'Allelujah' is not one of Alan Bennett's best plays, with it suffering from a slow start and too many characters (some very underdeveloped and unnecessary), but the writing is unmistakably Bennett in an absurdist witty way and the darker and wonderfully weirder second half (despite being quite a big shift tonally) is much better. It is another one of those plays that will never be a favourite, but it is one of those appreciated it kind of plays and am glad to be acquainted with it.
This National Theatre Live production is very well done with a lot to admire. It doesn't solve the play's problems really, but it does do a great job keeping things coherent (not easy) and making the drama entertaining and moving. The relevant subject matter that will resonate with anybody who has been there never sugar coated. 'Allelujah' is not one of my standout National Theatre Live experiences and of the 2019 productions it is no 'Fleabag' or 'All My Sons', but as said early on it is very well done.
It still does start slow, with the drama taking some time to find its feet and struggling to balance too many characters and topics and the characters are ones one never really gets to know as a result.
Luckily, from the hilarious last scene before the interval onwards, 'Allelujah' does get much better. The absurdist wit (which was the reason as to why the first half was stuck with, as there were actually still a lot of very funny and clever moments) is even stronger, the farcical elements are sharper and wilder and the darker elements are uncompromising and don't become too strange. Despite the source material feeling unevenly paced and over-stuffed, Nicholas Hytner does a great job somehow managing to keep the drama easy to follow and invest in emotionally.
Moreover, the topics covered are relevant and relatable handled in a thoughtful, unyielding and poignant way. The humour is far from diluted and still manages to range between extremely funny to absolutely hilarious. It is a well designed production that doesn't try to do too much and all the acting is very good and above, Deborah Findley immediately springing to mind when it comes to talking about standouts.
Concluding, very well done. 8/10.
This National Theatre Live production is very well done with a lot to admire. It doesn't solve the play's problems really, but it does do a great job keeping things coherent (not easy) and making the drama entertaining and moving. The relevant subject matter that will resonate with anybody who has been there never sugar coated. 'Allelujah' is not one of my standout National Theatre Live experiences and of the 2019 productions it is no 'Fleabag' or 'All My Sons', but as said early on it is very well done.
It still does start slow, with the drama taking some time to find its feet and struggling to balance too many characters and topics and the characters are ones one never really gets to know as a result.
Luckily, from the hilarious last scene before the interval onwards, 'Allelujah' does get much better. The absurdist wit (which was the reason as to why the first half was stuck with, as there were actually still a lot of very funny and clever moments) is even stronger, the farcical elements are sharper and wilder and the darker elements are uncompromising and don't become too strange. Despite the source material feeling unevenly paced and over-stuffed, Nicholas Hytner does a great job somehow managing to keep the drama easy to follow and invest in emotionally.
Moreover, the topics covered are relevant and relatable handled in a thoughtful, unyielding and poignant way. The humour is far from diluted and still manages to range between extremely funny to absolutely hilarious. It is a well designed production that doesn't try to do too much and all the acting is very good and above, Deborah Findley immediately springing to mind when it comes to talking about standouts.
Concluding, very well done. 8/10.