Jennie Lee, Fiddler on the Roof, and Antony and Cleopatra – Review

Mikron Theatre Company embodies the kind of magic you’d dream of in a theatre group: nimble, clever, and delightfully spontaneous. Under the artistic direction of Marianne McNamara, this small troupe operates from a beautifully adorned narrowboat, ingeniously packed with dorms and dressing rooms. Each summer, they navigate the English canals, bringing new plays to places as diverse as allotments, lifeboat stations, and village halls.

This year, Mikron presents Poppy Hollman’s Common Ground, a play about the right to roam, alongside Lindsay Rodden’s musical celebrating Jennie Lee. Jennie Lee was a driving force behind the Open University and was so well-regarded as Harold Wilson’s minister for the arts that theatre audiences would rise in her honor. Earlier this year, she made a brief appearance at the National Theatre in her role as Aneurin Bevan’s wife in Tim Price’s Nye. McNamara’s production, which I watched comfortably from a deckchair in a pub garden, magnificently puts Lee front and center.

A cast of four actors spins through Lee’s extraordinary life — from her childhood as a miner’s daughter in Lochgelly, to her 1929 election at age 24, to reporting on the Spanish Civil War, and eventually to her 1967 election as chair of the Labour Party. The narrative is propelled by lively tunes played on the trumpet, accordion, and violin, often tinged with a music hall flair. Lee’s passionate speeches, her lovers, her steadfast principles, and even her iconic fox-fur coat come vividly to life on stage.

In British Sign Language, ‘Oh happy horse to bear the weight of Antony’ becomes an equine enactment.

Contrary to the production’s subtitle, “the radical MP you’ve never heard of,” Jennie Lee was still a well-known figure when I met her shortly before her death, impeccably poised in her quaint Chelsea home. She is perhaps under-appreciated today, which feels especially relevant given that the current Labour Party lacks inspirational figures. Lee stands in the proud tradition of Labour MPs like Barbara Castle, Betty Boothroyd, and Angela Rayner, who blend political fervor with a good sense of humor and a readiness to kick up their heels. Could these remarkable women perhaps inspire Mikron’s next production?

Amid this theatrical landscape, another significant work marking its 60th anniversary is Fiddler on the Roof. Jerry Bock’s evocative klezmer music, Joseph Stein’s compelling book, and Sheldon Harnick’s poignant lyrics paint a vivid picture of Jewish villagers in 1905 imperial Russia. Yet, the story’s themes resonate broadly, representing any community grappling with internal change and external pressures. Jordan Fein’s production brings this story to life in a most powerful and evocative way, making the best use I’ve seen of the Open Air Theatre in ages.

In Fein’s inspired design, Tom Scutt creates an abstract, ever-changing set that reflects the transience of life in the shtetl. The action unfolds beneath a roof shaped like a cresting wave, covered in grass that appears to blend with the surrounding park. This imaginative setting enhances the poignant storytelling, as seen when musician Raphael Papo begins the play commanding the stage, only to end it with a clarinettist representing the daughter who marries outside the faith. It’s a powerful symbol of change.

The dances in this production are vibrant and deeply moving. Men balance bottles on their heads, while a couple dances together, breaking societal conventions. Amid this flurry of female empowerment, Adam Dannheisser brings a tender, mournful energy to the role of the tradition-bound father, eventually reconciling with the unconventional, love-driven marriages of his daughters. The real magic happens when Papo, descending from the roof, plays his fiddle while twirling around Dannheisser, embodying the spirit of the piece in an unforgettable way.

The spark for a bilingual adaptation of Shakespeare’s Antony and Cleopatra began with the inspired casting of the brilliant deaf actor Nadia Nadarajah as Cleopatra. Director Blanche McIntyre, along with associate director Charlotte Arrowsmith, who is also deaf, leveraged the cultural divide between Rome and Egypt to create a stunning production where Egyptians communicate in British Sign Language (BSL) and Romans in spoken English, ensuring every line is captioned for inclusivity.

This innovative approach is a triumph for BSL and the Egyptian characters. Nadarajah, who had previously dazzled audiences at the Globe, roams the stage like a consuming flame, bringing depth and complexity to her role. Her interactions with her attendants are rich in complicity and affection, intricately expressed in their gestures. The death scene of Iras is strikingly poignant, with Charmian’s lament echoing in the silence. The sea battle scene, represented by the women swaying in blue gowns, is visually stunning.

While the Roman scenes are less convincing and sometimes clumsy, the intimate moment when Antony, portrayed by John Hollingworth, speaks to Cleopatra in BSL provides a deeply emotional highlight. This moment, akin to a well-placed song in a musical, resonates strongly, marking the effectiveness of the bilingual approach. This innovative interpretation received silent jazz hands for applause—BSL’s sign for appreciation.

Star ratings (out of five):
Jennie Lee ★★★★
Fiddler on the Roof ★★★★★
Antony & Cleopatra ★★★

Source: The Guardian