A thrilling portrait of the man and the artist, McQueen dazzles at the Theatre Royal Haymarket.A sell-out exhibition closed at the Victoria and Albert Museum in August, and now this new play by James Phillips has transferred from the St James Theatre to the plush interior of the Theatre Royal Haymarket, a home befitting the opulent designer. Thankfully the play not only pays homage to the talents of McQueen, but also explores his inner struggle that points to much of his outstanding creative flair.
Playwright, James Phillips has cleverly steered clear of doing a biopic of McQueen’s life, instead opting for fairy tale-like dream that follows the designer through one particularly dark and difficult night as he confronts the deepest reaches of his psyche. McQueen, played magnificently by Stephen Wight meets a beautiful but damaged young American woman named Dahlia (Carly Bawden). The pair set off on a journey across London, stopping off at a Savile Row tailors where he creates Dahlia a dress, then on to an old Spitalfields church where the conflicted young muse attempts to take her own life, only to be saved by McQueen. Finally the couple end up at the top of a Stratford tower block where they both confront their inner demons.
The script treads a fine line between existential navel gazing and witty character studies, thankfully walking the thin wire with expert balance and thrilling pace. The production itself feels like one of McQueen’s infamous fashion shows, with a chorus of mannequin-like dancers helping to transform each space, evoking a music video aesthetic. The unsettling set by David Farley conjures the flamboyant and angular creative mind of McQueen, but also gives a hint to the dark and sinister tone that pervaded nearly all his designs. Timothy Bird’s projections fit perfectly into the design, appearing out of the black depths, swirling and floating in a nightmarish kaleidoscope, helped by John Leonard’s pounding and echoing sound design.
The talented cast match the clever design, choosing to heighten their characters within the dark dreamscape world. In particular, Tracy-Ann Oberman makes for a striking figure as McQueen’s mentor and friend Isabella Blow. She channels the erratic energy of the tragic Blow, hitting the iconic images of this fashionista, draped over a white couch with a long arm extending out to a cigarette. Carly Bawden does well as the tortured Dahlia, never letting her slip into a winging hanger-on, instead slowing revealing the inner struggle of this complex character. The supporting cast of Laura Rees, and Michael Bertenshaw are also good, however, the true star of the show is Stephen Wight. Apart from looking like the spit of Alexander McQueen, Wight has managed to combine a truthful character study, complete with limp wristed head stroking and shrill cackle, with a measured reveal of McQueen hidden self-doubt and paranoia. As the audience enter the auditorium, Wight is on stage in a small pool of light, pacing and thinking, a leather belt in hand. This initial glimpse, executed with understanding and intensity by Wight gives a quick ‘in’ to the mind of McQueen, meaning we are one step ahead even before the play kicks off.
Director John Caird and Choreographer Christopher Marney have done an excellent job of moving the production from the smaller space to the St James Theatre to the cavernous heights of the Theatre Royal Haymarket. Caird uses the space well, opting to use light rather than physical set to create each location. These pools of action punctuated against the darkness of the stage help create the fragmentary and dream-like appearance and also serve to quicken the scene changes. Marney’s use of the octet of dancers in-between each scene is varied and thrilling. One moment we witness a catwalk parade, the next a balletic sequence, all performed to a contrasting mix of classical and contemporary music.
McQueen is constantly thought provoking and visually ingenious. This combination gives a detailed and often-moving portrait of the personal and the artistic. One moment we see the man in all his humanity, the next, an insight into the process of creating art. It is this vast scope that makes McQueen an evening of spellbinding theatre.
Revisiting a hit show years into a long run is always an interesting prospect. One wonders how the show is holding up and whether or not the inevitable cast changes will have weakened the show. Well I am pleased to report that two years into its run at the glorious Theatre Royal, Drury Lane Charlie and the Chocolate Factory remains a fun filled extravaganza that will entertain the entire family.