Rupert is appearing in the West End production of Dear Evan Hansen, as Larry Murphy, Zoe and Connor’s dad.
The production’s London home is the Noel Coward Theatre – with previews from 29 October 2019, opening on 19 November, and tickets currently selling through to May 2020.
This is wonderful for Rupert, as the Broadway production has been enthusiastically received, and won six Tony Awards in 2017, including Best Musical. I think we’re all anticipating a long run for this in London!
You might like to consider the book published by Nick Hern Books: Dear Evan Hansen: The Complete Book and Lyrics (West End edition). I’m not sure how much Rupert-related goodness is in there, but he did suggest to me that I keep an eye out for it. Though I’m sure he knows I’m a completist, so that might not be a general recommendation! Available from: Nick Hern Books.
5 stars from Alex Wood for WhatsOnStage: … The result is something quite extraordinary – a musical not like any other. … And its success depends entirely on its leading man. … Debutant Sam Tutty … wears a lot of the characters’ flaws on his cast-sporting sleeve, from nervous ticks to jaunted mannerisms and turbulent dialogue. It’s hard to appear simultaneously nervy while capable of holding the attention of 900 spectators, but it’s something Tutty manages adeptly – the sort of assurance you rarely get from a first timer. … But Tutty’s success comes while sitting on the shoulders of some titanic supporting performances … In a piece that spends a large portion of its runtime focussing on the anxieties of teens, it’s often the adults that steal the show – Rupert Young and Lauren Ward present a rich, textured relationship as Murphy’s parents … Dear Evan Hansen is a desperately powerful exploration of a troubled teen sacrificing the truth for a sense of comfort – startlingly relevant for a world swaddled in screens and fleeting fictions.
Rupert is the character Codename Lazar in this production of David Hare’s play Plenty, at the Chichester Festival Theatre from 7 to 29 June 2019. The director is Kate Hewitt, and Rachael Stirling plays the lead character Susan Traherne.
5 stars from Gary Naylor for Broadway World UK: Rachael Stirling holds the narrative together, her Susan frightened, ecstatic, cruel, seductive, charming and charmless. She’s never at ease, the old espionage agent’s compulsive desire to look over the shoulder of the person to whom one is speaking, both a literal and metaphorical compulsion.
Amongst the fine support, Yolanda Kettle shines as would-be artist Alice, the dilettante surrogate daughter, whose on-off emotional, sexual and financial dependency on Susan appeals to her fantasy of replaying the rescue scene in the forest over and over again.
4 stars from Ian Murray for WhatsOnStage: Some will no doubt see Plenty as a dissection of madness, yet it is more than that. It is the question of what someone will do to be truly free regardless of the consequences.
Rachael Stirling gives us no cute, idealised portrait of bravery: the character’s trembling need kindles reciprocal ardour in Rupert Young’s insouciant-acting stranger (Code name Lazar); in their embrace lies the adrenal romance of wartime.
“The fact that you could meet someone for an hour or two and see the very best of them and then move on. Can you understand?” she [later] tells a diplomat called Brock …
Phil Hewitt for Chichester Observer: There are fine moments in Kate Hewitt’s revival, and she’s assembled a fine cast; but it’s difficult to believe that this is David Hare at his best or even a David Hare particularly worth revisiting.
Matt Merritt for The Portsmouth News: Rachael Stirling gives a fine performance in the leading role; building to eruptions of grief, purposely baiting Brock’s bosses over Suez. She’s never really served by the material though. It doesn’t help that some of her most important dialogue is thrown away as a recording to cover a scene change.
This, we’re told, is a modern classic. For the life of me I have no idea why and the hard work of the cast can do nothing to dissuade me.
4 stars from Tim Walker for The New European: On the surface, this is an incredibly stylish piece of theatre complete with great recreations of ambassadorial black tie dinner parties and parachute jumps into enemy territory. Nina Dunn’s video design is superb with its moody images of Stirling projected on to the walls, and, at the end, the whole stage opens up as much as the characters.
On a deeper level, it amounts to a timely full-blown exercise in psycho-analysis for the nation, and it asks a question pertinent to our times: what ultimately have we got, when we take away the occasional historic moments of unity and acts of heroism, to bind us all together? In short, who are we? I’m honestly not sure any more.
Rupert stars as the Duke Orsino in this musical adaptation of Shakespeare’s play Twelfth Night. The adaptation was conceived by Kwame Kwei-Armah and Shaina Taub, with Taub writing the music and lyrics, and is co-directed by Kwame Kwei-Armah and Oskar Eustis. It is Kwei-Armah’s first offering as Artistic Director at the Young Vic Theatre.
The show runs from 2 October to 17 November 2018 at the Young Vic in London. More details and tickets available at the official website.
You can read an interesting interview with Gabrielle Brooks (Viola) by Kate Berrington, about the accessibility of Shakespeare, in the British Vogue, 14 October 2018.
I’ve been lucky enough to see this play twice now, and I’ve loved it. I have to admit to being a bit wary the first time, as the reviews (quoted below) had led me to fear the play was Not Quite Shakespeare, and maybe there wouldn’t be enough Orsino, either. So I was very relieved to find that none of this was so.
The story we’re already familiar with from Shakespeare’s play was certainly compressed in this adaptation, but it was all in there. (And it’s not one of his longer plays, anyway.) The romance and comedy from the original was emphasised in this version, and the cruelty and pain featured less so, but again it was all there. Or maybe I just didn’t miss a lesser emphasis on the aspects of the play I find most challenging and/or problematic…?
Or maybe we feel the pain less because in this production Malvolio retains his self-love, his belief in his own intrinsic greatness, despite being so cruelly dealt with. I’ve seen productions which end things very bitterly, with Sir Toby’s marriage to Maria being foreshadowed as disastrous, Malvolio’s threat of revenge coming from a broken man, Feste alone, Andrew Aguecheek dismissed, and so on. This adaptation does not interpret the outcomes in such ways, and I don’t know that there’s any reason in the original text why it shouldn’t do so. Why not, instead, end with not only the main romances being properly aligned, but also with a joyous song including everyone in a renewed community, and Orsino and Antonio (formerly wartime enemies) shaking hands in a spirit of kindness and reconciliation…?
The themes of this show are love and joy, acceptance of others as they are, and having the courage to be one’s own full self. To find such subject matter in Twelfth Night is no stretch at all.
Much of the spoken dialogue came directly from Shakespeare, and the lyrics were often inspired by the original play as well. I can’t imagine Shakespeare himself being fastidious about such a joyous and accessible experience. He created popular entertainment, too, after all!
As for Rupert … oh, he does play a lover so very well! Orsino isn’t exactly the largest role in the original play. However, this adaptation focuses more on the confused triangle of love between Orsino, Olivia and Cesario/Viola, and so we are blessed with more Rupert than I’d feared! Alas, he is absent for a longish stretch in the latter parts of the play, but he has so much lovely stuff to do in the early parts and in the last scenes, that I can cope with that.
It’s not unexpected to find Rupert called “effortlessly charming” in reviews, including one reviewer this time who wondered why on earth Olivia was resisting him at all! But we know that love doesn’t work like that, or at least not in this play. It was sweet to watch Orsino feeling heart-wrenched by Olivia, but also responding despite himself to Cesario. Right from the start he’s noticing Cesario’s irresistible smile, and soon he’s returning it in kind. (This comes with extra frisson, as Brooks is the most convincing Cesario I’ve seen.) The love triangle is all very genuine, as is the resolution once Sebastian makes a fourth – which compares nicely to the irresponsible antics of Sir Toby’s crew, and to Malvolio’s self-important dramatics.
Everyone does an absolutely terrific job here, though my heart was mostly caught up by Rupert, Gabrielle Brooks (Cesario/Viola) and Natalie Dew (Olivia). There is lots of laughter and lots of energy along the way, and only one scene which left me a bit indifferent. The community chorus were superb, and it was great to see they were diverse in all kinds of ways – including age, with a few older characters. Inclusion is, self-evidently, the way to go!
So, it’s five stars and three cheers from me for the Young Vic and the artistic directions of Kwame Kwei-Armah!
Review Round-Up by Fergus Morgan, The Stage, 10 October 2018.
The first show by a new Artistic Director is an important indicator of what’s to come, a chance to establish the tone for the ensuing years with a memorable statement about the kind of theatre they want to make. In assuming responsibility for the Young Vic, a musical version of Twelfth Night may not be the obvious choice for an inaugural show but it’s community-based inclusive staging and strong equality message has Kwame Kwei-Armah setting-out his stall from the start. … This version of Twelfth Night is designed to engage the audience as much as possible beginning with barbecue food and interaction with some of the performers. Robert Jones’ cartoonish set juts-out into the audience guaranteeing everyone a good view, while maximum use is made of the auditorium’s exit points and staircases. They really want you to have a good time and with plenty of comic focus and a rousing love-in finale the feel-good factor is dialled-up to the max. … Gerard Carey may be the best Malvolio you’ve ever seen, utterly embodying Olivia’s taunt that “you are sick of self-love” and given the most astonishing tap routine with a hilarious interpretation of the yellow stockings segment. … Olivia (Natalie Drew) becomes amusingly beguiled by Cesario, an interaction played for comic effect which Drew sells superbly, but Orsino’s devotion is almost entirely serious and Rupert Young is charming as the heartbroken Duke aching with unrequited love. Brooks is equally enchanting as the suffering Viola in disguise, but the emphasis on the humour takes away from some of the pain of Shakespeare’s original, that fine balance between light and dark captured in the songs isn’t reflected in the storytelling as well as it could be.3.5 stars from Maryam Philpott, The Reviews Hub, 12 October 2018
I was blown and overblown with bliss to discover that Rupert was taking part in the London workshop for a new adaptation of Jane Austen’s masterpiece, titled Emma, A New Musical. Rupert was quite naturally cast as that quintessential English gentleman Mr Knightley. A separate (presumably concurrent) production is planned for Broadway.
We don’t have any details of dates yet, but here’s the announcement in broadwayworld.com.
Well, those of us able to catch Gaslight on its tour through England are in for another theatrical treat! This play is a classic thriller, written in 1938 by Patrick Hamilton, and set in a drawing room in Victorian-era London. This production is directed by Anthony Banks.
I loved the set, which was small and neat yet intricate, allowing for all kinds of surprises. The lighting and sound helped place the room in the real world, and also added greatly to the changing moods and a creeping sense of dread. Kudos to designer David Woodhead, lighting designer Howard Hudson, and composition and sound designers Ben and Max Ringham.
Rupert is wonderful as Jack Manningham, the plausible, handsome husband who has turned into a plausible, manipulative terror. I’ve said it before, I know, but he really is far too good at this sort of thing. You can see why his young wife Bella married him, and why she still finds moments of happiness in their marriage – and you can also see how he could get away for too long with cruelly undermining her. Luckily for Bella, she has a friend or two she’s not yet aware of.
Kara Tointon is terrific as Bella, a bright young woman haunted by the memory of her mother dying insane. I won’t spoil anything, but even as the mysteries are revealed and her innocence reaffirmed, she still fears she’ll end up with the same fate.
Keith Allen is, of course, delightful as ‘Rough (a visitor)’ and delivers some of the funniest lines with great aplomb, while managing a great deal of stage business.
The main three actors are wonderfully supported by Helen Anderson, Charlotte Blackledge and the ensemble.
If you can go, I’d recommend it! The first night’s audience really enjoyed it, and I suspect we won’t be the only ones.
The play is touring England as follows. You can buy tickets via ATG Tickets, except where a separate ‘booking info’ link is provided below.
Birmingham, New Alexandra Theatre: 6-14 January 2017
Aylesbury, Waterside Theatre: 16-21 January 2017
Woking, New Victoria Theatre: 23-28 January 2017
York, Grand Opera House: 30 January – 4 February 2017
P.S. It doesn’t hurt that Rupert looks so damned dapper in those clothes!
ETA: There is an interesting article about the lighting here. The lighting equipment was provided by the company White Light.
It’s not, as Hamilton himself admitted, “a great work of art”. Poor Rupert Young – playing the manipulative bounder Jack with a judicious mixture of lordly but kindly condescension and explosive viciousness – even got booed at the opening-night curtain-call in Birmingham, as if this was panto. But the psychological essentials of this potboiler hold good, and, as with The Archers’ abuse storyline, who’s to say that real-life doesn’t acquire the hue of dark melodrama when male-female relations hit their nadir? 4 stars from Dominic Cavendish, The Telegraph, 11 January 2017
… the production relies heavily on the performances of its small cast as the plot gradually thickens. 4 stars from Diane Parkes, What’s On Stage, 12 January 2017
Testament to the terrifyingly convincing performance of the sadistic, psychotic Jack Manningham came by the chorus of boos actor Rupert Young received as he took a final bow at the New Alexandra Theatre where the production this week begins a national tour. Young oozed menace as he both charmed and petrified his tormented wife in a twisted power game. Humiliating her with his roving eye and deliberately shaming her before the servants to undermine and ostracise her, a cold chill swept the theatre as a hatred of the character developed. In his Victorian costume, Young swept onto the dimly-lit stage with his huge Jekyll-like shadow looming large and leaving the gripped audience biting their nails in apprehension as the tension built. Review by Diane Davies, Express and Star, 11 January 2017
While Rupert Young’s Jack Manningham is perhaps underplayed in the first half, after the interval he becomes frighteningly intense and scarily unpredictable as the air of threat increases. His moods swing ever more widely as he begins to suspect that something is now happening that is beyond even his control. 4 stars from Selwyn Knight, The Reviews Hub, 11 January 2017
… the real brilliance of Gaslight is unearthed in the joy of the actors’ craft … Going by the stellar performance the cast gave on opening night, you need to get your hands on some tickets, because it sounds like they have a whole lot more, if that’s even possible, to pull out of their theatrical bag. Review by Madeleine Bourne, Redbrick, 11 January 2017
As her bullying husband, Jack, Rupert Young domineers, exuding evil. What begins as a study in mental cruelty swiftly becomes something even darker as the true nature of the man Bella married is brought to light. … You can tell it’s working when the villain is booed during his curtain call! Review by William Stafford, Bum on a Seat, 11 January 2017
… the play’s real chill lies in the warped dynamic between Bella and her husband. Young oozes psychological menace as he slowly picks away at his wife’s grip on sanity … 4 stars from Claire Allfree, Metro, 13 January 2017
This suspenseful play kept me engaged throughout, with each character easily holding my attention. It’s a production that had everything, from gradually building tension to surprising but greatly welcome humour. It’s a shame it wasn’t longer, though – it was such a pleasure to watch that the time flew by way too quickly. Gaslight is definitely one not to be missed. 5 stars from Rhian Atherton, What’s On Birmingham, 11 January 2017
Jack is an increasingly unstable person and there were moments during the performance where the audience were genuinely shocked at the relationship breakdown between the couple; however this is to the credit of Young and Tointon with some incredibly intense and believable action on stage. … If you want to watch a play and like a twist, then this is for you. Witty, mysterious and beautiful all at the same time. Review by Matt Dudley, Black Country Radio, 11 January 2017
Rounding out the cast is the brilliant Helen Anderson as Elizabeth the housekeeper, and the delightful Charlotte Blackledge as the sassy and flirtacious maid Nancy. Anderson is a master at playing an audience and her scenes with Rupert Young’s darkly disturbing Mr Manningham are particularly enjoyable. Charlotte Blackledge, as Nancy, gets the majority of the laughs of the night, flouncing about with a sour look for her mistress and a lusty one for her master. It is clear director Anthony Banks has had lots of fun in the rehearsal room and the cast mesh beautifully. … A thoroughly exciting evening, with a great cast, Gaslight remains a pertinent piece. 4 stars from Carly Halse, Female Arts, 16 January 2017
Rupert Young gives an outstanding performance. He is completely despicable as Jack Manning the coercive, cruel and calculating husband. His manipulative, menacing character is truly hateful. … This psychological thriller, with palpable moments of edge of the seat tension is a real must see production. 3 stars from Melanie Mitchell, Rewrite This Story, 23 January 2017
The plot is by no mean the most challenging of whodunnits, but the production is well worth seeing. The casting is excellent. Rupert Young towers over Kara Tointon’s slight and frail-looking figure, emphasising visually how his character is able to dominate her. And Keith Allen’s bewhiskered detective adds many moments of levity to such a dark plot. The play is driven along by the skills of the lead actors. In particular, Keith Allen, who encompasses the voracious, and sometimes excitable, character of Rough with great aplomb and adds some wonderful comedic moments. Review by Steve Cowell, York Mix, 31 January 2017
Rupert Young as Jack shows enormous stage presence, physically towering over the frail and pasty Bella as he switches from unctuous and patronising to a furious bully in an instant. … The wonderful set and costumes focus our attention on the drama and the details. However, it’s the acting of the three main characters that carry this through – as an audience we know what’s coming, and Gaslight is all the more fun for that. A great evening, catch it if you can. Review by Gary Cook, The Brighton Magazine, 7 February 2017
Rupert Young plays manipulative and deceiving husband Jack with a mixture of haughtiness, condescension and even, at some points, he’s down right vicious. His character is booed at curtain-call, as if this were panto. Not because the character was terribly played, far from that, but without wishing to spoil what happens, the character got what he deserved. Overall, Gaslight is a dark, yet shining example of a thriller done good. Thoroughly recommend. Review by Hannah Hopkins, Quench, 14 March 2017
This play by Terrence Rattigan was written in 1943, and is set in that period – in the latter parts of the Second World War when London was awash with Allied soldiers not to mention a sailor or two. The action takes place over a 24-hour period, in Lord Harpenden’s chambers in ‘Albany’, a fancy apartment block off Piccadilly in London. The production was directed by Christopher Luscombe.
Rupert plays an American lieutenant, Joe Mulvaney, who befriends the Earl of Harpenden (Rob Heaps) and becomes involved in various ways with the two women in Lord Harpenden’s life, Lady Elizabeth Randall (Alexandra Dowling) and Mabel Crum (Tamla Kari). Mix in a butler, Elizabeth’s father, and a French lieutenant, and the laughs are guaranteed.
The show was very funny, and amusing throughout, even when it became clear that hearts and future happiness were at stake. The set was gorgeously detailed. All the cast were great, and Rob was particularly touching in the early-morning scenes when he seems to have lost everything.
Rupert was his usual superb self, of course. He’s just too good at these romantic and comic roles! Not to mention that we get to see rather more of him than I’ve seen thus far … bonus!
It’s a really fun evening, and I’d recommend going if you’re at all interested.
I said hello to Rupert afterwards at the stage door, and he was his usual charming self. ♥ He is in the process of switching agents to Curtis Brown, though he’s not listed there yet. I also noticed that the theatre programme lists Rupert as appearing in People Just Do Nothing, a BBC 3 show. He said that it was only a couple of scenes – but that’s something new to watch out for. Hurrah!
In this flurry of crossed-wires and mistaken identities Rattigan shows himself as a versatile writer and farceur. For those who have only caught his darker works, this is a welcome breath of fresh air.Marion Sauvebois at the Swindon Advertiser
Rupert Young is excellent as Lieutenant Mulvaney, playing to the full the role of a stereotypical Yank bowled over by meeting English royalty, comically matched by his rival in love Lieutenant Colbert, played with Gallic passion and cod-French accent by Nicholas Bishop.Jackie Chappell at Listomania Bath
Rob Heaps’s charmingly puppyish Bobby is a cheerfully ineffectual individual who after four years in the Navy has failed to become an officer and who sees nothing wrong in his butler tying up his boots each morning, much to the incredulity of Rupert Young’s down-to-earth Joe. … Heaps is ceaselessly endearing as Bobby … Claire Allfree in The Telegraph
The Telegraph review makes a great deal of Bobby’s uselessness, but I think his kindness, decency and cheerfulness more than outweigh these considerations. Just because the world was in transition to a more merit-based notion of leadership doesn’t mean that all the old-fashioned values need be thrown out with the bath water. I thought it also counted in Bobby and Elizabeth’s favour that they were perfectly prepared to do war-work and serve their country in rather more humble roles than they might have expected. (It’s worth noting that neither of them make use of her father’s Old Boys’ Network.) Not doomed, I think, when they are adjusting to change and accepting new roles.
… an utterly glorious, hilarious ride from start to finish, bringing a beautifully-directed ensemble cast together in perfect harmony and earning a big shiny gold star for director Christopher Luscombe, who has skilfully revived one of Rattigan’s lesser-known comedies with an invigorating blast of fresh air. All the action takes place in the young Earl of Harpenden‘s apartment in Albany, London (interestingly enough, the luxurious set is an exact replica of Rattigan’s actual apartment, in which Rattigan wrote the play).Melissa Blease in The Bath Magazine
The proceedings unfold over 24 hours in the Albany “chambers” of Bobby, the young Earl of Harpenden. It’s the eve of his wedding and the show kicks off with a tease when, naked but for a bed-cover, a strapping American officer, Joe Mulvaney, emerges from the bedroom. All innocent, of course. … it’s delectably droll to watch the whole chaotic sexual license of wartime exemplified by these rather tidily choreographed shenanigans. Romantic rivals who share a chaste bed, the stereotyped Allies are played with engaging panache by Heaps, Rupert Young and Nicholas Bishop as the French lieutenant … Paul Taylor in the Independent
Immaculately staged and directed by Christopher Luscombe the cast are outstanding. … Nicholas Bishop (Lt Colbert) and Rupert Young (Lt. Mulvaney) provide much humour in their confusion and attempts to repair the damage. … This is a fine production; the humour is well balanced with impeccable timing whilst the physical theatre set pieces resulting in an absolute treat.Petra Schofield at Theatre Bath
It’s hilarious. Or, at least, this production directed by Christopher Luscombe is. … It is almost perfectly cast. Ann Treneman in The Times
Rupert stars as Leonard Charteris, The Philanderer himself, in this play written by George Bernard Shaw. This production is directed by Paul Miller for the Orange Tree Theatre in Richmond, and runs until 25 June.
update 7 December 2016: Rupert has been nominated as Best Actor for The Philanderer, which has also garnered other nominations, in the Broadway World UK awards. You can vote here!
I went to the first show this evening, after an afternoon with Delacroix at the National Gallery and a three-course meal at Carluccio’s. That took care of body and soul, and the play took care of heart and mind!
Not being familiar with Shaw as a playwright, I was surprised by how witty and wordy it all was. Rupert came out firing on all cylinders; he’s just so good at this kind of clever, persuasive dialogue.
Helen Bradbury (Grace Tranfield) and Dorothea Myer-Bennett (Julia Craven) play the women Charteris is involved with, and do a fine job with two rather different characters. Indeed, the whole cast did a terrific job – and it seems unfair to even think about picking anyone out for special mention, though I have to say that Michael Lumsden (Colonel Craven) made me laugh, and made the most of his character’s various actions and reactions.
Oh my, it seems a long time between drinks, but Rupert’s back on stage again, doing what he does so sublimely well …
Rupert is starring as CK Dexter Haven in High Society at the Old Vic Theatre – and for a lovely long run, too, from 30 April to 22 August 2015. I just went to see the first show this evening, and loved every minute of it.
Although the Old Vic is a ‘traditional’ theatre with a proscenium arch, it has been transformed so that this production is played ‘in the round’, with the action centring on a circle surrounded (rather closely!) by the audience, and the musicians in two balconies above. Some of the set transformations have to be seen to be believed; these are nimbly aided by about half the cast and ensemble who play the staff of the estate.
The setting is Seth Lord’s (Christopher Ravenscroft) estate on Long Island, on ‘a glorious Saturday morning in June 1958’. Family and guests are gathering as Seth’s daughter Tracy (Kate Fleetwood) is getting married on Sunday to George Kittredge (Richard Grieve). Amidst a happy swirl of staff, the silk-rustling whirl of a ball is being prepared. In the midst of all this, Dexter Haven (Rupert) shows up. We discover that he is Tracy’s former husband – and we soon realise that ‘he’s a right guy’, if for no other reason than that Tracy’s little sister Dinah (Ellie Bamber) adores him. Complicating matters in charming ways are the undercover journalist duo Liz Imbrie (Annabel Scholey) and Mike Connor (Jamie Parker).
Ellie Bamber is a delight throughout the show as Dinah, and Rupert was absolutely wonderful as her friend, especially in the affectionately playful song ‘Little One’. Rupert is also great as Dexter relates to his former mother-in-law (Barbara Flynn), and he absolutely shines in the clever banter of ‘Well, Did You Evah?’ Of course the beautiful duet ‘True Love’ was guaranteed to have me in tears. I love how an article in the program describes Dexter as embodying ‘easy wit and gentle irony’ – the sort of thing Rupert does so deliciously well. But leaving Rupert aside for just one moment, I have to say I also enjoyed the love stories involving the more mature characters, both upstairs and down.
The entire cast and ensemble is wonderful, as are the musicians, including consummate showman Joe Stilgoe. It seems wrong to single anyone out for special praise (except Rupert, of course, being the subject of this site!) as everyone delivered their role beautifully – and everyone seemed full of a happy energy. The show is a great deal of fun, and there are some terrific set pieces, which I won’t spoil for you here. Director Maria Friedman has obviously brought a great deal of creativity to the project! But at the heart of it all is a moving story of love and of personal growth.
The bottom line is: Highly recommended for anyone who enjoys a fun night of theatre!
Rupert Young’s Dexter Haven is loose-limbed and lovely-voiced, with an old-fashioned cheeky chivalry that lets the character sneak by as lightly charming rather than manipulative.The Independent, 16 May 2015
… although Rupert Young cannot banish memories of Kevin Spacey’s CK Dexter Haven in the Barry play, he nicely suggests the gilded privilege of wealth.The Guardian, 16 May 2015
Rupert Young’s CK Dexter Haven (Bing Crosby’s screen role) is refreshingly natural and undemonstrative: a really seductive leading man.The Arts Desk, 16 May 2015
… Tracy Lord’s old flame, Dexter Haven, here played with a modicum of charm but minimal dash by Rupert Young.What’s On Stage, 16 May 2015
… former beau CK Dexter Haven – handsomely taken by Rupert Young – completes the triumvirate of her admirers.London Theatre, 16 May 2015
As the charming, yacht-loving C K Dexter Haven, Rupert Young gives his all. He is genuinely pleasing in most respects, and his scenes with Ellie Bamber’s bratty Dinah are genuine and awash with rapport. He mostly gets away with the singing, but that is not his forte. (Indeed, apart from Parker and Rawle, there is no one in the principal cast whose forte could be said to be singing – a curious position for the cast of a musical to be in.) Young brings a casual masculinity to his scenes which is endearing, but, in truth, the part requires more than that. Deep down, the audience has to want Dexter to end up with Tracy rather than either Mike or her current fiancée, George. But as Mike is by far the most charismatic and persuasive, that is not how things play out.British Theatre, 16 May 2015
This is an ambitious production featuring nine Noel Coward plays, presented in three groups of three. You can see one ‘Trio’ of plays a day – or you can do what we’ve just done, and go on a day when all three Trios are played back to back.
Known collectively as Tonight at 8:30, this production comes courtesy of the English Touring Theatre (ETT), and is directed by Blanche McIntyre. It is currently running at the Nuffield Theatre in Southampton, and will then be touring English regional theatres (details below).
My main motivation for attending was that Rupert is in the cast, but he is joined by eight other wonderful actors, and they made for a great ensemble.
The triple bill was an awesome marathon, filled with plenty of wit, humour and drama. There were some plays in which I laughed until I cried, while others were absolutely heart–breaking. All were interesting, even intriguing. There is no doubt that Coward was a clever, observant and witty writer. As Sam Hodges (Creative and Executive Director of Nuffield Theatre) says in the program, ‘where theatre is at its best is when, behind the manners and etiquette and wordplay, lies loss, love, hope and truth. These Coward captures in spades.’
Luckily for me and my fellow Rupert fans, he is in eight of the nine plays – though only briefly in a couple. He gets the chance to really shine in two of them, though.
In We Were Dancing (Trio 1), Rupert plays Karl. He and Louise (the marvellous Kirsty Besterman) are strangers who have fallen deeply in love while waltzing at a party, and start making immediate plans to spend their lives together. This has to take into account Louise’s husband Hubert (Peter Singh), but the three of them strive to deal with the ramifications of this heartfelt emotional moment with honesty and rationality. The results are very funny and occasionally very moving. Rupert gets to play … well, a gorgeous decent man who has suddenly found himself to be a romantic lover. Even while Karl and Louise fully acknowledge and accept this life–changing moment, however, they still need to negotiate the details and the practicalities. Not to mention learn each other’s names. It’s all just delightful – and Rupert sings a charming song as well! He has such a great voice, so subtly expressive and never less than evocative throughout a very long day.