2023

“Five Years with the White Man” at the Vault Festival

An interesting story, superbly performed by Joseph Akubeze, with a strong twist, makes this show from Unleash the Llama an easy one to recommend. The script from Eloka Obi and Saul Boyer is exciting, while director Sam Rayner shows a clear understanding of the project and makes the most of its dynamism and ideas.

At the start, we’re in the field of reclaimed history with the show presented as a “little lecture” from 19th-century satirist ABC Merriman-Labor. This is a fascinating life story, from his childhood in Sierra Leone to his time in London, where he trained as a barrister but also wrote the ethnographic account of Empire that gives the play its title.

Akubeze makes Merriman-Labor an engaging figure, taking on lots of roles along the way and aided by some excellent sound design. It’s a tale of colonial injustice, saved from bleak tragedy by humour and romance.

But there’s a lot more to Five Years with the White Man. Akubeze breaks character in a shocking style to tell another story – that of the performer we’re watching, who insists he is not an actor (much fun here), and his love with the writer of the play we were engrossed in…a playwright who has now passed away. It turns out the night is a memorial or “bereavement therapy”.

As the two tales mirror one another, there are a lot of sweet touches. The tone is intimate and moving. Merriman-Labor’s illicit love for a childhood friend gains a power from association. The narrator and his subject are connected across the centuries in a moving fashion. In short, it’s a novel and engaging way of addressing the themes of legacy and memorial.

Until 5 March 2023

www.vaultfestival.com

2023

“Someone of Significance” at the Vault Festival

Playwright Amalia Kontesi wants a debate and she wants one badly. Someone of Significance frames a discussion about capitalism around a romance – an idea with potential. Unfortunately, there is too little behind the conceit.

Brad and Rosie are bankers, in America, who start an affair. Their careers and ambitions diverge but their affection, somehow, remains. The problem is that, despite fine performances from Simon Bass and Funlola Olufunwa, and convincing chemistry between them, neither the characters nor their arguments quite convince.

It’s hard to believe that the couple are high powered, or even that they work in the corporate world. What little detail Kontesi provides is predictable. Despite establishing how bright she is, Rosie seems surprised at what her job entails and how much money she earns. The different backgrounds that lead to their divergent opinions need elaborating.

As for the arguments, which should provide some weight to the play, they are too simplistic and unchallenging. The script needs more humour. Credit again to Bass and Olufunwa, who both make the dialogue sound natural. But two super-smart bankers going over basic economics is a struggle: both use terms like gentrification and trickle-down as if nobody had ever heard them before.

Matters don’t improve when Rosie’s ambition to be President becomes the focus. The ideas about politics are just as brief and share an easy, cynical shorthand. Maybe there are too many scenes in Someone of Significance? Could richer detail could come in fewer, longer scenes?There’s certainly too much time wasted with costume changes, and director Sam Tannenbaum could pick up the pace to add some tension.

The love story is better written. Interestingly, the play doesn’t get waylaid by the initial power imbalance between the couple. Rosie has autonomy and is a positive role model. And Kontesi does well to make Brad slightly more sympathetic, despite being to the political right of Rosie. The sweet conclusion is neat. The romance is a good container for the play. The trouble is that container is too empty.

Until 5 March 2023

www.vaultfestival.com

Photo by Vasiliki Verousi

2023

“The Walworth Farce” at the Southwark Playhouse

Enda Walsh’s crazed and brilliant work has a suitably high energy revival at the hands of director Nicky Allpress. The piece is a great choice for the first show at Southwark Playhouse’s new venue – close to Elephant and Castle and the play’s setting on the Walworth Road.

It’s hard to claim that The Walworth Farce is an evening out for everyone. A family of isolated misfits enacting a story about why they left Ireland, the play has a mad sense of humour that’s deliberately puerile and could easily offend. And the action is confusing, again deliberately, with characters taking multiple roles in therapeutic amateur theatricals while repeating actions in a ritualistic fashion.

“Wonderful work, impressive detail”

As the play within the play happens, there’s fun to be had from Walsh’s script and Allpress shares the playwright’s audacity. The Walworth Farce is a very funny play filled with great insults and colourful language. And it is clear from the start that you can admire the performers here. Their characters are bad actors; performing like automatons, complete with comedy wigs. It takes skill, and courage, to mess around like this. Taking the parts of two brothers, Emmet Byrne and Killian Coyle work at an incredible pace, all the while establishing the affection between their characters that leads to the play’s emotional impact.

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Dan Skinner, Rachelle Diedericks & Killian Coyle

Byrne and Coyle show their characters are damaged and full of fear. Dan Skinner plays their father, Dinny, who terrorizes them, with appropriate menace. And just how scary Dinny is, comes into focus with a fourth role, another commendable performance from Rachelle Diedericks, whose character is accidentally drawn into the father’s dramas.

As the story develops – don’t worry, you do work out what it’s all ‘about’ – Dinny becomes a figure to pity. While it becomes clear the family’s problems start with the patriarch, Skinner has taken care to give the role a kind of charm. Walsh is challenging us as the man is surely a monster? So it isn’t just the story that twists… does our own sense of morality too?

“This story we play is everything”

The Walworth Farce turns into a tragedy. There are grand overtones to the piece as the threat of violence increases. The danger is sure to enthrall theatergoers as it stems from the power of stories and performances: how theatricality can shape our reality, can protect but also trap us. It’s a potent theme for a play and the effect is powerful. After a lot of laughs, and some scratching of heads, the strange world the audience is drawn into comes into conflict with reality in dramatic fashion. The bleak and bloody play is full of tension. Will anyone escape from Walworth? It’s worth a trip to Elephant and Castle to find out.

Until 18 March 2023

www.southwarkplayhouse.co.uk

2023

“Hide and Seek” at the Vault Festival

Tobia Rossi’s play won the Mario Fratti Award in Italy and this UK premiere features strong performances. The play has intriguing moments but is plagued by oddities and a lack of detail. The conclusion, especially, fails to convince dramatically.

The scenario is neat. Bullied at school, Gio runs away to a cave and then starts a relationship with a classmate, Mirko, who discovers him by accident. But even simple sets-ups need elaborating; how small (and backwards) the boys’ village is could be evoked better.

It might help to know how old both boys actually are. They seem very naïve for teenagers. A plot to pretend Gio has been kidnapped, including a gruesome scene of mutilation, is close to silly. The inconsistency comes as Rossi spends a lot of time making Gio smart, including giving him a pretty grown-up sense of humour. 

Then there’s the boys’ sexual fumbling, which gets giggles but is also uncomfortable. As well as a poorly timed first kiss, it isn’t clear if the more confident Gio is supposed to be seducing his simpler friend.

While the bullying both Gio and then Mirko experience is horrible, it doesn’t seem commensurate with events. OK, both boys are troubled… but that needs to be made a lot clearer. Maybe Gio really is as weird as his classmates think? Or as hungry for attention as his social media fixation suggests? Again, the problem is that Gio is so obviously our hero that a lot of tension escapes: darker sides of both boys aren’t elaborated enough.

Director and translator Carlotta Brentan can do little to avoid problems in the script, although an oppressive score from Simone Manfredini could have been abandoned. There are good performances from Issam Al Ghussain and Nico Cetrulo to enjoy, though. The former does especially well with Rossi’s dark humour. Unfortunately, the play’s ending shadows their achievement.

It isn’t Rossi’s fault that having miserable ends for gay characters isn’t what we’re about nowadays! When Gio wants to come out of his closet, sorry cave, the result is dire. Escalating the play into a tragedy needs a surer hand and stronger intimations for the audience. Homophobia and bullying are serious topics with awful consequences but, when Hide and Seek aims to becomes a tragedy, the shock and surprise are too much. 

Until 23 February 2023

www.vaultfestival.com

Photo by Mariano Gobb

2023

“Maud” at the Vault Festival

This show from (Sic) Theatre, conceived by Jeffrey Miller, skilfully tackles the important and emotive subject of racism and police violence towards African Americans. A verbatim piece, which draws on a variety of sources, Maud is my first five-star show from this year’s excellent Vault Festival.

The focus is the tragedy of Ahmaud ‘Maud’ Arbery, who was shot while out jogging on 23 February 2020. Attention and detail are paid to this story through re-enacting police interviews, some of the court case and his family’s statements. Alongside the performances are real-life voiceovers and projected film footage. The video design, by Roberto Esquenazi Alkabes, is accomplished. The events are disturbing, but the tone is calm – director Andrew French leaves the audience to be appalled by itself.

A quest for justice for Arbery is interspersed with talk shows and historic debate. There’s outrage in TV studios and, a real highlight, a section of James Baldwin’s debate with William F Buckley in Cambridge in 1965. Along with scenes of protest and an appearance from President Trump, Maud focuses minds on the systemic nature of racism and makes the case for its subtitle that what happened to Arbery was a modern-day lynching.

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Jeffrey Miller and Perry Williams

The show boasts two excellent performances. Miller and Perry Williams take on all the roles and flip between them with ease, using the space with assurance and switching emotions with skill. Care is taken over each role, however difficult or distasteful.

The performers also watch and listen – like the audience – to the material taken from real life. The respect and attention in such moments is theatrically powerful but also indicative of the care shown throughout the whole piece, ensuring the subject has the gravity and import it deserves.

Until 25 February 2023

www.vaultfestival.com

Photo by Lidia Crisafulli

2023

“Trouble in Butetown” at the Donmar Warehouse

Focusing on an African American soldier and a mixed race family in Cardiff provides a new take on World War II in Diana Nneka Atuona’s new play. Behind this interesting story, the piece is a traditional affair – well-crafted and carefully observed – that is a tidy drama and a gorgeous love story.

GI Nate is on the run, providing excitement, and it’s no plot spoiler to say he is the victim of prejudice. But what’s important is what he runs into: a boarding house with no colour bar and a romance with young Connie. The roles make impressive stage debuts for Samuel Adewunmi and Rita Bernard-Shaw with characters whose instant attraction and innocent courtship is sweet. 

The play is full of heart-warming relationships that centre around Connie’s mother, a powerful matriarch, performed by Sarah Parish with consummate skill. As funny as she is formidable, and ferociously protective of her daughters, she is a sympathetic figure. How hard it must be to raise two mixed race children at the time is never overstated, a powerful move on Atuona’s part.

Along with her younger daughter and lodgers, who are all satisfying characters, this little idyll is under threat from the American Military Police. There are big debates here with plenty of perspectives. And maybe some caricatures (the Police seem dull next to characters we’ve come to admire). Importantly, Nate’s actions aren’t glossed over.

There is a lot of action – a director less skilled than Tinuke Craig could make a mess – that builds nicely. The second act provides more nuance in each character, more intergenerational conflict and a realistic yet inspiring finale. Random acts of kindness and cruelty that are deftly handled make the piece involving and interesting throughout. Excellent work all-round.

Until 25 March 2023

www.donmarwarehouse.com

Photo by Manuel Harlan

2023

“The Tinker” at the Vault Festival

On a dark and stormy night, a couple in an isolated house receive an unexpected guest. There’s plenty of atmosphere to enjoy in Olivia Foan’s period drama and, if the show poses a moral dilemma rather than the spooky story you might initially expect, it remains very enjoyable.

The Edwardian age is tricky for fringe drama as props can be expensive. But designer Nikki Charlesworth has done very well (apart from the shoes). And if the language in the script might be stricter – modern terms sneak in – the plot is neat and twisty.

The couple, who have a tragic history, are brought to life by Lauren O’Leary and Keon Martial-Phillip. There’s thorough work behind the performances. Evelyn’s anxiety is a mystery that becomes moving, while Frank’s demons are revealed with skill. The dynamics of their relationship are interesting and dramatic.

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Giles Abbott

The guest that gives the play its title is more of a problem. Giles Abbott gives a commendable performance, but the line between charisma and cliché might be crossed once or twice too often. Frank and Evelyn leap to suspicions… maybe the audience could have more doubts about the character, too? The Tinker takes up a lot of time and space in a play that isn’t, really, about him. Motives flip-flop too much, and his final action is downright odd.

The story that develops is both melodramatic and believable – which is a tricky mix to pull off. Children are the key (with a strong sense of period detail), and the plot turns on power. The wealthy Frank and Evelyn show themselves as ruthless. And a final twist suggesting the plan they hatch won’t work out is a great touch. The Tinker isn’t without problems but there’s enough strong work for all involved to be pleased.

Until 19 February 2023

www.vaultfestival.com

2023

“Phaedra” at the National Theatre

This new play is inspired by works from Euripides, Seneca and Racine, but director and writer Simon Stone’s ambition is to present a story for our times. Brimming with contemporary concerns, in an arguably self-conscious fashion, this production is superbly performed and perfectly stylish.

First up, there’s privilege. For Phaedra we have Helen, a successful and wealthy politician full of charisma and undoubtedly powerful. It’s a change to the source material that makes sense and, taking the title role, Janet McTeer has a regal quality. You can picture the admiration, and envy, of those around her.

The family Helen dominates is Stone’s idea of the liberal elite – oh-so erudite and out of touch. The dinner table has conflict and quotes – Helen’s son, daughter and husband are full of wit and neurosis. Their chat is funny, but it might be hard to relate to this family, especially given Chloe Lamford’s design.

The set is a glass box (remember Yerma?) but, here, it rotates. The sense of voyeurism engendered is intense. It’s with the sound design that the eye-catching idea comes into its own – characters can talk over one another and speak at volumes not normally possible on stage.

Into the mix comes Sofiane, the son of Helen’s long-deceased lover. Everyone’s lives start to get messy (do they have real problems for a change?).  While Assaad Bouab has great presence in the role, bringing a magnetism to match McTeer, I’m not sure his character is really the ‘enigma’ the play claims. Open about motivations and desires, Sofiane is also very clearly a vehicle for the topic of colonialism.

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Sirine Saba and Assaad Bouab

Intersecting with Helen’s privilege, voiceovers from Sofiane’s father (that fill in scene changes) are fantastic. But if the intention was to give the colonised experience a voice, then more is needed. Thankfully, the final scenes in Morocco are excellent and there’s a starring role for Sofiane’s wife. Also good is the fascinating role for Helen’s friend and colleague Omolara – a brilliant Akiya Henry – who roots the play by being removed from the heady action.

Akiya-Henry-in-Phaedra-at-the-National-Theatre-Photo-by-Johan-Persson
Akiya Henry

When it comes to the passion Phaedra is famous for, whether it convinces a modern audience is an open question. Nowadays, we have a short list of taboos – would Helen’s actions really have ended her career? More interestingly, there is an engagement with the theme of compromise in the play that is appropriate in our polarised times.

The lust Helen experiences leads to great drama – this show is exciting. Framing selfish actions as a protest against ageism and misogyny is a confrontational strategy. But is the finale surprisingly conservative? As in his source material, the woman must be punished. And, in the end, for all its qualities, that makes Phaedra feel old-fashioned.

Until 8 April 2023

www.nationaltheatre.org.uk

2023

“Right Dishonourable Friend” at the Vault Festival

Here is solid work from debut playwriting duo Phoebe Batteson-Brown and Eoin McKenna that lives up to the name of co-producing theatre company Metamorph. The piece is a political satire that becomes a heavy drama and shifts tone to great effect.

At first, Right Dishonorable Friend feels like sitcom territory. With a politician from the South parachuted into a Northern constituency, there are plenty of satisfying, if safe, jokes. The cast is confident, the delivery strong, and the audience happy.

Politician Perdita needs a campaigning issue and, since she loves “the gays”, decides to champion facilities for LGBTQ+ youth, an issue close to the heart of her communications manager Dan. It’s a little sad this seems an unlikely campaign for her to pick, but never mind. The story gets serious when she reneges on her pledge with tragic consequences.

The play itself seeks to campaign and its political content is clear (the production promotes the charity Stonewall Housing). The argument is presented powerfully – but might be handled better theatrically. Batteson-Brown and McKenna, who also perform, have written big roles for themselves that showcase their talents. But director Kayla Feldman, who does a good job keeping the action swift, might demand more nuance. Batteson-Brown’s comedy skills are unquestionable while McKenna brings sincerity to his role – but both are good enough performers to blur the lines between being funny and serious more.

Rachael Hilton and Eoin McKenna in 'Right Dishonourable Friend' at the Vault Festival
Rachael Hilton and Eoin McKenna

The characters aren’t flat because we do see more than one dimension. But Dan changes from competent and quiet too quickly and it’s too obvious he’d make a better MP than his boss. You might even find him a little preachy? Perdita moves from a ditzy posh girl to showing a machiavellian side too late. Any sympathy for the character falls flat and while pitying her is a big a call, seeing more of the pressure on her could be interesting. Rachael Hilton, who plays three characters of very different ages, comes off very well; establishing each role quickly, getting great laughs and bringing sensitivity to the role of teenage Alex, Hilton is hugely impressive.

The potential for Right Dishonourable Friend is clear; it’s just a question of a little more polish. Improvements will not even be that hard: more colourful pasts are hinted at for both characters, I even suspect the material is already written, which would help enormously. And it would be good to see more of Alex, if only to aid Dan’s final speech. But it’s a brave move to end a piece with lots of comedy on a downbeat note – it makes the conviction behind the play stirring and the show certainly gets my vote.

Until 18 February 2023

www.vaultfestival.com

2023

“Surfacing” at the Vault Festival

Tom Powell’s intriguing play is full of memorable moments. The story of a therapist called Luc, whose guilt and grief push her towards mental health problems, the piece is inventive – and takes the risks that bold theatre-making requires. 

In short, it doesn’t all work, even if it is always interesting. The idea of projecting Luc’s thoughts on to the stage is done well with some nice animation and typography. But might the idea, and some easy humour, detract from the fine performance of Rosie Gray, who takes the part?

Hearing the negative thoughts Luc suffers from makes the character solipsistic and the play narrow. Other roles, well performed by Daniel Rainford, are too close to simply being foils. The focus is admirable, but the result is cold. More of Luc’s mother and her friend would be great, please.

When it comes to Luc’s struggle with reality – theatrically – Surfacing is a mixed bag. If the mice Luc is paranoid about are supposed to be scary, I’d count that a fail. And talking to her microwave as if it is her manager at work is weak. There’s an Alice in Wonderland air that is intriguing (it works well when she is stealing a car) but sometimes too much of a puzzle. Yet a simple scene with Luc swimming is a highlight. And one with balloons and her dead brother, with Gray and Rainsford showing impressive physicality, is excellent.

Director Stephen Bailey shares Powell’s efforts to keep the play tight. But the subject is big, and any takeaway necessarily provisional… which may frustrate some. The idea of a crisis in mental health possessing an element of exhilaration as well as being scary is fascinating. But Surfacing suffers from its brevity. The ideas are there but need expanding. 

Until 19 February

www.vaultfestival.com

Poster artwork by Bjorn Bauer