Category Archives: 2018

2018

“Mood Music” at the Old Vic

Ben Chaplin plays a successful record producer and Seána Kerslake an up-and-coming singer-songwriter who battle over creative pre-eminence in Joe Penhall’s new play. The roles make for good viewing: the unbelievable arrogance of Chaplin’s Bernard is as entertaining as the vulnerability of Kerslake’s character, Cat, is moving. And the contrast between their approaches to music, focusing on his obsession with “precision”, are dramatically effective. As their disagreements exacerbate tensions, and come to include undertones of sexual exploitation, the mood turns increasingly sour and the play comes to comment on our times. Given The Old Vic’s recent history, there’s piquancy to hear such issues here. But, although it isn’t Penhall’s fault – his big theme is who and how someone might own creativity – the topic of sexism in the arts is raised so obliquely it is discomforting.

The play is as much about the music industry as it is about the musicians. That this might excuse behaviour is offered as an explanation too many times. But Roger Mitchell’s direction and Hildegard Bechtler’s impressive set – with the stage reaching out well into the auditorium ­– make the connections between those making music and those behind the scenes clear. The creatives are overwhelmed, each having their own psychotherapist and their own lawyer. There are strong performances (from Pip Carter, Kurt Egyiawan, Jemma Redgrave and Neil Stuke), but all the characters are clearly there to prove points. A lot of what’s said – about artists and mental health or intellectual property and justice – is funny, a little of it thought provoking. Unfortunately, nearly all of it is predictable.

The writing, however, is stunning: the text has an impressive musicality of its own, conversations interweave and tone varies constantly. But, with depressing prescience, it’s all too easy to see what’s coming next. A flippant complaint from Cat is propelled into a criminal issue. That this is instigated and escalated by professionals who could potentially profit from her misery is an uncomfortable suggestion. There are some brave opinions expressed, alongside some pretty awful ones, and Penhall puts drama on the flesh of issues in a way that newspaper headlines can’t. But, despite its sharp subject matter, Mood Music is flat. For all the importance of these topics, the danger is that they don’t make good drama. For a general audience these trials and tribulations of the creative industries come close to solipsism; no matter how well Penhall vocalises this, it is a dreary sound.

Until 16 June 2018

www.oldvictheatre.com

Photo by Manuel Harlan

2018

“A Gym Thing” at the Pleasance Theatre

As the humour in Tom Vallen’s play shows, it’s temptingly easy to make fun of the idea that someone can be addicted to exercise. Along with being such a baffling notion to most of us, the macho rituals surrounding a workout create plenty of smiles. But Vallen aims to use the jokes pointedly in his serious play. Sponsored by the Body Dismorphic Disorder Foundation, this is a dramatic look at a psychological problem with tragic consequences that’s thought-provoking and important.

As a writing debut the piece is modest but sound. A slightly too speedy journey into body dysmorphia, with little grounding and only suggested explanations, is documented rather than explored. Another debut, as director, from Philip Scott-Wallace is more assured with the cast thoroughly drilled and their comings and goings choreographed nicely. Undoubtedly, Vallen has written a brilliant showcase for his acting talent as he takes the central role of Will. His physicality in the piece is sure to impress while the descent into anxiety is meticulously delivered.

Vallen’s co-stars also do well. Jennifer Brooke fleshes out her role as Will’s girlfriend Rebecca remarkably, suggesting the real woman beyond Will’s romantic ideas. As Will’s womanising gym buddy, a character of surprising depth, and then Rebecca’s colleague, Gabriel Akuwudike makes the most of two chances to impress, skipping between the roles to great effect. Showing the impact on friends and loved ones of such a damaging mental health condition is a sobering addition. There is a notable lack of sympathy for the play’s once amiable lead, who turns psychotic so abruptly, that gives the play dramatic bite.

Until 13 May 2018

www.pleasance.co.uk

Photo by Boris Mitkov

2018

“Absolute Hell” at the National Theatre

It’s a brave actress who takes on a role made famous by Judi Dench but as Christine, the alcoholic autophobic landlady of Rodney Ackland’s play, Kate Fleetwood brings her usual consummate skill to the job. Like her club, which remained open throughout the Blitz, Christine is falling apart just as World War II ends and most people are starting life again. Acclaim should be shared with Charles Edwards as Hugh, a too-regular-regular and once promising author who remains sympathetic despite his scrounging and whining. The couple’s love lives and drunken desperation power the play into a dark territory that makes this a fascinating piece.

Charles Edwards and Jonathan Slinger
Charles Edwards and Jonathan Slinger

The members of La Vie En Rose club create the kind of ensemble show the National Theatre excels in, and the size of the cast alone is impressive. Sinéad Matthews does well as the louche Elizabeth, carrying on an affair in front of her long-term partner Siegfried (Danny Webb), while Jonathan Slinger’s gloriously camp film director Maurice Hussey attempts to live up to his name. If Martins Imhangbe doesn’t quite convince as the object of all affections, the fault lies with the writer – the earnest GI’s sincerity has no place amongst all this narcissism and nastiness. Which isn’t to say you won’t enjoy watching the club’s habitués: there’s a strong collection of comic cameos, including Liza Sadovy as an heiress dubbed The Treacle Queen, and Lloyd Hutchinson’s mad artist.

Everyone is escaping, and it’s a theme Ackland is less than subtle with. The play’s first incarnation was in the 1950s and overtones of Existentialism overpower it. Director Joe Hill-Gibbons decides not to restrain the piece and excesses occur, including poor Rachel Dale as local prostitute Fifi forced to walk around the stage all night – surely a little too literal? Lizzie Clachan’s set design does not serve the play well. There’s a lot of coming and going here and using the whole of the Lyttleton stage as well as giving the club three flights of stairs makes it all rather exhausting to watch.

Both play and production make up for problems with the humour on offer. Above all, it’s startlingly original. This cruel look at war-time Britain isn’t the kind of thing we are used to – no wonder it shocked so soon after the events depicted. As a satirist, Ackland is a harsh master. As insult and faux pas fly, characters become increasingly diminished in the audience’s eyes. Is there anyone to root for here? There are certainly no failings that aren’t ruthlessly exposed. The humour is out-and-out biting, vicious and extreme. And, by delivering absolutes, the play becomes heaven rather than hell.

Until 16 June 2018

www.nationaltheatre.org.uk

Photos by Johan Persson

2018

“Tumble Tuck” at the King’s Head Theatre

Diving into the start of a season of plays written by women and presented under the title ‘Who Runs the World?’, this hour-long show – written by and featuring Sarah Milton – goes swimmingly well as we follow young Daisy in and around the pool during her first competitive race. With family and friends all portrayed by Milton, it’s a bravura performance with plenty of laughs, serious topics and a dramatic trauma. There’s undoubtedly too much going on, but the mood swings mirror teenage life uncannily and the skill behind the show should make it a gold-medal winner.

Milton’s ability as a writer can best be seen with the allowance she makes for an audience’s more sophisticated responses to the authentic young voices we hear. It’s a space in the text that director Tom Wright is sympathetic to. Whether it’s Daisy’s laugh-out-loud insensitivity or comments from adults that we understand the motivation for more than she does, this is a look at a Millennial mind-set that patronises neither young nor old. It’s disappointing that a central plot, around a criminal boyfriend, isn’t elaborated. And overall Daisy’s youth results in observations on life that are predictable and pat; the good will built up towards the character has to save the show. Thankfully, there is plenty of it.

Milton’s skills as a performer are highly impressive, having created a strong central role and some lovely cameos for herself she really delivers. The split-second changes between characters are impressive, if showy. The comedy skills feel instinctive – her timing a joy to watch. But what really makes the performance special is the way the crowd is worked. Wright creates moments when Daisy is removed from us despite her narration – caught up in the cleansing power of swimming or a revealing nightmare. But most of the time Daisy appeals directly and Milton is superb at this: creating intimacy, engendering confidences and truly winning hearts. Let’s hope medals follow.

Until 12 May 2018

www.kingsheadtheatre.com

Photo by Alex Brenner

2018

“Tonight at 8.30” at the Jermyn Street Theatre

On the day of the London marathon, an award for endurance is deserved by director Tom Littler, the mastermind behind this revival of one-act plays by Noël Coward. Presented as three trilogies – that you can happily attend separately and in any order – the chance to see these seldom performed works classes as a Theatrical Event. With nine actors preforming 75 roles, everyone should agree it deserves those capital letters.


The groups differ from Coward’s original selection but still showcase his writing perfectly. As a comedian, Coward is seldom bettered, his plays full of wit and delicious satire driven by great observations. But we also have Coward as a writer of romance, with insight into the power and pain of love. And he’s an artist full of original ideas. Littler’s skill is to treat each text seriously, to understand the complexity of its construction, and every play benefits from this intelligence and respect.
See one, or even better see all three; it’s tough to recommend a favourite but here are some highlights based on the groups as titled.

Secret Hearts


This set stars with a sparkling comedy. Suffice to say the scenario of a group of actors trying to perform as a charity committee is as funny as it sounds. Theatrical back-biting and pretentions abound and nearly every line gets a chuckle. The whole ensemble appears and shows how even their abilities are. In subsequent plays, Boadicea Ricketts and Ben Wiggins fill a variety of smaller parts, but their roles here reveal them both as strong performers.

Nick Waring and Miranda Foster in "Still Life"
Nick Waring and Miranda Foster in “Still Life”


Musical hall veterans The Red Peppers make an appearance in the second play, the roles are ably performed by Rosemary Ashe and Jeremy Rose. But the piece hasn’t dated as well – a regional variety show isn’t something many people have experienced and it’s unclear how much respect we are supposed to have for our leading couple. But what comes next is unmissable: Still Life is the play that became Brief Encounter. It’s full of familiar characters, jokes and lines. Littler brings an admirable freshness to the piece and garners superb performances from Nick Waring and Miranda Foster as the star-crossed couple who sacrifice passion for the sake of their marriages. The chemistry between the two is so fantastic that it is transporting to watch them.

Bedroom Farces


Waring and Foster flex their comic skills in Ways And Means as a scheming couple down on their luck. It may be slight but it’s still pleasing. Another strong pairing comes with Ian Hallard and Sarah Crowe. First, there’s a take on Brief Encounter that’s purely for comedy with love at first sight, on the dance floor, followed by an oh-so civilised discussion about what to do next and a suitably cynical end.

Ian Hallard and Sara Crowe in "Shadow Play"
Ian Hallard and Sara Crowe in “Shadow Play”


The confirmation of Hallard and Crowe’s comic skills is clear, but later, in Shadow Play, they perform as a couple with marital problems that tugs at the heart strings. For all the cut-glass accents and wealthy posturing that often gets a laugh, both performers remind us that these are people we can relate to. A love gone cold and a struggle to remember happier times come together in a review of their relationship via a sleeping pill-induced dream that shows a surprisingly surreal Coward. The singing and score are startlingly contemporary. The whole piece is a revelation.

Nuclear Families


This set boasts two comedies and a fine drama. For Family Album, Coward’s target is the hypocrisy surrounding funerals. Victorian vibes through a stunning wardrobe make it a good place to mention the consistently strong work from costume designer Emily Stuart. The satire is biting and musical director Stefan Bednardczyk serves as a scene-stealing butler. Again, it’s the music Bednardczyk plays that provides the surprise, with songs serving to show snatches of memory and fleeting moods in a bold manner. There’s more comedy with Hands Across the Sea, a personal favourite, where Coward takes aim at the Britishers’ attitude to their own colonial cousins: it’s bright, snappy and eminently quotable.

The ensemble in "Family Album"
The ensemble in “Family Album”


As a finale, a psychiatrist is driven mad by love in another drama of infidelity that is riven with tension. Foster and Waring are paired again, and the result is explosive. Their intelligent characters are full of “clear cold sense” in a play of surprisingly raw emotion. The unexpected makes for a theme of much presented here. As with all the offerings in Tonight at 8.30,this is a humbling demonstration of Coward’s talents, produced and performed by an impeccable team.


Until 20 May 2018


www.jermynstreettheatre.co.uk


Photos by Robert Workmam

2018

“The Gulf” at the Tristan Bates Theatre

This work from Audrey Cefaly won the Edgerton Foundation new American play award and receives its European premiere under the careful direction of Matthew Gould. The Gulfis an artful, confidently quiet two-hander that examines a dying romance with powerful realism.

The lovers, well performed by Anna Acton and Louisa Lytton, are Betty and Kendra and it’s a case of opposites attracting. If you side with one party, it could well be revealing. And there’s the potential to take some of their wisdom away with you. Describing herself as “delightful”, Betty is a dreamer with a head full of plans and ambition. A bit of a snob, maybe, and with a secret to hide, Acton conveys all of her character’s complexity in satisfying style. Lytton’s Kendra is, appropriately, more charismatic. She describes herself as “a beast”, but obtuse is the better word used – living in the here and now there seems more awareness, a deeper intelligence, and Acton’s skill lies in revealing this.

Some snags may have arisen in the play’s move to the UK. It’s not quite obvious how old the women are, if indeed that matters, so when they talk about going to college it isn’t clear how mature a student each would be. In both instances, how dissatisfied they are, or should be, with small-town life could also be made more explicit. Finally, in my ignorance of geography, I’m not sure how much peril the women are in when their boat breaks down or whether Betty’s subsequent hysteria is justified or a telling revelation of character.

Quibbles aside, Cefaly’s writing of emotional intimacy is accomplished, exploring deep inside a relationship. Gould never upsets the tension or overplays the suggestion of physical violence, while the chemistry between the two is perfectly portrayed. Such a character-driven piece, with relatively low stakes and little plot, will not excite everyone but, as a close study, clear in purpose and execution, the play is impressive.

Until 5 May 2018

www.tristanbatestheatre.co.uk

Photo by Rachael Cummings

2018

“Coconut” at the Oval House Theatre

Guleraana Mir’s debut production shows a writer of sound promise. This is a romantic comedy of multi-cultural manners with a great sense of humour, but looking for serious commitment. The titular insult is that someone can be brown on the outside yet white on the inside and our heroine Rumi comes to ‘own’ the label in Millennial style, providing an alternative happy ending in the process. Audiences are ripe for different kinds of stories just like this – about a young modern Muslim woman – and Mir’s writing is a terrific response to demands for unstereotyped diversity, with a brilliant lead character and an emotional journey that feels realistic, regardless of how modish.

There are problems, which a firmer hand from director and dramaturg Madelaine Moore might have corrected. Structurally there are too many short scenes, some of which could be cut, and there’s a lack of confidence about when to call it a day. Considering the clash of cultures, with Rumi’s double life of booze and bacon, there’s surprisingly little tension – maybe that’s the point? The role of Simon, Rumi’s love interest, relies on the performance of Jimmy Carter to really work; his conversion to Islam is relegated to a subplot and big issues aren’t addressed with enough attention. Likewise, the character of an Iman is uncomfortably flat, the scenes are slow, and the subject matter cries out for more perspectives. The wish to meet parents, vividly mentioned, threatens to become overwhelming.

Coconut is resolutely one woman’s story and, thankfully, what a woman. Rumi commands so much attention she has an alter ego – brilliantly portrayed by Tibu Fortes as a fantasy figure called Riz – and is overall adorable. I am biased, since she is a blogger (food, not theatre) but her frankness, self-knowledge and above all risqué humour should win over anyone. Here’s Mir’s strength: the comedy is brave and strong, with several laugh-out-loud moments. In the lead, Kuran Dohil is a real find, it’s hard to believe hers is the evening’s second professional debut, so comfortable does she appear on stage. The play’s finale sees a new career for a Rumi as a stand-up comedian, billed by Time Out as “one to watch”. With her delightfully natural performance and impeccable timing, I’ll second that review.

Until 28 April 2018

www.ovalhouse.com

Photo by Greg Goodale

2018

“Reared” at Theatre 503

John Fitzpatrick’s new play is an intimate family drama with an old-fashioned kitchen sink feel that’s crammed with contemporary concerns. There are three generations of women, and insights into their different stages of life. Along with nice comic touches, Reared is always entertaining and often endearing, but also too rambling.

Entering a house “full of secrets”, which Fitzpatrick has fun revealing, we follow Caitlin’s pregnancy, learn of her mother’s post-natal depression, and see the demise into dementia of grandmother Nora. I’m guessing a point of reference is Lady Macbeth – she’s Caitlin’s audition piece for drama school – and all three women show a steely determination that some (not I!) might characterise as unfeminine. But if this is a point we are supposed to take away, Fitzpatrick need to be more explicit. Nonetheless, these are strong roles for Shelley Atkinson, Paddy Glynn and Danielle Phillips, who all acquit themselves well. A series of touching scenes, full of frankness and humour (the comedy especially well handled by Atkinson), are thoughtfully directed by Sarah Davey-Hull.

Two pretty flaky male characters are under-developed (although well performed by Daniel Crossley and Rohan Nedd) – apart from a few jokes it’s a wonder what they are doing in the play. Another issue is a timid overarching structure, which leads to a conspicuous lack of tension, despite the dramatic topics covered. Too many stories are set up without exploration, let alone resolution, and important events are passed over, especially the fate of Caitlin’s child. Given the connection engendered by such strong characters, that feels a little like cheating. Even if many moments are strong, Reared comes too close to being a series of sketches rather than a fully grown play.

Until 28 April 2018

www.theatre503.com

Photo by The Other Richard

2018

“Plastic” at the Old Red Lion Theatre

Plays with verse can divide an audience but, when written as well as this sound piece by Kenneth Emson, they can command attention and respect. Starting with the poetry of football, this new piece develops from a slightly dull, if sensitive, inspection of playground politics and young love into a powerful drama of teenage psychopathy. Emson doesn’t have much new to say about his subject matter – school can be tough and, increasingly, violent – but he does write about it all very effectively.

Aided by Josh Roche’s tight direction and four strong performances, Plastic is a powerful look at toxic masculinity and a twisty thriller. There’s a love story that confounds expectations, well performed by Mark Weinman as a former schoolboy football star, and Madison Clare as his younger girlfriend, Lisa. The only woman in the piece, Clare deserves special credit for bringing as much complexity to her character as possible. Another couple are best mates Jack and Ben, whose unpopularity at school leads to homophobic bullying and the play’s disturbing finale. Again, the outcome is surprising and both Louis Greatorix and Thomas Coombes, who take the parts, are sympathetic and scary by turns and engagingly believable.

Obsessed with pivotal events, the play looks at the moments that lives change and people become defined by their past. From the start we are looking back – note that only two characters wear school uniforms, and there’s some meta-theatricality as recall becomes contested, especially around Lisa, who is the community’s “dark secret”. But going to and fro in time, in one instance to an imagined future, becomes confusing. It doesn’t help that much dialogue seems addressed to one of designer Sophie Thomas’ admittedly stylish light bulbs. Stockists’ details please.

With his look at the young white working class, Emson treads a fine line – it’s clear we’re all supposed to go to college and make sure we don’t have kids too early. Condemning the “shitty little town” that is the play’s location needs substantiating, since presenting staying there as an unquestionable tragedy is overplayed. Thankfully, the emotional depth of the characters is satisfying and the plotting strong. Attention to detail and careful performances, leading to explosive violence superbly handled by Roche, make the conclusion of Plastic fantastic.

Until 21 April 2018

www.oldredliontheatre.co.uk

Photo by Mathew Foster

2018

“The Country Wife” at the Southwark Playhouse

Two mannequins dressed Restoration style adorn the stage at the start of this production of William Wycherley’s 1675 play. The dummies are a nice nod to the original, as Morphic Graffiti’s Luke Fredericks and Stewart Charlesworth move this story of cuckoldry into the 1920s. Charlesworth’s costumes make it all look gorgeous and the stage is filled with a cast of bright things, young and old. A larger aim, to make the piece feel relevant, may fail, but this is a well-performed and spirited effort.

Anti-hero Harry Horner poses as a eunuch to abuse women (it’s explained… kind of). Eddie Eyre, who takes the role, deserves a lot of credit for making this misogynist who “hates women perfectly” tolerable. Richard Clews, Sam Graham and, conspicuously, Daniel Cane play a trio of fools about to be betrayed and there’s enough humour in their delivery to get over a lot of unpleasant behaviour… although it’s a close call. Special effort is made to balance the sexes, almost despite the text itself. As the titular character, notable for her stupidity as much as her honesty, Nancy Sullivan does a good job, while on the other side of the town/country divide Siubhan Harrison is a suitably sophisticated girl about town. There are problems with the rhythm of the lines – some actors become stuck and the resulting delivery is monotonous. But the cast does well with the wit and raillery – which are great fun – and the theatrical asides (bravo to lighting designer Sam Waddington).

The adaptation itself is credible. With his direction, Frederick shows a keen appreciation of the comedy. There are fake orgasms aplenty and more than enough innuendo, but the production seems to labour under the impression that the audience is unaware that Restoration comedy can be bawdy. Crude touches fail to shock and too many jazz cover versions of contemporary numbers slow down the action. The result is a theatrical climax that doesn’t come soon enough. The impression is of a production that’s a little desperate and lacks confidence in the play itself. It’s a shame, given the talent and effort behind it all.

Until 21 April 2018

www.southwarkplayhouse.co.uk