their way through the scene and then don’t remember what happened, some have visual disturbances, hallucinations, get happy, forget what they were going to say and still be hilariously funny.

“Of course we get some of the most absurd, unpredictable and wonderful and hilarious comedy when this happens."

But it’s not just the performers who go through the Gates Of Hell. Anyone who stays up to watch for that length of time will also be affected.

And in a different way, Adam says it’s just as surreal for those who come along wide awake in the early hours and see everyone else fighting their tiredness.

“It’s definitely surreal for everyone,” he says.

“Things that are normally hilarious don’t receive a response because the audience is too tired to laugh. It’s fascinating to see it from all different sides.”

And if that wasn’t enough there is also a family friendly session on Sunday afternoon as part of the show which Adam says is extremely interactive.

But isn’t there a danger that after 40 hours with no sleep some naughty word slip ups may creep in?

Adam laughs and says not.

“It’s a wonderful thing because the cast gets so tired and what they really need is something to focus on, and there is nothing like having to do a family friendly episode to do that,” he says.

“It’s never happened that bad words have come in. In fact it’s always great fun and very interactive with the kids really part of it. It totally reinvigorates everyone for the final stretch. In fact it’s a bit like a love in!

“Whatever happens in the plot it has to be adapted to be child friendly,” he adds. “Even if there is a serial killer on the loose in the main story!

“It’s one of the most remarkable events. It’s what the ancient Greeks used to do, gather together, make up stories and entertain each other.

“It’s a really powerful human experience and for those who come and join in there’s a huge amount to get out of it.

"It’s a joyful way to spend a few hours and you definitely get a form of entertainment that you’d never get anywhere else. It’s brilliant.”

Improvathon takes place at the Lost Theatre, Wandsworth from 7pm Friday, May 29 until 9pm Sunday, May 30.

A 50-hour pass gives access to the entire event for £55.00. Episode passes cost £10. Visit www.losttheatre.co.uk or call the box office on 020 7622 9208.

REVIEW, Merchant of Venice, Globe Theatre

FOUR STARS

SHAKESPEARE’S The Merchant Of Venice is quite a difficult play to watch. Issues of racism and anti Semitism are raised throughout and the treatment of the Jewish Merchant, Shylock, and his demise, nowadays seems degrading and awful.

A new production now on at the Globe tackles these issues head on. It is uncomfortable viewing with Shylock ridiculed, spat on and manhandled throughout and two Jews are roughed up within the opening scene.

The story of Shylock’s brutal and humiliating downfall starts with Bassanio who decides to woo the beautiful Portia. To do so he borrows money from his wealthy friend Antonio. However Antonio’s money is tied up in his ships which are at sea so Antonio in turn takes out a loan with Shylock.

Shylock demands a forfeit should Antonio not be able to repay his loan and they agree on a pound of Antonio’s flesh. Antonio agrees, so sure is he that his ships will come in.

But when Antonio hears his fleet is lost at sea and with it his fortune, Shylock demands his bond in full.

It is up to Portia, disguised as a lawyer to save the Antonio.

Jonathan Pryce puts in an incredible performance as Shylock. Indeed his famous speech of “hath not a Jew eyes” is forceful and strong but so emotionally charged that it is almost heartbreaking.

And watching his humiliation at the hands of Antonio and Bassanio and their friends is chilling, in particular Shylock’s enforced baptism when he is robbed of the one thing he holds above all else – his religion.

Despite the sadness and anger there are moments of laugh out loud humour and Jonathan Munby’s production makes the most of them.

Stand out scenes were Shylock’s servant Gobbo, played brilliantly by Stefan Adegbola who takes two groundlings out of the pit and ropes them into his own dilemma of whether or not to leave his master, and a hilarious performance by Globe regular, Christoper Logan as Aragon, one of Portia’s suitors.

Ultimately this is about one man though and Jonathan Pryce is outstanding.

The Merchant Of Venice is on at The Globe, Bankside, until June 7. Tickets from £5. Visit www.shakespearesglobe.com or call the box office on 020 7401 9919.

REVIEW - Macbeth, Rose Theatre

FOUR STARS

THE magnificence and atmosphere of the Rose Theatre is used to full advantage in a new production from theatre company The Malachites, of Shakespeare’s Macbeth.

Dark, brooding, eerie and dramatic, the Park Street theatre is the perfect place to stage this play with its themes of power, obsession and madness.

In a bold move the three witches are played by men and they open proceedings right at the back of the space beyond the water and as far away from the audience as it’s possible to get.

From there it romps along at a fair pace largely due to the pruning of the text that has been done to contain the action to a mere 90 minutes.

In many ways this is unsatisfactory because inevitably with such a cut, scenes and characters are trimmed or left out altogether.

It also means that the characters are not developed enough for us to either care about them or to really know what drives them to do what they do.

That said this production is still a pretty meaty affair thanks to the great cast, headed up by Benjamin Blyth as Macbeth and Orla Jackson as his wife Lady Macbeth.

Macbeth’s lack of ambition to be King is the polar opposite of that of his wife and here it is made extremely clear. She is steely and determined and while he roars on occasion it’s clear she’s in the driving seat when it comes to power and ambition.

Macbeth’s descent into a madness and despair at what he has done is also brilliantly conveyed and during the scene where he sees Banquo’s ghost he dives under the table a quivering wreck.

Overall this is an extremely effective production and made all the more so in its staging.

Macbeth is on at the Rose Theatre, Park Street until Saturday, May 30. Tickets cost £12. Visit http://www.rosetheatre.org.uk/ or call the box office on 020 7261 9565.

BFI Marilyn Monroe

ONE of Hollywood's most iconic actresses is to be celebrated next month with a season of her films.

Throughout June, BFI Southbank will show 15 of Marilyn Monroe's movies including Some Like It Hot, There's No Business Like Show Business and The Misfits, the latter of which will play on an extended run.

As part of the season there will be an opportunity to see some of her lesser known and rarely-screened early works including We’re Not Married and Clash By Night.

And if that wasn't enough fans will get a chance to take a look behind the legend of Marilyn Monroe, who has been described as sex symbol, Hollywood starlet and tragic heroine, with dedicated talks and study days.

The season, which begins on Monday, June 1 has been curated by BFI events programmer, Laura Adams who says she's excited about bringing Marilyn and her movies to the South Bank.

"I think it's about time we had a season dedicated to Marilyn," she tells me. "Her story has been pored over countless times but I wanted to show that far from being just a ditzy blond or the face to sell Coca Cola, that she was actually a very good comic actor.

"I think she was misunderstood as an actress. In fact I think her acting ability has been overlooked and underrated in the past and so this season will help to dispel some of these misconceptions."

Marilyn Monroe was born Norma Jeane Mortensen on June 1, 1926. She overcame a difficult childhood of growing up in various foster homes, to become one of the world's biggest stars and most enduring sex symbols.

She invented her own image of femininity and in the years since her untimely death in 1962 aged just 36, she has gone on to influence women across the world including performers such as Madonna and Rita Ora.

"What's great about the season is that we chart her career right from her first films," says Laura.

"These films include We're Not Married, Monkey Business and Clash By Night and they were quite dark.

"Others include Don't Bother To Knock, in which she plays a slightly damaged young woman who lost her fiancé in the war.

"These films show the studios weren't sure about her potential yet and were putting her in titles that used her beauty but not her comedy.

"You can see she hasn't quite created that Marilyn Monroe image we know from later films with the platinum blond hair and slightly arched eyebrows."

However, Laura says it was her role as a femme fatale in Niagara in 1953 that really began to propel her towards stardom and her performance in Gentlemen Prefer Blondes in the same year that launched her comedy career.

"She is the star in them and she's just fantastic," says Laura.

"You can see she's developed this luminescent star quality, warmth and humanity and she's also actually really secured her sexual confidence in these films."

As well as a chance to see how she developed her star status, Laura says the season will also give people a chance to find out more about Marilyn the person at a series of talks.

"Marilyn trained at the Actors Studio in New York which was amazing because they don't take just anyone," she says. "She was also very savvy about her career.

"She tried to break away from the studio system and tried to have some control over her career but quite a lot of time she didn't have the choice and instead had to find a way to play the system.

"She formed her own production company, Marilyn Monroe Productions, which produced The Prince and the Showgirl, in which she starred alongside Laurence Olivier.

"She was also an incredible campaigner for civil rights and was very active particularly in the promotion of Ella Fitzgerald's career.

"Ella wasn't able to play in leading bars because of the ban on black singers. However, Marilyn insisted Ella be allowed to play in her favourite bar. She told the owner she would book out the front table every night which she did and invited the press down.

"It resulted in Ella's career going stratospheric.

"I think it will be really nice for people who are not necessarily familiar with her work to take a look and find out more about her and realise how smart she was as well as what a good actress she was.

"Some of her films weren't the best but you can say that about most actors so the idea that she was just a celebrity without talent is nonsense."

And Laura says it was a "work of seconds" to draw up the list of films for the season.

"It was really easy to choose them," she laughs. "It's a list of really great works telling a story from her early career to her last days on screen.

"My favourite is Gentlemen Prefer Blondes - I think she's a comedy genius as you can't learn that timing.

"Inevitably she remains an icon because she's no longer with us and we now have this set in stone image.

"She's become ageless because she was lost earlier than expected. She's one of a kind, utterly transfixing and when you see her on screen with other actors it becomes clear.

"Had she not died so young I think she would have made many more films and I hope she would have found success with her plans with an independent studio."

The Marilyn Monroe season starts on Monday, June 1. Visit http://www.bfi.org.uk/ for full listings