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      Award-Winning ‘Cabaret’ Revival Plans Spring Broadway Bow

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      The production opened in London with Eddie Redmayne in a starring role; the New York cast has not yet been announced but he is expected to join it.Willkommen, bienvenue, Broadway!“Cabaret,” the ever-popular (and portentous) musical set in a Berlin nightclub on the eve of the Nazis’ rise to power, will return to Broadway in the spring in a new production that has already won raves in London.The producing team on Tuesday morning announced a plan to transfer the show to Broadway, and said it would open at the August Wilson Theater, where a revival of “Funny Girl” is scheduled to close Sept. 3.The “Cabaret” producers did not announce any other details, but it is widely expected that Eddie Redmayne, the film star who played the nightclub’s Master of Ceremonies when this revival opened in London, will reprise the role on Broadway. The show’s other big role, Sally Bowles, the nightclub’s star singer, was initially played in London by Jessie Buckley; that role has not yet been cast in New York.“Cabaret,” with music by John Kander, lyrics by Fred Ebb, and a book by Joe Masteroff, originally opened on Broadway in 1966, and that production, directed by Hal Prince and starring Joel Grey, won eight Tony Awards, including for best musical, and ran for three years. Grey went on to star in a 1972 film adaptation that won eight Academy Awards, including one for Grey and one for his co-star, Liza Minnelli.The musical was revived on Broadway in 1987, again with Prince directing and Grey as the Emcee. Then in 1998, a new production directed by Sam Mendes and starring Alan Cumming and Natasha Richardson, came to Broadway via the Roundabout Theater Company; that production closed in 2004 and then returned in 2014 for another year, opening with Michelle Williams opposite Cumming.This latest revival, directed by Rebecca Frecknall, opened in London in 2021, and won seven Olivier Awards, including one for best musical revival. Its run is continuing. The critic Matt Wolf, writing in The New York Times, called the production “nerve-shredding,” and said, “Frecknall pulls us into a hedonistic milieu, only to send us out nearly three hours later reminded of life’s horrors.”The lead producers are Ambassador Theater Group, a British company that owns and operates theaters around Europe and the United States and has become increasingly active in producing on Broadway, and Underbelly, a British company closely associated with the Edinburgh Festival Fringe.“Cabaret” will join multiple shows on Broadway this season that deal with antisemitism, among them “Just for Us,” a one-man show from the comedian Alex Edelman, which is now running, as well as “Harmony,” a musical by Barry Manilow and Bruce Sussman that is opening in the fall and “Prayer for the French Republic,” a play by Joshua Harmon, which is to open in the winter. Last season’s Tony-winning best play, “Leopoldstadt,” which closed earlier this month, and the winner of the Tony for best musical revival, “Parade,” which runs until Aug. 6, are also about antisemitism. More

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      London Tours on Opera and Classical Music Offer Looks Behind the Curtain

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      Fans of music from centuries past will find a wide variety of experiences and collections. One even comes with a side of rock ’n’ roll.Have you ever wondered what happens behind the red velvet curtains at the Royal Opera House? Do you relish a bit of backstage gossip or enjoy looking at centuries-old instruments? London has a rich variety of tours and collections for opera and classical-music enthusiasts. Here’s a selection.Royal Opera HouseWho were some of the women who made history at the Royal Opera House in Covent Garden? It’s a question that the opera house is answering in detail in a tour that runs through Aug. 12.Among the many stars the tour is spotlighting is a soprano who gave a whole new meaning to the word “diva”: Adelina Patti (1843-1919), an Italian who made her opera debut in New York at 16, then crossed the Atlantic for a 23-year Covent Garden career.She was admired for her coloratura singing and feared for her business chops. According to the tour organizers, she demanded to be paid in gold at least half an hour before each stage appearance and commanded $100,000 per show (in today’s money). And in a performance as Violetta in “La Traviata,” she wore a custom gown encrusted with 3,700 of her own diamonds.The singer comes up in another tour: an outdoor one organized jointly by the Royal Opera House and the Bow Street Police Museum that runs through Aug. 31. During Patti’s diamond-studded performance of “La Traviata” at the Theatre Royal (the precursor of the current opera house), security had to be reinforced in a big way because of the precious stones embedded in her gown. Covent Garden at the time teemed with pickpockets, robbers, criminals and even murderers. So police officers surreptitiously joined the chorus onstage — where they could get as close as possible to the soprano and go unnoticed.The Royal Albert Hall, named for Prince Albert and inaugurated in 1871, a decade after his death, has featured luminaries from Albert Einstein to Adele. Suzie Howell for The New York TimesRoyal Albert HallWith 5,272 seats, Royal Albert Hall is more comparable in size to an arena than to a classical-music concert hall; in fact, the Cirque du Soleil regularly performs there. It’s named after Prince Albert, Queen Victoria’s husband, and was inaugurated in 1871, a decade after his death. You can hear that royal back story and get the lowdown on the hall’s tricky acoustics in an hourlong tour. The tour also covers some of the luminaries who graced the main stage (such as Albert Einstein and Muhammad Ali) and some of the more outlandish events held in the hall, including a séance and an opera performance for which the auditorium was flooded with 56,000 liters (nearly 15,000 gallons) of water.Handel Hendrix HouseThe museum, in a Georgian townhouse at 25 Brook Street in Mayfair, has a rich history: George Frideric Handel lived there from 1723 until his death in 1759. (Jimi Hendrix rented an apartment on the top floor in the late 1960s, but that’s another story.) The house is now a museum where you can visit Handel’s bedroom, the dining room where he rehearsed and gave private recitals, and the basement kitchen. This is where Handel composed “Zadok the Priest,” the British coronation anthem, which was recently performed for King Charles III. Here, too, Handel wrote “Messiah,” which took him about three weeks to compose.Speaking of “Messiah,” if you would like to see the first published score of songs from the oratorio, head to the Foundling Museum, on the grounds of the Foundling Hospital, a children’s home in Bloomsbury. The score was donated by Handel, one of the hospital’s major benefactors, who gave benefit concerts there and even composed an anthem for his first one. Also on display: Handel’s will.A new exhibition at the Royal College of Music features hidden treasures such as this yuequin, a stringed instrument from China, which was brought to London in the early 19th century and acquired by King George IV.HM King Charles III; photo by Claire ChevalierRoyal College of MusicThe Royal College of Music has a collection of more than 14,000 objects covering five centuries of music making. That includes about 1,000 musical instruments, such as the world’s earliest-dated guitar.A new exhibition features hidden treasures from the collection, including a photograph of Mary Garden. She was a Scottish-born soprano who moved to the United States in the late 19th century, joined the Opéra Comique in Paris in 1900 and premiered the role of Mélisande in “Pelléas et Mélisande,” the only opera that Debussy ever completed.Also on display is a yuequin, a stringed instrument from the ancient city of Guangzhou in China, which was brought to London in the early 19th century and acquired by King George IV. More

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      Kevin Spacey Called ‘Sexual Bully’ in U.K. Trial

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      The prosecution outlined its case against the actor, who has pleaded not guilty to 12 sexual assault charges.The actor Kevin Spacey arriving at the London courthouse with members of his legal team.Kin Cheung/Associated PressThe actor Kevin Spacey is “a sexual bully” who “delights in making others feel powerless and uncomfortable,” a prosecutor told a British jury on Friday. Speaking at Southwark Crown Court, the prosecutor, Christine Agnew, outlined her case against the Academy Award-winning actor, who is on trial in London facing multiple charges of sexual assault.Ms. Agnew said that the actor’s “preferred method” of assault was to “aggressively grab other men in the crotch.” On one occasion, she said, Mr. Spacey had gone further and performed oral sex on a man while he was asleep.The actor “abused the power and influence that his reputation and fame afforded him” to take “who he wanted, when he wanted,” Ms. Agnew said.Mr. Spacey has pleaded not guilty to all charges.The actor, 63, faces 12 charges related to incidents that the prosecution says involved four men and occurred between 2001 and 2013. For much of that period, Mr. Spacey was the artistic director of the Old Vic theater in London.Ms. Agnew said that the complainants included an aspiring actor and a man whom Mr. Spacey had met at a work event. Under British law, it is illegal for anyone to identify complainants in sexual assault cases or to publish information that may cause them to be identified.Patrick Gibbs, Mr. Spacey’s legal representative, gave a short statement stressing his client’s innocence. He said the jury would hear some half truths, some “deliberate exaggerations” and “many damned lies.”He asked the jury to consider the complainants’ motivations, and to think about whether the encounters could have been “reasonably believed to be consensual at the time.”During Ms. Agnew’s statement, she discussed interviews that Mr. Spacey had given to the British police under caution. During one of those, she said, Mr. Spacey said that it was “entirely possible and indeed likely” that he had made “a clumsy pass” at other men but that he would never have touched someone’s crotch “without an indication of consent.”Throughout Ms. Agnew’s almost 60-minute opening statement, Mr. Spacey sat in a large transparent box in the middle of the courtroom, wearing a light gray suit, white shirt and gold tie, watching intently. On several occasions, he looked at photographs in an evidence bundle. When Mr. Gibbs spoke, Mr. Spacey nodded along and looked at the jury.Friday morning’s session ended shortly after Mr. Gibbs’s comments. The prosecution its scheduled to call its first witnesses on Monday. More

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      What to Know About Kevin Spacey’s UK Sexual Offenses Trial

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      The actor will appear in a London courtroom on Wednesday to face a four-week trial over allegations of sexual assault.The Oscar-winning actor Kevin Spacey is scheduled to go on trial in London on Wednesday, facing multiple allegations of sexual assault.Since the #MeToo movement came to prominence six years ago, a number of high-profile men have been accused of misconduct, yet Mr. Spacey’s case is one of only a few to reach a British courtroom.The actor, 63, has already pleaded not guilty to all charges. This month, in an interview with Zeit Magazin, a German magazine, he said he expected to be found innocent, after which he would resume acting.The trial at Southwark Crown Court is scheduled to last four weeks. During that time, the courthouse is likely to be filled with reporters and celebrity watchers following the case.Here’s what you need to know.Why is Kevin Spacey on trial in Britain?Mr. Spacey is accused of sexually assaulting four men in England between 2001 and 2013. For much of that period, Mr. Spacey was the artistic director of the Old Vic theater, one of London’s most acclaimed playhouses.Last June, Britain’s Crown Prosecution Service charged Mr. Spacey with four counts of sexual assault against three men, as well as another of causing a person to engage in penetrative sexual activity without their consent.A few months later, in November, the prosecutors authorized seven further charges against Mr. Spacey related to another complainant. Those included three counts of sexual assault, three of indecent assault and one count of causing a person to engage in sexual activity without consent.Both sets of charges will be considered in this month’s trial.How will the trial work?Anna Bradshaw, a British criminal lawyer, said in a telephone interview that the case will look different from an American trial. In Britain, legal professionals called barristers argue cases in court while wearing the traditional garb of white wigs and black gowns.The trial will not be televised, Ms. Bradshaw added, because cameras are rarely allowed in British courts. (Instead, specialist artists sketch the scene.)The complainants will also not be publicly identified, Ms. Bradshaw said, adding that this rule was in place to protect accusers’ privacy and encourage victims of sexual assault to report incidents to the police. They will likely give evidence, and be cross-examined, “via a video-link, or, in court, possibly from behind a screen or curtain,” Ms. Bradshaw said.During the four-week trial, the prosecutors will first outline their case to the 12-person jury, then Mr. Spacey’s team will make its defense.What penalty does Mr. Spacey potentially face?One of the offenses carries a maximum sentence of life imprisonment. Others also come with potential jail terms. Under British law, judges have some flexibility to alter sentences.If there is a guilty verdict, the judge would normally hold a separate hearing to announce the sentence at a later date, Ms. Bradshaw added.What has Mr. Spacey said about the accusations?In two hearings over the past year, Mr. Spacey pleaded not guilty to the charges against him. Last June, Patrick Gibbs, Mr. Spacey’s legal representative, told a courtroom that the actor was determined to establish his innocence.In Britain, where it is an offense to publish information that may bias a jury, defendants like Mr. Spacey face some restrictions in using the news media to make their case before a trial.To avoid breaking British law, Mr. Spacey did not discuss the case in the Zeit Magazin article, apart from stressing his innocence. But he said he knew of directors who wanted to work with him once the trial ended. “I know that there are people right now who are ready to hire me the moment I am cleared of these charges,” he said. More

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      ‘Romeo and Juliet’ Review: Toheeb Jimoh Shines

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      Toheeb Jimoh, Emmy-nominated for “Ted Lasso,” takes on Romeo in a riveting production from the British director Rebecca Frecknall.“Is love a tender thing?” Romeo asks early in the Shakespeare tragedy to which he and Juliet give their names. Not so much, according to the raw and riveting new production of “Romeo and Juliet” that opened Wednesday at the Almeida Theater here.It’s no surprise that the courtship between the noble Romeo — here played by the sweet-faced Toheeb Jimoh, from TV’s “Ted Lasso” — and the teenage Juliet will end in calamity. But this production from Rebecca Frecknall — the buzzy British director whose shows tend to scoop up Olivier awards — treats the often overly familiar play as if it were entirely fresh, and the result is astonishing.Filleting the text by nearly an hour so that it actually does equate to the Chorus’s promised “two hours’ traffic of our stage,” Frecknall brings to her first professional foray into Shakespeare the same pared-back, scalpel-sharp precision she has previously applied to Tennessee Williams and her still-running West End revival of “Cabaret,” which is rumored to be heading to New York next spring.Her “Romeo and Juliet,” performed without an intermission, begins with the cast clawing feverishly at a stage wall, onto which are projected crucial lines from the prologue. But as if in haste to get straight to the meat of the play, the wall soon collapses to reveal the citizenry of Verona mid-combat. Danger, you feel from the start, is the default mode of a contemporary-seeming milieu amid which Juliet is described by her father as “a stranger in the world.” That is perhaps because she hasn’t yet experienced life’s abrasions; such an awareness will come — and how — with time.“These violent delights have violent ends,” notes Friar Lawrence (the excellent Paul Higgins), in arguably the most prescient remark in the play. Barely have Romeo and Juliet been introduced before their existence seems threatened at every turn. At one point the Nurse (a booted Jo McInnes, herself a fine director) sits with her face in her hands, fearing the worst.Rebecca Frecknall, the play’s director, has a background in movement, and her “Romeo and Juliet” often feels halfway toward dance-theater.Marc BrennerElsewhere, Juliet’s father remarks to his daughter’s intended, Paris, that “we were born to die”— a comment that in this context has the force of prophecy. Jamie Ballard brings to Lord Capulet a roiling fury that seems to catch even his own wife off guard. What sort of father would deride his only child as “one too much?”Amid such a toxic family, you can well imagine Juliet wanting the quickest way out, and Frecknall makes us aware of how the play is alive to the passage of time. “Wednesday’s tomorrow,” the Friar says in passing, noting a remorseless speed that seems to take everyone by surprise. The Friar is equally alert to the danger inherent in such impetuosity: “They stumble that run fast,” he cautions as the lovers hurtle toward the abyss.Frecknall has a background in movement, and her “Romeo and Juliet” often feels halfway toward dance-theater, including generous borrowings from Prokofiev’s celebrated ballet score for this very play.A male ensemble, including key characters like Benvolio (Miles Barrow) and Jyuddah Jaymes’s feral Tybalt, moves in undulating rhythms, dropping to the floor of Chloe Lamford’s set and back up again. Jonathan Holby’s fight direction introduces a gun into the arsenal of knives that does away with Jack Riddiford’s charismatic Mercutio, here an insolent provocateur who has barely spoken the Queen Mab speech before he disappears. The rules governing this fearsome group of men render no one safe amid the comparably merciless glare of Lee Curran’s shifting bank of lights toward the rear of the stage.The fast-rising Jimoh, a 2022 Emmy nominee, brings to the stage the same ready likability familiar from his turn as Sam Obisanya in “Ted Lasso.” What astonishes here is the ease with which he emotionally opens himself up to Juliet, only to realize too late that the options available to this couple are running out. It’s fascinating, too, to see the balcony scene reconfigured so that Romeo is perched atop a ladder addressing Juliet center-stage, flipping the play’s iconic imagery.Jimoh brings the same ready likability to the stage that earned him an Emmy nomination last year for his role in the TV show “Ted Lasso.” Marc BrennerReferencing “this world-wearied flesh,” Jimoh’s Romeo sounds like an embryonic Hamlet. Hainsworth, for her part, played Hermia, a young lover with a similarly unforgiving father in the Bridge Theater’s “A Midsummer Night’s Dream” several years ago. Juliet is a far larger role, and the actress sometimes disappears so far inside her character’s grief that the language itself gets muddied, or lost. (Hainsworth will reunite with Frecknall in an adaptation of Federico García Lorca’s “The House of Bernarda Alba” for the National Theater in November.)But I’ve rarely heard an audience as attentive as the Almeida’s was when Hainsworth’s guttural sorrow gave way to a startlingly vivid suicide, from which several playgoers around me visibly recoiled.You may not be surprised to learn that Frecknall closes the play with Juliet’s despairing deed. Once you’ve restored death’s sting, all that’s left is silence.Romeo and JulietThrough July 29 at the Almeida Theater in London; https://almeida.co.uk/ More

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      Putting Putin Onstage, in ‘Patriots’

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      Will Keen embodies Russia’s president in a West End production. “It’s been fascinating how the perception of him and the play keep changing,” he said.On a recent evening, the British actor Will Keen was onstage at the Noël Coward Theater in London playing one of the world’s most divisive men: President Vladimir V. Putin of Russia.For much of the first half of “Patriots,” which is largely set in the 1990s after the Soviet Union’s collapse, Keen portrays the character sympathetically — as a minor politician who could only afford cheap suits and whose success was dependent on a friend’s largess. Later on, when an adviser suggests Putin, now president, should keep his enemies close, Keen’s portrayal becomes chilling. “Why would I want to do that,” he replies, “when I can simply destroy them?”Written by Peter Morgan, the creator of “The Crown,” “Patriots” stars Tom Hollander as Boris Berezovsky, a real-life oligarch who made a fortune in post-Soviet Russia, only to fall out with Putin and end up exiled in London, where he died under mysterious circumstances, in 2013.Despite that focus, it’s Keen’s performance that has grabbed attention since the play debuted at the Almeida Theater, in London, last June. Arifa Akbar, in The Guardian, said that even when Putin “grows more megalomaniacal, Keen avoids caricature and keeps his character’s self-righteous desire for Russian imperialism convincingly real, and chilling.” Matt Wolf, reviewing that production for The New York Times, said that Keen “astonishes throughout.” In April, Keen won the best supporting actor award at the Olivier Awards, Britain’s equivalent of the Tonys.In a recent interview at the Noël Coward theater, where “Patriots” is running through Aug. 19, Keen said that, although the script was written long before Russia’s invasion of Ukraine in 2022, the war had changed the feel of the play, making it seem as much Putin’s “origin story” as the tale of an oligarch’s demise. Keen, 53, said that his performance made some audiences uneasy, but it was “nice to be in a show that’s asking questions, rather than providing answers.”In an interview, Keen discussed what he’d learned by getting inside Putin’s head. The following are edited excerpts from that conversation.Keen, right, and Tom Hollander, who plays Boris Berezovsky, an oligarch who died in London under mysterious circumstances in 2013. Marc BrennerWhy did you want to play such a figure?Well, I first learned about it in 2021 — so before the invasion. It didn’t feel as present as it does now. He felt like an autocratic and terrifying figure, obviously, but he didn’t feel like an autocratic and terrifying figure who was also impinging on the world’s safety. It’s been fascinating how the perception of him and the play keep changing.You’re often played villains or antiheroes, including Macbeth and Father MacPhail in “His Dark Materials.” Do you worry about being typecast?As a citizen, I might look at these people as villains, but as an actor, I can’t do that. I want to be as sympathetic as possible to the character — or as empathetic, at least. Putin is a baddie, but I don’t want to be playing him as a pantomime.I’m really interested by our perception of autocrats. From our side, it’s an image of immorality. But in order to do the things that he’s done, he must have an incredibly intense sensation of his own morality — an idea of justice, an idea that he’s setting wrongs right.Some political commentators say Putin is motivated by a desire to restore the Soviet Union. Is that what you mean by setting wrongs right?I’m not in any position to comment politically, but my sense of the character is of somebody who has a particularly deeply sensitized attitude to betrayal. It’s a bit like the medieval idea of kingship, where the king becomes the country in some way: There’s this sense in which Russia — the land — is his body and there’s an absolutely personal, almost physical betrayal, in the break up of the union.What Peter Morgan does so brilliantly in the play is show how Putin’s personal friendships, and the betrayals he experiences in them, impinge on the political sphere too.Theater critics have praised you for mimicking Putin physically, as much as the emotion of the performance. How did you prepare for this?Well, I read and read and read and watched and watched and watched.Physically, what was most useful to me was just observing him in press conferences — I got this enormous sense of inner turmoil, covered by an incredible physical stillness. There’s a sense of containment to him, like he’s trying to hold everything inside.A lot of people have noticed that stillness, especially of the right hand not moving in his walk. And there are other ex-K.G.B. people who have the same thing. The K.G.B. also talk about channeling your tension into your foot. And you do observe his right foot moving very slowly in interviews under the table. Onstage, I also find that tension in him coming out in my fingers.As a citizen, I might look at these people as villains, but as an actor, I can’t do that,” Keen said. “I want to be as sympathetic as possible to the character.”Marc BrennerAs the invasion unfurled, did you change anything in your portrayal?Of course you think about the conflict, but we didn’t discuss, “Let’s make him more chilling” or anything like that. The way the play’s written, it’d be chilling whenever it was performed.I think it’s actually dangerous to think about the effect you’ll have on audience. All you can think about really is, “Is it true?”This isn’t the only recent play in London featuring Putin. In 2019, Lucy Prebble had a hit with “A Very Expensive Poison” about his involvement in the murder of Alexander Litvinenko, a spy-turned-whistle-blower. Why do you think Putin is becoming a staple of British theater?Well, I don’t know whether he’s becoming a staple. But it does seem that what has happened in Russia lends itself to extremely interesting plays — this ideological battle that’s going on with incredibly high stakes.And theater since time immemorial has studied autocrats, and strong and violent authority is a productive, dramatic force against which to set any kind of dissident opinion.All the characters that one has played sort of talk to each other, at some level, but I would compare Putin to Macbeth, of course. They’re obvious autocrats, but for Macbeth the great motivator is fear, whereas, here, I’d say it’s perceived injustice. The result in both cases is a sort of very performed manliness.What have audience reactions been like?Absolutely wonderful, although sometimes it does seem people don’t know what to do at the end: Should we clap? A lot of Russians have said they feel like he’s in the room, which is incredibly encouraging.I don’t think I’ve spoken to any Ukrainians about it. I’ve had boos, definitely, at the end. But I don’t know whether that was a Ukrainian boo or a British boo. There’s a kind of international language of booing.Has the role affected you personally?No, I wash him off at the end of the show. But it is a bleak place to inhabit — not because of a sense of guilt, it’s the agony of being someone who is obsessed by betrayal and vengeance. More

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      “The Motive and the Cue” Asks What Makes a Great Performance

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      “The Motive and the Cue,” a new play in London, imagines fraught behind-the-scenes maneuvering by John Gielgud, Richard Burton and Elizabeth Taylor during rehearsals for a classic Broadway production.“The classicist who wants to be modern, meeting the modernist who wants to be classical.” So says Elizabeth Taylor, summing up the fractious encounter between the revered Shakespearian actor John Gielgud, and her new husband, the actor Richard Burton. It’s 1964, Taylor and Burton are the most famous couple in the world, and Burton is rehearsing the role of Hamlet for a Broadway production that Gielgud is directing.It’s not going well.That’s the setting for “The Motive and the Cue,” a new play directed by Sam Mendes, written by Jack Thorne, and starring Mark Gatiss as Gielgud, Johnny Flynn as Burton and Tuppence Middleton as Taylor.The play, which opened to enthusiastic reviews in May and runs through July 15 at the National Theater, in London, was an idea born out of the pandemic, said Caro Newling, a co-founder with Mendes of Neal Street Productions, which developed the show.Newling said that, during the first coronavirus lockdown of 2020, Mendes was thinking about why theater mattered, and what went into creating great performances. When they were discussing those questions, she added, Mendes recalled reading a copy of “Letters From an Actor,” an account of the 1964 “Hamlet,” by William Redfield, who played Guildenstern in the production. “Suddenly, bang, this idea shot out,” Newling said.A 1964 photograph shows Richard Burton, left, and John Gielgud in a rehearsal for “Hamlet.”Getty ImagesThe idea was a play based on the fraught relationship between the rambunctious, hard-drinking Burton and the repressed, elegant Gielgud during rehearsals for “Hamlet,” with the added combustible element of a sidelined, glamorous Taylor, sitting out her honeymoon in a hotel suite.Newling and Mendes started researching, and discovered another out-of-print book: “John Gielgud Directs Richard Burton in Hamlet,” a fly-on-the-wall account by Richard Sterne, an ensemble actor who smuggled a tape recorder into the rehearsal room.Mendes called Thorne, the playwright behind the stage blockbuster “Harry Potter and the Cursed Child” and the television series “His Dark Materials,” and suggested the rehearsal dynamics might provide fruitful material.Initially unsure, Thorne found a focus by “understanding the position that Gielgud was in at the time. He wasn’t being loved by the public, treasured by the profession. His great rival Laurence Olivier was running the National Theater and a new kind of modern theater was dominating the West End. He took the Broadway job because he didn’t have other offers.”“Hamlet,” had been a defining role for Gielgud, who had played the part over 300 times. For the Broadway “Hamlet,” he came up with the idea — daring at the time — of doing the play as if it were a rehearsal run-through, in ordinary clothes. In “The Motive and the Cue,” Burton tries to stamp his brash personality on Hamlet, while the classicist Gielgud wants something more sensitively attuned to Burton’s deeper emotions.The cast of “The Motive and the Cue.” Jack Thorne, who wrote the play, said it was about “why we do what we do, what it feels like, and what it costs.”Mark Douet“What’s interesting is that Burton is getting it wrong, sort of on purpose, trying to show Gielgud that it must be modern,” said Flynn, who lived as a teenager in Wales, where Burton is a national hero. “I had a picture of him playing Hamlet on the door of my house for about 15 years,” Flynn said. “It felt eerie that now, I was playing him, playing Hamlet.”The irony of the Burton-Gielgud conflict, he added, was that Burton idolized Gielgud, and was desperate to be regarded as a serious actor. “He is incredibly successful, but deep down, he fears he has drifted into complacency, is not doing something valuable with his art,” Flynn said.The set, designed by Es Devlin, uses expanding and contracting scrims to create seamless transitions between the “Hamlet” rehearsals, a pink hotel suite in which Taylor and Burton throw glamorous parties for the cast and the scenes of more intimate encounters. One of these is between Gielgud and Taylor, who provides the psychological insight that allows the director to find a way to Burton.Middleton, who plays Taylor, said, “Elisabeth is the voice of reason, one of the wisest characters in the play.”“She completely understood Burton’s obsession with conquering Hamlet, and why it was so difficult for him.,” she added. “It was important to me to show she wasn’t this chaotic, floozy character she is sometimes seen as.”Tuppence Middleton as Elizabeth Taylor in “The Motive and the Cue.” The play is set shortly after Taylor’s marriage to Richard Burton.Mark DouetMuch of the play is concerned with how to play Hamlet: The breakthrough moment for Burton happens when he can connect his painful past to the character’s motivations. “This is what actors have to do when they strip themselves down to play a role,” Thorne said.In the end, the 1964 production was a triumph, running for 136 performances; “The Motive and the Cue” has been a hit, too. It is currently playing to sold-out houses and its popularity suggests that the play’s central ideas — theater as a community and a crucible of emotional connection between actors and audience — have resonated after the enforced closures of the last few years.“It’s about fathers and sons, classicism and modernity, the clash of these forces,” Thorne said. “But I hope it’s also about why we do what we do, what it feels like and what it costs.” More

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      Review: In ‘Aspects of Love,’ Some Problematic Attachments

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      A London revival of Andrew Lloyd Webber’s partner-swapping musical is a camp amoral romp. But is this obsession really the same as romance?For those who find regular love triangles too pedestrian, quadrangles and pentagons are also available. Unconventional arrangements are the order of the day in a dynamic revival of Andrew Lloyd Webber’s “Aspects of Love,” which opened on Thursday at the Lyric Theater in London. This two-act musical, inspired by a 1955 novel by David Garnett, pits a young man against his uncle in a tussle for the affections of a mercurial actress; it is a camp, unapologetically amoral romp featuring blithe betrayals, intrafamilial partner-swapping and questionable intergenerational flirtations. (It is a lot raunchier than Lloyd Webber’s most recent work, which invited the audience to “sing unto the Lord with the harp” during the coronation of King Charles III.)This “Aspects of Love” is exquisitely produced and superbly performed, but — like many a real-life libertine — it eventually buckles under the weight of its excesses.We begin in 1947, in rural southwestern France, where Rose (Laura Pitt-Pulford), a struggling actress, meets Alex (Jamie Bogyo), an adoring fan. Alex, 18, invites Rose to stay with him at a villa owned by George (Michael Ball), his rich uncle, and the two fall in love. But Rose then unceremoniously ditches Alex for his uncle, to the dismay of George’s partner, Giulietta (Danielle de Niese), an Italian sculptor.We check in with the four at intervals over the next 20 years, as the action moves to Paris, then to Venice, then back to the French countryside. Alex and Rose are never quite able to leave each other alone. To further complicate matters, both of them also get intimate with Giulietta. Cue jealousies, recriminations — and plenty of drama.Pitt-Pulford is charismatic and engaging as Rose. A vibrant stage presence, she is by turns imperious, flighty and needy — the quintessential histrionic thespian. Bogyo’s portrayal of a callow, love-struck young person is convincing; he is frequently exasperated, and we sympathize with his predicament because he is too inexperienced to know any better. Ball — who played Alex in the musical’s original production, in 1989 — is outstanding as George, a genial, urbane bon viveur who assures the teenage Alex that there are plenty more fish in the sea (“Life goes on. Love goes free.”) His serene sanguineness is the show’s beating heart.Members of the cast of “Aspects of Love” in London. The painted backdrops of John McFarlane’s set shift the action between rural France, Paris and Venice over a 20-year period.Johan PerssonThe production is immaculately put together, and John McFarlane’s luscious set design incorporates beautiful painted backdrops depicting Parisian street scenes and rural landscapes. A rotating stage is deployed to good effect during romantic scenes to evoke the head-spinning euphoria of early love.Though the show is practically flawless as an audiovisual spectacle, the story gradually wanes. Things take an unwholesome turn in the second act with the introduction of Jenny, George and Rose’s young daughter (played first, as a young child, by Indiana Ashworth and later, as a teenager, by Anna Unwin). Jenny develops an intense crush on Alex, and the ensuing will-they-won’t-they is skin crawling. The bawdy, pantomimic esprit of the first act gives way to awkwardness; an audience that had been positively purring at the intermission was palpably uneasy with this story line.To account for this somewhat jarring transition, we must turn to the novel on which the musical is based. Its author, David Garnett — known as “Bunny” to his friends — was a member of the Bloomsbury literary set notorious for their cavalier attitude in matters of romance. His parents had lived in a ménage à trois with a young actress, and eccentric sexual behavior was a recurring theme in his life. In 1942, he married Angelica Bell, his former lover’s daughter, whom, in a letter 24 years earlier, he identified as a potential spouse when she was just a baby.Garnett’s novel may have had a certain transgressive purchase in the mid-1950s, at the dawn of a revolution in sexual mores. But from a 21st-century perspective, the story feels, at best, a kitsch curio. There is something quaintly naïve about dignifying such flawed romantic entanglements — puppy love, infatuation, grooming — with the sentimental earnestness of the show’s soppy signature tune, “Love Changes Everything.” In truth, the ditty that best captures Garnett’s ethos is the “Hand Me the Wine and the Dice” from Act 2, an upbeat anthem to living in the moment.In both the novel and onstage, the characters are so thinly sketched that it is hard to take their emotions seriously, especially given the conspicuous discrepancy between their professed intensity of feeling and the fickleness of their affections. Maybe the real subject of this musical is not romance per se, but overweening egotism — what we would nowadays call narcissism. It is an enjoyable ride, and there is just about enough comeuppance to satisfy the moralists, but one is left wondering, to paraphrase Tina Turner, what love has to do with it.Aspects of LoveThrough Nov. 11 at the Lyric Theater in London; aspectsoflove.com. More