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“Glory Dazed” at the Soho Theatre

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A hit at the Edinburgh Festival Fringe last year, Cat Jones’ new play, Glory Dazed, opened last night at the Soho Theatre. Based on the author’s work with ex-serviceman prisoners in Doncaster, it tells the story of Ray, who returns from Afghanistan in plenty of trouble and finds that his ex-wife and best friend are now a couple. Drama ensues, the scene for which is a turbulent night at a pub lock-in.

The politics is light. Jones’ focus is the human cost of conflict – on the sufferer and his loved ones – rather than the war itself. The result is an intense, intimate, hour-long drama that works well. There are flaws: a young bar maid drawn into events and instantly attracted to the bloodstained, alcoholic Ray is unconvincing, despite being ably performed by Kristin Atherton. And the humour in the piece is problematic, with the drunken vitriol passing for wit, doing nothing to endear Ray to us.

But the dialogue in Glory Dazed really rings true and the actors do well to make the most of it. Both Adam Foster and Chloe Massey, the ex whom Ray used to beat and the friend he intimidates, reveal the depths of their complex, believable characters. Massey is especially bold in dealing with her character’s no-nonsense approach, never shying away from her character’s pain and anger.

Inevitably, Samuel Edward-Cook steals the show as Ray. This is a tremendous performance from a young actor we’re sure to hear more from. Edward-Cook doesn’t just manage to bristle with violence but also conveys the emotional turmoil of his character. His performance, combined with the well-crafted script, makes this an easy one to recommend.

Until 11 May 2013

www.sohotheatre.com

Photo by Carys Lavin

Written 25 April 2013 for The London Magazine

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“The Last Days of Judas Iscariot” at St Leonard’s Church

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Director and producer Antony Law has achieved the not inconsiderable coup of staging his latest production in St Leonard’s Church in Shoreditch. It’s a superb location that’s sure to appeal to adventurous theatregoers. Also commendable is Law’s taste in plays. A remarkable work by Stephen Adly Guirgis, The Last Days of Judas Iscariot is a surreal imagining of a courtroom trial that aims to free Judas from hell.

Guirgis’ text rockets back and forth through history calling to the stand not just biblical figures but also Sigmund Freud and Mother Teresa. Sadly, Law’s direction doesn’t quite match the pace, so the production lacks the bravura appeal that the writing demands. More vitally, The Last Days of Judas Iscariot should be bitingly funny. Maybe the church atmosphere stifles the laughs, but the humour just doesn’t come through.

The production is ably guided by the prosecuting and defence councils, played with humour and skill by Michael Aguilo and Laurence Bouvard. Unfortunately, the rest of the casting is uneven. For all the strength of the play, it feels as if Guirgis has written devices rather than developed characters, and short scenes on the witness stand that should excite are played too long.

A notable exception is Shereen Russell who plays Saint Monica with a provocative streetwise style – her scene is one of the moments in the production that really works. And St Leonard’s fantastic acoustics are used to such great effect that, despite its flaws, the opportunity Law has provided for seeing this fantastic work is worth taking advantage of.

Until 19 May 2013

Photo by Sheila Burnett

Written 22 April 2013 for The London Magazine

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“Children of the Sun” at the National Theatre

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One of the many creative teams who have contributed to recent successes at the National Theatre, director Howard Davies and writer Andrew Upton – whose reputation rests on a series of adaptations of Russian classics – are back with Children of the Sun. Maxim Gorky’s play, adapted and directed with justified confidence, is fresh and vital. Also re-collaborating, designer Bunny Christie has created a stunning set that makes the most of the National’s Lyttelton stage.

A perceptive psychological drama about the “fools and idiots” in and around one family, there are love affairs galore in Children of the Sun. Intense Russians might be a cliché in hands less skilled then Upton’s, but here the morbid emotions and high-flown ideals engage. The diverse characters are so well drawn and developed that the actors can truly embrace their roles. From the “great nanniness” still living with this distinctly infantile family, played by Maggie McCarthy, to the man ostensibly in charge as head of the family, Protasov (Geoffrey Streatfeild), the cast is uniformly impressive.

More than a moving family drama, Children of the Sun abounds with issues as well: it questions the role of art and science and the nature of society. Gorky the commentator, very much of his time, seems relevant with Upton on board. Hindsight is used but, thankfully for the drama, it feels as if anything might happen. The privileged Protasov is a scientist so obsessed with work that his family and the whole village suffer. The intelligentsia, to which he belongs, feel they are battling superstition – but you can’t blame the locals when it turns out they are being poisoned by his experiments. The play’s bloody, depressing conclusion shocks and stirs. The characters’ fates and the broader questions Gorky raises make for an explosive mix.

Until 14 July 2013

www.nationaltheatre.org.uk

Photo by Rupert Hubert Smith

Written 20 April 2013 for The London Magazine

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“Doktor Glas” at Wyndham’s Theatre

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It’s a rare, welcome, event to have a foreign language production in the West End. Doktor Glas, based on the novel by the Swedish master Hjalmar Söderberg, owes its place in town to the presence of Krister Henriksson, famous for his role in the TV show Wallander and riding high on the trend for all detectives Nordic.

In Sweden, Henriksson is a well-known actor on stage as well as screen and he’s clearly passionately committed to this one-man show; he also directed along it with Peder Bjurman. It’s the story of a doctor’s obsessive love for a patient, hatred of her abusive husband and ambivalence towards her lover. And what should the depressed doctor do with the cyanide tablet he just happens to have made in his spare time?

Glas has an almost clichéd abundance of existential angst about him. In his profession he is “able to help others but never himself”, while in his personal life, he fears that time is passing him by. His view that sex should be something like a “ceremony”, seems a little too Fin de siècle. But Glas is still a compelling, if rarefied, character, whose plight does move you.

Henriksson makes the most out of the plays epistolary form. His impersonations of other characters are superb, injecting humour, and the touches of neurosis he brings to the character make his hypersensitivity believable. Glas’s sometimes-breathless anxiety is wonderfully executed. Indeed, Henriksson is so engaging it is hard to share your attention between him and the surtitles provided.

Doktor Glas is hard work, and not just for Henriksson. Though the lighting is superb, the staging is monotonous and the plot so clearly a device for raising philosophical issues it seems superfluous. While Glas’s anguish is portrayed with an intelligence it’s a pleasure to watch on a stage, I can’t help feeling that his predicament should be more interesting than the show allows.

Until 11 May 2013

Photo by Mats Bäcker

Written 19 April 2013 for The London Magazine

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“Beautiful Thing” at the Arts Theatre

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Jonathan Harvey’s iconic gay coming-of-age story, Beautiful Thing, celebrates its 20th anniversary with a new production at the Arts Theatre in Covent Garden. Despite some nostalgic nods, the play is as fresh as ever: a skilfully written comedy drama with fantastic roles and an admirably un-patronising focus on working-class life. Beautiful Thing touches on universal themes with a winning bravery.

The huge success of the play, and the subsequent 1996 film, create a special atmosphere with seemingly every audience member knowing every line. The jokes – of which there are plenty – are anticipated gleefully and the roars of laughter almost interrupt the action. Director Nikolai Foster gives the crowd what they want and his staging is a respectful affair. But it’s impressive to note his firm hand, with moments of quiet imposed as the relationship between the two young boys, Ste and Jamie, neighbours on a council estate in Thamesmead, blossoms into romance.

Beautiful Thing - Jake Davies & Suranne Jones - cMike Lidbetter for QNQ Ltd
Suranne Jones and Jake Davies

The superb Suranne Jones as Jamie’s mother shows the piece is as much about parental relationships as anything else. Playing the hard-nosed Sandra with skill, duelling with her neighbour Leah and dealing with her lover Tony (Zaraah Abrahams and Oliver Farnworth – both in fine form), Jones gives a tremendous emotional edge to the role. Through strong performances from Jake Davies and Danny-Boy Hatchard, Jamie and Ste’s shared fears about emotions and the future are presented as those of boys rather than men – an important point central to the play. Harvey’s writing and the skill of the young actors enhance the empathy and humour and ensure sure the play lives up to its title.

Until 25 May 2013

Photos by Mike Lidbetter

Written 18 April 2013 for The London Magazine

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“Once” at the Phoenix Theatre

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Arriving from America with eight Tony Awards to boast about, the new musical, Once, which opened this week at the Phoenix Theatre, is a fantastic show, impressive in its simplicity. This love story is a world away from the brummagem you often see in the West End. This is genuine, heartfelt stuff – and refreshing for being so.

Declan Bennett (Guy) and Zrinka Cvitesic (Girl) in Once. Photo Credit Ma...
Declan Bennett and Zrinka Cvitešić

The guy and girl are a Dublin busker and a Czech immigrant, played by talented duo Declan Bennett and Zrinka Cvitešić. They fall in love because of a shared passion for music. This is a modern affair with complications that make them chaste; their brief encounter is more about creativity than carnality, as she inspires him with the confidence to pursue his musical career.

Based on the 2006 film of the same name, spruced up with poetic moments from writer Enda Walsh, Once started out at the New York Theatre Workshop before its transfer to Broadway. It’s easy to fantasise how wonderful it would be in a small venue. But the atmospheric design by Bob Crowley, recreating an Irish pub where all the action takes place, is wonderfully intimate. The bar can be visited by the audience, and the actor-musicians, who perform marvellously, never leave the set.

Most of the songs, including the Oscar-winning ‘Falling Slowly’, are marvelled at as they are performed: by the girl when she first hears them, a sympathetic bank manager approached for a loan (Jez Unwin providing some much needed comic relief) and the studio manager as the band make their demo tape. It’s key to the piece’s charm – the invitation to revel in creativity. Behind this is the beautiful score written by Glen Hansard and Markèta Irglovà. A mix of folk-inspired tunes, performed with a raw energy that is infectious. Instantly appealing, and with the potential to grow on you – these are songs you will want to hear more than once.

Until 4 July 2014

oncemusical.co.uk

Photo by Manuel Harlan

Written 12 April 2013 for The London Magazine

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“Before The Party” at the Almeida Theatre

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Preparation is often the key to both a good party and a good play. Director Matthew Dunster’s impeccable staging of Before The Party at the Almeida Theatre is clearly well provisioned: a strong text, finely executed, with the highest production values.

The action occurs before two events, a teatime affair and a dinner, with the Skinner family facing increasing turmoil and scandal as they prepare for each. The fare on offer is various – this is a sharp comedy with plenty of deliciously dark-edged plot twists.

Saving the family face makes the snobby Skinners a great target for writer Rodney Ackland’s satire, but emotions break through with a genuine touch that’s truly affecting.

Heroine Laura (Katherine Parkinson) fights for her right to party despite being only recently widowed, and that’s just the start of her shocking behaviour. Laura mortifies her mother and sister (Stella Gonet and Michelle Terry in fine comic style), and infuriates her father, portrayed with suitable bluster by Alex Price.

Special mention has to go to the costumes from a team headed by designer Anna Fleischle. Spot on for a time when post-war celebrations and a touch of provincial conservatism had to deal with continued rationing, they should win an award.

In many ways, Ackland’s play (a big hit in 1949) is pretty dated: the snobbery seems ridiculous, but current financial straits find a parallel with wartime rationing and the black market exploited by the wealthy Skinners shows that we were never really all in it together. Even if you’re not one for nostalgia, Before The Party has enough hits against hypocrisy to make you glad you attended.

Until 11 May 2013

www.almeida.co.uk

Photo by Keith Pattison

Written 8 April 2013 for The London Magazine

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“The Thrill of Love” at the St James Theatre

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The Thrill of Love has newly arrived in London from the New Vic Theatre in Newcastle-under-Lyme. A small admission of bias – I saw (and loved) my first ever play at the beautiful New Vic, so I can’t help feeling proud of it for producing this skilful take on the Ruth Ellis story.

Ellis was, of course, the last woman to be hanged in Britain, in 1955, and the play’s focus is entirely on her – her murdered lover David Blakely doesn’t even make an appearance. She’s a complex character, who loves neither wisely nor well, abused but also admirably independent, with a drink problem and mental instability that makes you question the soundness of her conviction. It’s a dream role that Faye Castelow makes the most of, and the play’s author, Amanda Whittington, unflinchingly recreates Ellis’s milieu – the gentlemen’s clubs that served as seedy ‘trading floors’ for a ‘girl on the up’ with a misplaced sense of stardom (Hilary Tones gives a tremendous performance as the manageress of The Court Club in Duke Street).

As a narrative device, a detective attempts to fathom Ellis’ motivation for the crime. Despite Robert Gwilym’s best endeavours, it’s the weakest link in the show – odd when everything else is so sure-footed. The sound design and original music from James Earls-Davis are superb, and talented director James Dacre provides terrific theatrical moments, including a key scene where Ellis performs a disturbing striptease accompanied by a diagnosis from the prison doctors.

The Thrill of Love is not a documentary, and the most impressive aspect of Whittington’s writing is the space she makes for her own concerns about women and justice, despite the wealth of factual details. While hindsight sees Ellis as a tragic figure, Blakely was clearly a victim too, and this writing is too strong to eulogise his murderer. We hear nothing from the prosecution, but the case for the defence is thrillingly presented.

Until 4 May 2013

www.stjamestheatre.co.uk

Photo by Andrew Billington

Written 4 April 2013 for The London Magazine

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“Moby Dick” at the Arcola Theatre

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The Simple8 theatre company has already won acclaim for its current brief season at the Arcola Theatre. Moby Dick is its second production, following The Cabinet of Dr Caligari, another ambitious adaptation made remarkable by a back-to-basics method. With minimal props and a set erected during the action, Simple8’s emphasis is on story telling, delivering an appealingly pared-down piece of theatre.

Taking on the subject of mad Captain Ahab and whale hunting in such a rudimentary fashion works well and much of the success comes from the accompanying music, sea shanties and touching folk songs. Performances are also excellent, from Joseph Kloska as the cruelly obsessed, mutilated mariner Ahab, forever “bound” to chase the eponymous Great White, and Oliver Birch for a series of smaller roles. Taking the lead is Sargon Yelda as an impoverished schoolmaster turned sailor. If at times a touch too ebullient, he navigates proceedings admirably as our narrator.

Sebastian Armesto’s adaptation of Melville’s mammoth classic is strikingly economical and effective – qualities also commendable in his direction. Armesto superbly wrings out the action in the text using a great deal of mime and Melville’s religious concerns are downplayed. Instead, Armesto is fascinated by the allegorical use of the sea as a mirror for man’s own nature. It’s a rich seam to explore and one that gives satisfying depths to a show that provides much to reflect upon.

Until 4 May 2013

www.arcolatheatre.com

Photo by Idil Sukan

Written 3 April 2013 for The London Magazine

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“The Low Road” at the Royal Court

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The Low Road, a new play by Bruce Norris, is Dominic Cooke’s final production as Artistic Director of The Royal Court. It follows a long tradition at the theatre, but particularly under Cooke, of challenging new writing. Masterfully directed, with a joyous rebelliousness, as exemplified by Tom Pye’s freewheeling set design, the focus is nevertheless on the writer, and his startling text.

Norris’ last play, also for the Royal Court, was the smash hit Clybourne Park, a satire on racism and property. For The Low Road he takes economics as his subject, and more specifically Adam Smith, of The Wealth of Nations fame. The play examines the 18th century philosopher’s ideas, recounted as a fable about one Jim Trumpett: “his education, his progress and his eventual undoing”.

Smith himself appears as our narrator, played by Bill Paterson. His performance is hilarious and he’s in total command of the stage, which is appropriate given the manner in which Smith propounds his philosophy. Trumpett (played by Johnny Flynn) is a character who is inspired by Smith’s ideals and takes them to their extremes. Flynn is impressive as a Hogarthian villain who treats all the other characters in the piece appallingly. And there are plenty of them. The Low Road features a huge cast, taking on numerous roles with magnificent speed. Elizabeth Berrington in particular, who plays several female leads, has superb comic skills.

The highlight of the show is a magnificent scene resembling the last supper, in which Trumpett turns on a hospitable religious group – challenging the charity he himself has benefited from, with breathtaking tastelessness. Trumpett’s morality of the markets, in which taxation is seen as the only evil, sees him clash with wealthy civil society too. And protestors, past and present also feature (a scene at an economic forum that rewards less than it should). It all culminates in an epilogue so startling, it’s a little alienating. There are also some knowing references to the fact that some might doubt the theatre is the best forum for a debate to resolve the nature of capitalism.

The play has a showy intelligence, and is technically brilliant, with olde English dialogue full of wit and profanities to get the giggles in. It has an embarrassment of rich ideas, and if at times it overreaches, it still cannot fail to impress. Norris’ exegesis of economics is tremendous, his presentation respects the audience’s intelligence, and the imagination applied to Smith’s metaphors is ingenious.

Until 11 May 2013

www.royalcourttheatre.com

Photo by Johan Persson

Written 28 March 2013 for The London Magazine