The fall of a rock star. Andrew Scott (Paul) with the cast of Birdland. Photograph by Richard Hubert Smith
Play: Birdland
Theatre: Jerwood Theatre Downstairs, Royal Court Theatre
Playwright: Simon Stephens
Director: Carrie Cracknell
Review by Natalie Gormally
Multi award-winning playwright Simon Stephens reunites with actor Andrew Scott in his latest production Birdland, on the role excess, money and fame plays in the downfall of a rock star.
It is therefore unsurprising to learn that Stephens’ script was informed by several film and music stars’ biographies, including Motley Crue’s The Dirt, which chronicles their meteoric rise and decadent lifestyles.
Paul, played by the brilliant Andrew Scott, is a rock god. Leading the predictably riotous lifestyle of a music superstar, he has access to limitless cash, an array of women and five- star hotel suites while also indulging in an unquantifiable amount of “flowers and miscellaneous”.
“Yes, that does mean drugs”, says Paul’s manager (an impressive Daniel Cerqueira) later in the play. Inevitably, this superficial and transient world begins to have a destructive impact on our protagonist, and we see him transition from rock star to borderline sociopath.
Notably, the play focuses on the final stages of Paul’s 15-month sold out tour, covering Moscow, Berlin and Paris before hesitantly returning home to the UK. After Paul beds his bandmate’s girlfriend Marnie (Yolanda Kettle), she commits suicide when he threatens to expose her infidelity.
His role in her death remains a key thread through the play, as Paul deals with his guilt, swinging chaotically from burden to denial. This, together with his hedonistic lifestyle under the steady glare of the media spotlight, signals Paul’s inescapable downward spiral.
Scott is perfect at portraying this contradictory character, conveying a dangerous charm. Obsessed with money and the control it brings, Paul shifts his currency from drawing people into his world, such as convincing the beautiful hotel maid (the wonderful Nikki Amuka-Bird), to join him in Berlin, to simply embarrassing and humiliating them, as shown when he cruelly makes a fan sing for a hotel room.
At times we see a vulnerable side to our fallen star, a glimpse of his former self before being spoiled by fame. Birdland is also influenced by a Patti Smith song of the same name, the lyrics of which are based on a memoir about a tender father-son relationship. This association is brought to light in the touching, standout scene between Paul and his working class father, also played by Cerqueira, where the two men nearly open up their hearts to each another. But it doesn’t take long for Paul to return to his self destructive and paranoid ways.
Scott delivers an energetic performance as he woos the theatre audience. Strong support is on hand from a fine cast who play multiple roles, particularly Daniel Cerqueira and Nikki Amuka-Bird who shine alongside Scott.
Carrie Cracknell’s production is smart and striking. The cast make great use of Ian MacNeil’s inventive set design, a moving arch and neon plastic chairs on wheels, allowing flow and rapid movement in this pacy play.
The play’s message of self-gratifying excess and materialism resulting in hollowness and a lonely existence, is a familiar one. Stephens’ story doesn’t necessarily tell us anything new about fame and excess and at two interval free hours, it occasionally feels long. But it tells the familiar story well and Birdland perks up in final scenes as Paul’s glitter-filled fame bubble finally bursts.
Birdland is frenetic, funny and flashy, but ultimately tragic.
Birdland is at the Jerwood Theatre Downstairs, Royal Court Theatre until 31 May 2014.