This House – NTLive – review

Film fails to convey thrill of live theatre

★★★

Phil Daniels in This House. Photo: Johan Persson

I’ve watched quite a few recordings of theatre shows since the Lockdown and the more I see the less sure I am that that they’re a good advertisement for theatre. By which I mean, what works on stage often doesn’t work on film.

At the heart of live performance, there’s a conspiracy between audience and actor. We all know we’re watching someone acting out a story. So we accept the artificiality, the theatricality if you like. That unnaturalness is exposed when we are forced to stand back from it and view it through the medium of film. So when the actors in This House race up and down the stage, it looks exciting in the flesh but on screen it just looks a bit silly. When actors speak loudly on stage, it’s riveting, on screen it’s a bit shouty.

Films and television dramas are more artificial than theatre but they do everything they can to make it seem like it’s real- the photographically detailed set, the convincing makeup and so on.

What we want in theatre is simply to watch those actors telling us that story with their words and actions. Film wants to show us flashbacks and dreams. It has to provide something to keep the eye interested: you can’t have a detective go question somebody without that person carrying on with their gardening or car repair.

Photo: Johan Persson

We theatregoers want to use our imagination, just as we did when our parents or teacher told us a story as a child. We conjure up images of, as Shakespeare said, ‘the cloud-capp’d tow’rs, the gorgeous palaces’- not to mention pitched battles and shipwrecks. We don’t need imagination for film and TV drama because they do it for us. In This House, as the Labour Whips desperately try to get MPs back to give them the votes they need, a silhouette of a helicopter appears at the back of the stage, to great comic effect. That’s all we need. In a film, we would expect a real chopper.

Theatre is on a human scale (with the odd exception where the director insists that the production will be better for using video screens). We may like the odd spectacle but only because we can really appreciate a barricade built on a stage in front of our eyes. Generally, we like engaging with people who are not small and removed from us on a TV screen or larger than life in the cinema but people who are the same size as us, alive in front of us. For that reason,  recorded theatre works best when following one character close up, like Fleabag or Sea Wall, or a small scale play dominated by one person like Cyprus Avenue.

Thrilling production from Jeremy Herrin and Rae Smith

When watching a live performance, our brains and eyes are remarkably good at seeing detail, even from a distance. On TV, we either view the whole set and miss the detail or the camera hones in on our behalf and creates its notion of what we should see. In theatre, we may be nudged by the script or the direction but we still make the choice to look at the person talking or the one listening or a detail of the set. Rae Smith’s set for This House is brilliant. She uses a traverse stage with green seats on either side creating both the sense of gladiatorial combat and the close intimacy of parliamentary politics. Not so great when you’re not one of the people sitting on one side looking at the other side.

So, no, I didn’t think the NTLive recording conveyed the quality of This House. It’s a superb piece of theatre deserving four or even five stars, reduced to maybe three at the most. What saves it is the wonderful script by James Graham and the great way it’s acted.

This House tells the story of the time in the 1970s when the Labour government was hanging on with small or nonexistent majorities. The play may be about politics which you might think boring but it is actually thrilling as the Labour whips tried to find the MPs’ votes to keep the government going and the Conservative whips tried to bring it down. And it’s funny,  as when they drag in a dying member to vote.

Charles Edwards in This House. Photo: Johan Persson

It’s also a very good explanation of how parliament works- and sometimes doesn’t work- and an advertisement for respect and compromise at a time when extreme positions are in danger of bringing down democracy.

Among many fine performances in Jeremy Herrin’s production at the National Theatre, I would pick out Charles Edwards and Reece Dinsdale as the ruthless but mutually respectful deputy whips, Phil Daniels as the conspiratorial cockney Chief Whip and Lauren O’Neill as the newcomer who grows in confidence and stature as the years go by.

I would definitely advise you to give it a watch, despite all my caveats, but I am glad I originally saw This House live on stage.

This House is streaming on the YouTube channel National Theatre At Home until 3 June 2020.

Click here to watch the review of This House on YouTube

This House – Touring – Review

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See my review on the YouTube channel One Minute Theatre Reviews

Steffan Rhodri and Nathaniel Parker in This House at Chichester Festival Theatre. Photo: Johan Persson

I would never have thought day-to-day politics could be so tense. This House, which I saw at Chichester Festival Theatre’s Minerva is set in the 1970s when Labour was running minority governments and ends at the moment the Tories returned to power. But it’s not about Wilson, Callaghan or Thatcher. The play is set in the Whips’ Offices, the people who organise their party members’ voting.

These are dramatic times as Labour struggles to maintain its majority and govern, a situation not dissimilar to Theresa May’s government. The tension mounts when ‘pairing’ is suspended. This is the agreement whereby members absent through government business or illness have their missing vote cancelled by someone from the opposition not voting. To go behind the scenes and see that our democracy can only work by co-operation and compromise is an eye-opener.

Phil Daniels & Steffan Rhodri in This House at Chichester Festival Theatre. Photo: Johan Persson

Many people- some of the Brexit voters and Trump supporters, for example- seem to be rebelling against the perceived cosiness of the establishment. James Graham, author of This House, shows that there is a purpose to this comity. We have only to look across the Atlantic to see how the extreme differences between Republicans and Democrats have brought government to a halt after decades of working together.

Politicians Are People

But more than the drama and the lesson in democracy, This House reveals the real people behind the parliamentary constituencies. Plays need characters and This House is packed with flawed human beings with feelings. They are sometimes bullies, sometimes desperate and, most movingly, they can be compassionate. We see that in many cases these are people who care passionately but still respect their opponents and act honourably.

Politicians often try to show their human side in PR exercises- a pint down the pub or an appearance on Have I Got News For You– but This House does a far better job at showing they are as funny, sad, triumphant and tragic as the rest of us.

This House can be seen on NTLive showings. Watch it on YouTube on the National theatre At Home channel from 28 May for a week.

Here’s my review on YouTube

Quiz at Minerva Theatre Chichester

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Click here to see my review of Quiz on YouTube

Paul Bazely, Gavin Spokes & Keir Charles in Quiz at Chichester Festival Theatre. Photo: Johan Persson

James Graham’s Comedy Puts The Media On Trial

When you watch one of my reviews on YouTube, is how I look the main thing you remember? Does my actual review only account for 7% of the impression I make on you?

According to Quiz, that’s what MPs were told when parliament was first televised. Television, it argues, blurs appearance and reality because it’s a visual medium and an entertainment medium. The assertion that in today’s world image is more important than facts runs through James Graham’s latest play which has opened in Chichester’s Minerva Theatre and may well follow This House, Ink and Labour of Love into the West End.

In Quiz, we learn about the history of popular ITV quizzes and their connection to the commercial nature of the channel thence to Who Wants To Be A Millionaire via pub quizzes throwing in along the way the televising of parliament and the way the dangers of news becoming entertainment.

These many facts sprinkled throughout the evening distract from what is at heart an amusing, interesting story about the trial of Charles and Diana Ingram and one other for defrauding the makers of Who Wants To Be A Millionaire of a million pounds.

The trial wasn’t televised but Quiz is a warning about what might happen if courts cases were on TV. Television is a visual medium that values appearance above facts and entertainment over reality. And, appearances are deceptive.

The quiz show gives the appearance of being fair but may not be. Major Ingram appears to have cheated but maybe he didn’t.

Gavin Spokes and Stephanie Street are splendid

Gavin Spokes and Stephanie Street as the Ingrams did a splendid job of keeping us guessing as to what was appearance and what was true. Were they more clever than they appeared to be or more stupid?

Keir Charles provided excellent impressions of an unctuous Chris Tarrant and numerous other game show hosts.

Just as politics and the news (and by extension, because of social media, many people’s whole lives) are said to have become entertainment, the trial is turned into a show.  It is presented as a two act theatrical entertainment with act one delivering the case for the prosecution and act two the defence. Laying it on thicker, Daniel Evans‘ production is also set in a TV quiz show studio. Nearly everything on stage is filmed and shown on monitors. We were even given Millionaire style voting buttons on which we can say whether we think the defendants are guilty or not guilty.

If placing much of the action inside a cubic frame that blocked one’s view was meant to have a Brecht-style alienating effect,  the production succeeded too well. I simply saw it as a gimmicky production that added to the bewilderment I was already feeling from being bombarded with so many facts (or fictions) about television.

As a result, it is hard to get involved in the characters as real people or the story or the interesting issue of television blurring image and reality.

James Graham has had a series of winners with Our House, Ink and Labour of LoveDaniel Evans has put on a victorious first season at Chichester. Neither of them have hit the jackpot with Quiz, but that’s entertainment.

Quiz runs at the Minerva Theatre until 9 December 2017. It transfers to the Noël Coward Theatre on 31 March 2018 where it will run until 16 June

Further thoughts on Quiz

Quiz is a warning against televising one of the last parts of public life that is still not filmed, arguing that the media will turn justice into entertainment. Whether it makes a convincing case, I am unsure.

The trial of the ‘coughing Major’ inevitably excited the media in the way that most don’t because it involved a hugely popular TV programme and massive amount of money. Making it carry the burden of showing that television turns everything into entertainment is asking too much of it.

Courts are already a form of theatre in which judges and advocates play to their audience. Juries have a tendency to decide verdicts on appearances rather than evidence whether cameras are present or not.

I don’t believe television has made as much difference to politics as James Graham thinks. It seems to me politicians were aware of the importance of image long before the televising of parliament: Harold Wilson put a pipe in his mouth for public appearances; President Roosevelt made sure he wasn’t seen in his wheelchair. In fact, leaders have been image conscious for centuries as evidenced by the work of Holbein, Van Dyck and others.

The news media have been inventing stories for most of their existence. Hollywood decided early on to encourage media interest in the lives of their actors, thus making their often fictional offscreen lives an extension of the onscreen entertainment.