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“The Ungodly” at the Southwark Playhouse

Witches often make good drama and Joanna Carrick’s new play, set in 1645, is part of a trend to intelligently appraise the phenomena. The focus is a family who think of themselves as the victims of witchcraft – parents who have lost their children and a troubled youth who becomes radicalised into a self-appointed ‘witch finder general’.

Carrick also directs, and shows great skill dealing with the period and the play’s basis in fact. The dialogue is treated lightly and convinces as a result. It isn’t easy to show Puritans on stage nowadays, but the cast – Nadia Jackson, Christopher Ashman and Vincent Moisy, who play wife, husband and brother respectively – all bring sincerity to their characters’ religious convictions. Faith is part of the everyday life of the household, and it is easy to see how it comes to influence them.

Time is taken over events. The couple, Susan and Richard, are suspicious about supernatural claims and at first try to calm their younger relation, Matthew. Jackson and Ashman have great chemistry and scenes of their courtship are charming. Moisy endears as a stuttering young man lacking confidence. It’s only when grief overtakes the family, with superb scenes for Jackson, that they become susceptible to superstition. The Ungodly isn’t spooky… it’s sad. And scary because we see what happens to these good people.

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We do get to meet a real victim – a small but smashing part for Rei Mordue as a young girl accused of witchcraft. There are powerful interrogation scenes, and some big themes of justice and revenge tackled with skill. Moisy might hold back more, but the confusion and dynamism of the ‘investigation’ in progress is handled expertly. Jackson shows Susan consumed with anger, while Ashman has Richard struggling to retain his sense of self.

The Ungodly takes a far more ‘traditional’ approach to its subject than the recent Gunter, produced by Dirty Hare. As with another show from earlier this year, Talene Monahon’s The Good John Proctor, the play owes a good deal to Arthur Miller’s The Crucible. But this is all good company to keep. Carrick’s historical drama feels deep and deserves praise.

Until 16 November 204

www.southwarkplayhouse.co.uk

Photos by Bernie Totten

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“Guards At The Taj” at the Orange Tree Theatre

Director Adam Karim and his superb cast – Maanuv Thiara and Usaamah Ibraheem Hussain – have evidently been inspired by this superb play from Rajiv. Last seen, too long ago, at the Bush Theatre, this is script with the ability to bring out the best from creatives who tackle it.

Although a two-hander, and relatively short, Joseph’s play is packed with politics and philosophy. The characters, Humayun and Babur, are deep thinkers with a keen sense of beauty. Karim brings out the piece’s tragicomic tone with both dark humour and trauma captured by the performers.

The scenario is simple: two guards working before the Taj Mahal is completed go on to play a role in Emperor Shah Jahan’s plan to make sure nothing as beautiful is ever built again. The play is gruesome and tense but the chemistry between the performers ensures we never lose sight of a moving personal drama.

These are detailed depictions, right from the start; even picking up swords shows us two different personalities. The surprising comedy is especially strong, the banter adds to the idea that these childhood friends are like brothers. At the same time, Thiara manages to convey the weight of expectations from Humayun’s father. And Hussain elaborates Babur’s “fairytales or predictions” with such delight, it is contagious.

Staging the play in the round is done with great care (there are moments that making sure everyone gets a good look might be relaxed). And the production benefits from excellent music, credited to Niraj Chag with sound design by Xana. One highlight is a moment of comfort, sung by Humayun to his traumatised friend, a tune taken up and, like the birds he finds beautiful, allowed to fly. 

While there are a lot of laugh out loud moments, overall Karim’s view is bleak. There is a sense that the men are trapped in their circumstances – only their imaginations can take flight. How seriously could we take suggestions of escape? Giving both roles a boyish charm proves a fascinating move. Karim interprets the play with little hope but plenty of emotion and the result is profound.

Until 16 November 2024

www.orangetreetheatre.co.uk

Photo by Lidia Crisafulli

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“Haunted Shadows” at the Old Red Lion Theatre

Good old-fashioned story telling is the key to the success of this entertaining one-woman show. Two spooky stories, one ghostly, the other ghastly, make an excellent contribution to the Islington venue’s Grimfest season, running throughout the month and perfect for getting theatregoers ready for Halloween.

Having tackled Restoration playwright Aphra Behn in a previous show, Claire Louise Amias takes on the role of author Edith Nesbit. Famous for her children’s books, Nesbit also wrote gothic stories, and Amias tells us two: The Shadow and A Strange Experience.

Taking the roles of a housekeeper and a governess, Amias’ narration is superb. Director Jonathan Rigby paces both pieces expertly and, although we hear about a lot of scary passages in the houses all the action occurs in, movement is carefully controlled. Amias flips from convivial, polite tones to terrified suspense in an instant. It’s delicious fun to be settled comfortably and know you are going to be appalled in the next moment.  

The stories themselves are strong. The Shadow is a more conventional ghost story, although pretending the tale is not “rounded off” is an interesting move (does our nice narrator have a nasty secret)? A Strange Experience is even more of a murder mystery – a great take on gory – that looks at the “ghoulish nature of the living”. Debate your favourite but rest assured that both are memorable.

It’s credit to Amias’ skill that props are so minimal. I’d even suggest the few simple sound effects are unnecessary. As a suggestion that the audience close their eyes shows, performer and director appreciate the power of the imagination and know how to harness it. They take their cue from the Nesbit herself. Moments when the author is brought to the stage might be expanded, but they frame the stories well, and mention of her childhood fears provides another layer to consider, adding further substance to this small but perfectly formed evening.

Until 31 October 2024

www.oldredliontheatre.co.uk

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“The Duchess [of Malfi]” at the Trafalgar Theatre

It’s hard to add to a Jacobean tragedy – they are already… extra. Zinnie Harris, who has adapted and directed John Webster’s revenge play, gives it a good go. There are flaws here, but also lots of ideas. It’s a blunt, brisk affair, but always interesting.

Webster took a character as his title, and the production boasts a star in the lead. Jodie Whittaker, playing the recently widowed noblewoman who falls in love with her steward, is great and clearly relishes the show’s intensity.

Harris, however, focuses on her ensemble and the result is mixed. Decisions will fascinate those that know the original play – who kills who is tweaked – but run the danger of being confusing. Harris senses the problem and projects character names on to the stage. This help is welcome, but it feels as if the action is being set up for too long. There are benefits to giving each character their due. The theme of servitude comes into focus: the hired killer, Bosola, and Cariola, the maid, are highlighted and Jude Owusu and Matti Houghton, who take these roles, really shine. Romance also does well: Joel Fry’s Antonio (another servant) is appealing and is given more to do than in the original.

The cutesy chemistry between Whittaker and Fry is odd, but effective. We feel for both when it comes to their separation. As for the punishment the Duchess suffers – for her secret marriage and children – the production is appropriately horrific, albeit effortful. Of course, scenes of torture are going to be difficult to watch. But surely discomfort needn’t come from the sound design. When the Duchess is deprived of sleep by the playing of loud noise, the production becomes – literally – painful.

Things get better. Bringing the Duchess, and other characters who suffer a similar fate, back the stage as ghosts is a great move – suitably spooky and leading to more fine moments from Whittaker. The trouble is that your ears might still be ringing.

Not all of the production’s problems down to Harris. Updating the language to use a lot of expletives is brave and forceful. It’s a shame it results in a lot of giggles from the audience. But the biggest issue is Webster’s villains – the Duchess’ brothers. Paul Ready, as the Cardinal, is effectively repulsive (and the twist on the murder of his mistress a stroke of genius). But emphasising the character’s knowing hypocrisy makes the role flat. It’s even worse for Ferdinand, who is simply a psychopath. Rory Fleck Byrne is good in the role (he is genuinely scary) but there’s too little descent into madness and the insanity is extravagant. With so many changes to the play, why keep the idea of him being a werewolf? Of course, it’s tough to take the brothers’ warped justifications and outrage over their sister seriously. But Harris doesn’t even allow us to entertain their reasoning and loses too much tension as a result.

Until 20 December 2024

www.theduchessplay.com

Photo by Marc Brenner

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“Juno and the Paycock” at the Gielgud Theatre

Seán O’Casey’s 1924 tragicomedy is a tricky masterpiece to make work. The setting is Dublin during the Irish Civil War and the Boyle family, whose lives we follow, are all struggling. Yet the father, Jack, is a grand comic creation, a drunken shirker who comes into money with predictable results. The crazed fun behind the character is exaggerated in Matthew Warchus’ revival, making the production memorable but unbalanced.

Since the lead role is taken by Mark Rylance I’d be surprised if there are any complaints. The performance is commanding and distinctive, led by clear Chaplinesque touches (even the production photos are black and white). Rylance is hugely entertaining. There’s back-up from his chum Joxer, gloriously played by Paul Hilton, including a fantastic moment of slapstick. And it isn’t just a matter of going for laughs – there’s a mix of melancholic vulnerability and manic energy that verges on being uncomfortable. 

Rylance has terrific chemistry with the family members. His long-suffering wife Juno fights to hold her own, while his children seek to escape through romance or politics. All three performances – from J Smith-Cameron, Aisling Kearns and Eimhin Fitzgerald Doherty – are accomplished. Each is intense, brimming with nervous angst. And each is a stark contrast to Jack. 

You can guess the problem – other roles become simply foils. Warchus and Rylance allow the peacock to take over the play. As the action gets darker – with a fortune and a fiancé lost and the danger of sectarian violence – it becomes a big issue. Any connection with the family fun we’ve seen is unclear to the point of being confusing. Few of the play’s issues are successfully addressed and the ending becomes just a baffling shock. Even if Rylance makes sure we get our money’s worth, the play, and most of the performers, are shortchanged.

Until 23 November 2024

www.junoandthepaycock.com

Photograph by Manuel Harlan

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“Gay Pride and No Prejudice” at the Union Theatre

It’s clear enough what you are going to get with David Kerby-Kendall’s riff on Jane Austen’s classic novel. Examining the literary canon is a perennial pursuit, and applying a queer perspective has been popular for a while. But while Darcy and Bingley running off together doesn’t seem as radical as it might once have done (which is good news, of course), there’s still the question of whether this effort is any good?

Kerby-Kendall has a neat move – which is to focus on Elizabeth Bennet. It turns out she’s more radical than Austen could probably have imagined, and Darcy agrees with her revolutionary ideas. They are each other’s allies. The strategy maintains the couple as our heroes and gives Sophie Bloor and Michael Gillette, who take the roles, plenty to do. And it’s a relief that Austen’s heroine is, somehow, preserved.

A touch ironically, Darcy and Elizabeth still make a good couple. And their chemistry is matched by that of Noah Butt and Sophie Bradley, who play a diminished Bingley and Jane Bennet – it seems their characters are genuinely in love, which sets up a poignancy that could have been exploited more. When closer to the original source material, the action is fine, plot points are picked out well and the piece has potential. But problems arrive.  

After the interval, the piece loses its way to the extent of becoming confusing. There’s the suggestion that Darcy and Bingley are going to marry the women and only go for “walks” together. But they can’t keep their hands off one another and are discovered! Don’t worry. After the briefest mention of eternal damnation, it turns out that the Bennets are all darling liberals who decide to forgive and stay friends. It’s all society’s fault, after all, so Jane bakes a cake with two grooms on it. 

The trouble is twofold. Firstly, the (small) anxiety the characters experience manifests as preachy and laboured (Gillette is the only one who manages to make speeches about equality sound anywhere near natural). While no prejudice is admirable, it also means no drama. And then there’s a problem with the wit. I’ll go for the one about opening a hostelry for men and calling it Persuasion. But the humour is chaotic, and too many jokes fail to take the period nature of the piece into account. That Mr and Mrs Bennet just aren’t funny is confirmation something is wrong: we move from laughing at their silly old-fashioned ways to enduring random bons mots and knowing gags that characters themselves wouldn’t understand. 

Of course, Kerby-Kendall isn’t trying to be historically accurate. Pride comes first and he wants to avoid a fall in the mood. The project is closer to a fairy tale – which is fine – but such retellings should be joyous rather than didactic and clunky. Luke Fredericks’ direction is slow and the fussy set doesn’t help. There are some good ideas here but, regrettably, they are poorly executed.

Until 2 November 2024

www.uniontheatre.biz

Photo by Lucy Nixon

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“King Troll (the Fawn)” at the New Diorama Theatre

Sonali Bhattacharyya adds an ingenious element to her story about immigration. After sisters Nikita and Riya, in danger of deportation, visit an odd family friend, Riya gains the power to create a supernatural creature to help her. Director Milli Bhatia emphasises every spooky and funny moment of this original idea; the Hiran, translated as fawn in English, is the making of the play.

Zainab Hasan and Safiyya Ingar, who play the sisters, are superb at grounding the action, especially given more than a few jump scares. The siblings’ relationship is convincing at the start and both performers are strong comedians. That said, Ayesha Dharker gets even more laughs and has a great night playing two wonderful villains. First Dharker is the witchy Shashi and then a smart landlady who has put up the rent: the question arises as to who scares us more.

There’s fun with the spooky creature too, along with the pointed fact that he is white and serves as a “sponsor” for Riya’s immigration claim. She calls him Jonathan (which really tickled me) and says they need him to be “slick but bland”. But Jonathan is scary too; Dominic Holmes makes the part appropriately creepy, aided by verses spoken off stage. And Ingar makes sure we fear for her character – having a pet psychopath at your beck and call isn’t fun. 

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Diyar Bozkurt and Zainab Hasan

Bhattacharyya wants to make other important points. Nikita works with migrants and their trials – including interviews and working conditions – are articulated through the character of Tahir, given a heartfelt depiction by Diyar Bozkurt. If Tahir seems to belong to a different play, Bhatia makes a virtue of that by emphasising the contrasting scenes. Maybe, with so much going on, adding romance for both sisters might not be needed.

There’s some clunky dialogue (that the location of the play isn’t specified doesn’t help) as well as moralising moments. And too many puzzling questions. It isn’t clear why Jonathan turns out to be right wing (surely his papers aren’t in order either?). Or why Riya becomes so vindictive: if power has corrupted her, that needs prepping. The play starts to buckle under its own ambition with an unnecessary twist set in the future. But King Troll (The Fawn) is entertaining, memorable, and easy to rate as a four-star show.

Until 2 November 2024

www.newdiorama.com

Photos by Helen Murray

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“The Cabinet Minister” at the Menier Chocolate Factory

Arthur Wing Pinero’s class comedy has been updated by Nancy Carroll for this fine revival. The Victorian piece, about a politician and his wife up to their elegant ears in debt, zips along with plenty of laughs. And Carroll appreciates that even in a comedy, some moments should be played straight. Her adaption is as smart as it is funny.

Carroll also takes the stage, and is superb, as Lady Twombley, whose profligacy threatens her husband’s already perilous political career and the prospects of her children. Things are so bad there’s the “threat of sprouts” as the family might retire to the country and grow their own food; Carroll makes us see her character takes the fate seriously – which makes it all the funnier.

In the titular role, Nicholas Rowe anchors the action. And the chaos increases when his wife becomes indebted to parvenu money lenders Fanny and Bernard Lacklustre. Here are two fun villains, played Phoebe Fildes and Laurence Ubong Williams. The Lacklustre’s ambitions and action aren’t so different – just not as hypocritical. You might end up quite liking them! Pinero treated all his characters harshly and this talented cast never forget that point.

As the Twombley capital diminishes, the clock is ticking to make a good marriage for kids. In practice this is all masterminded by the excellent Sara Crowe who plays an aunt with a “motive”. Enter the Scottish Macphail clan – well, mother and eligible son (played with suitably extravagant accents by Matthew Woodyatt and Dillie Keane) – on the lookout for a bride.  Because The Cabinet Minister is a romance too! Carroll and Rowe’s considerable chemistry helps immeasurably. But it is Rosaline Ford and George Blagden who play the couple to root for. Blagden, as “poor, unhinged, and a little pungent” Valentine, a character who has travelled the world to escape his privilege, is a surprisingly recognizable figure.

While it is fun to see how little politics (and people) have changed since the play was written, the point can be overplayed (a coda shows a modern moment that doesn’t pay off). Along with the cast playing instruments, which is impressive but adds little, the production is a little fussy at times. But director Paul Foster does an excellent job overall. As the plentiful innuendo, puns and glorious putdowns indicate, it is the language that provides the jokes: impeccably delivered and making the show great fun.

Until 16 November 2024

www.menierchocolatefactory.com

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“One Small Step” at the Charing Cross Theatre

Writer and director Takuya Kato’s think piece questions equality and equity between the sexes with rigour and style. An unexpected pregnancy causes problems for husband and wife, Takashi and Narumi, complicated by their careers as astronauts about to colonise the Moon, and raises plenty of questions for the audience to enjoy.

The sci-fi element is woven into the story very well: Takuya brings out debates about how we live now, how we might live in the future, and gives the characters plenty of motivation. The idea of moving to the Moon is underplayed – interestingly there’s as much focus on the company behind the scheme as the science. 

Unfortunately, the characters fail to convince, being too clearly mouthpieces for issues. The control in the show is remarkable. Mark Takeshi Ota barely raises his voice as his “calculating” Takashi keeps his temper throughout. Narumi is more intriguing. She’s allowed to break down and show some steel, even humour, so that Susan Momoki Hingley, who takes the role, has more to show. The commitment from both performers is admirable, and clearly required by Takuya, but such restraint does make the show slow.

The production looks great, with a minimalist design by Milla Clarke that has an impressive revolving stage and live filming to keep us engaged and help us to appreciate how detailed the performances from both actors are. Nothing distracts from the debate, though – should Narumi sacrifice her career? Or even try to have her child on the Moon? And what should her husband do?

One Small Step, part of a mini season to be followed by Tattooer, is a rare chance to see theatre from Japan in London. While Studio Ghibli and manga-inspired musicals have had success recently, this is serious stuff that’s strictly for a grown-up crowd. I’m not sure that differences between Japanese and British culture stand out (a point that might be made clearer earlier is the countries’ abortion laws) but the play’s themes are easily familiar enough to make for an interesting debate after the show.

Until 9 October 2024

www.charingcrosstheatre.co.uk

Photo by Mark Senior

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“Coriolanus” at the National Theatre 

Clear, sensible ideas drive Lindsey Turner’s new production. Giving Shakespeare’s Roman history play an epic feel is natural enough and is achieved with style through impressive music (Angus MacRae) and design. Part of the latter, by Es Devlin, is a stage full of Hellenistic art, displayed as if in a museum, and through these objects the production comments on the dangers of glorifying militarism.

When it comes to the titular hero, Turner is carefully noncommittal and her leading man, David Oyelowo, keeps us guessing. We’re supposed to admire Coriolanus, yes? Plenty do, even though he is, literally, revolting. As the play moves between the military and civic spheres, Oyelowo gets as much complexity out of the role as is possible. It is a commanding performance.

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Pamela Nomvete

The military scenes are strongest – the fighting exciting – showing this martial culture superbly. Cominius, the general who delivers many a panegyric about his mate, becomes a major role through Sam Hazeldine’s skill. And let’s include the mum here! Pamela Nomvete, one of my favourite actors, is excellent as Volumnia. Her exaggerations about honour and glory raise a laugh nowadays, but Nomvete’s brilliant performance makes them sincere, taking us into the world of the play.

Showing us politics is less successful, although the action is swift and easy to follow. Maybe one problem is that the “many headed multitude” seems short on the ground (odd, since that isn’t the impression with battle scenes). The costumes are a bit of a puzzle, giving the plebeian Brutus and Sicinius (well performed by Jordan Metcalfe and Stephanie Street) an odd 1970s TUC air. Their political opponent also comes off badly, Peter Forbes’ Menenius is a comic-book toff whose wit tires rather than entertains. To be fair, it’s hard to get much subtlety here. The play takes its lead from Coriolanus’ own view that people are either “crows” or “eagles”. At least Turner doesn’t show favourites.

The political scenes are supposed to be uncomfortable – how the mob is manipulated is a warning. But the production is lucky it has Oyelowo to fall back on. He does a great job of balancing his character’s contempt with a dignity that comes from following his principles. We are allowed to wonder if Coriolanus is trapped in his sense of himself. Has being named after the city he conquered gone to his head? Is he one of those men said to be a victim of toxicity? That’s a tough sell, if an interesting one. But in the end, Coriolanus himself is presented as one of those statues – the kind of fallen warrior who was never a Roman and who was, ironically, usually nameless.

Until 9 November 2024

www.nationaltheatre.org.uk

Photos by Misan Harriman