Tag Archives: Barney Norris

“Second Best” at The Riverside Studios

This new play, written by Barney Norris and based on David Foenkinos’ novel, is about trauma and how we process it. As the sole character, whose name is Martin, is about to become a father, his own childhood troubles come to the fore. The starting point is interesting, our guy came close to becoming Harry Potter in the film franchise. But bigger problems arise when his father dies and a new life with his mother and stepfamily leads to a mental breakdown.

You might be relieved that the theme isn’t actually celebrity. But the idea of missing out on such a life-changing event is a topic that might have provided more focus. Norris and director Michael Longhurst do well to take us back and forth in time, showing how Harry Potter comes to haunt Martin. The action is clear, but the question as to how much failure is really the problem is too open. It’s a disappointment that disappointment itself isn’t explored more. 

Despite observing him for a long time, Martin is sketchy character who it is hard to warm to, a fact that makes the performance here even more impressive. The show marks the stage debut of Asa Butterfield (and is, probably, what it will be remembered for). A one-man show is a smart choice and Butterfield acquits himself well. It’s a shame the sound design (Richard Hammarton) is so ferocious. And that, despite his loquaciousness, Martin doesn’t have much of a take on what he has experienced.

Butterfield’s effort wins respect. But Longhurst and designer Fly Davis bring a sense of working too hard. There’s a lot of unnecessary pacing around, and tricks to the set that make no sense. The art installation vibe looks good. But what’s the point of it? Are we getting a glimpse instead Martin’s mind? There’s a wooden box he hides in, transformed in the final scene, a hospital bed he climbs up to and a potato taped to the wall. None of this is bad, as such, but the degree of Martin’s damage remains a bit of a mystery. And given the show’s sentimental streak, I don’t think that is the intention.

Another idea that doesn’t quite work is to inject lighter touches into such a serious subject. Again, Butterfield does well here, but the Potter-based jokes aren’t great. Meanwhile, Martin’s solipsism makes other characters mentioned – his partner and parents – just… flat. We really need another view on what went on. Second Best leaves us with pop psychology, a lot of misery, brief and banal reflections on fame and big dollops of soppiness. Thankfully, there is a first-class performance to enjoy.

Until 1 March 2025

www.secondbestplay.com

“Nightfall” at the Bridge Theatre

This is only the third show at the South Bank’s newest venue and the stage itself continues to impress. Transformed again – thrusting out into the audience and with glorious backdrops courtesy of Rae Smith – it’s a clever design for Barney Norris’ intimate new play. But, despite the addition of strong work from director Laurie Sansom, there’s a suspicion that this intergenerational family drama would benefit from a smaller home. And while Nightfallis well-crafted and well-performed it is also, unfortunately, a little bit dull.

Norris is a young writer of exciting promise. Credit to the venue for giving him such a break. As a mother and her adult children struggle as farmers, and fight to shape new lives after a bereavement, there is a lot of potential for emotion. There are secrets and lies aplenty and strong dialogue, although both are a touch predictable. The play’s quality feel makes criticism sound harsh, but this is very much a talking heads affair that combines a streak of sentimentality with a studiousness that is uninspired.

A look at rural life makes a welcome change in a London theatre. So it is frustrating that the setting gets lost, with surprisingly little sense of what a working farm is like and what living on one might entail. Brother and sister, Ryan and Lou, along with their best friend and her fiancé Pete, are well-rounded character studies and Ophelia Lovibond, Sion Daniel Young and Ukweli Roach all acquit themselves well. But there seems too little to distinguish them from their urban contemporaries. The play’s focus is really the theme of grief, which Norris tackles movingly. This is where the real meat lies, with Claire Skinner as the matriarch Jenny putting in a fine performance – although, for my money, Lovibond steals the show. And yet, while the characters are developed they aren’t fascinating. And the plot is involving, but too slim. As the stakes are raised to compensate we arrive at a drama of over-powering mother love too quickly, leaving Skinner lost and the play unconvincing.

Until 26 May 2018

www.bridgetheatre.co.uk

Photo by Manuel Harlan

“Visitors” at the Bush Theatre

After an acclaimed run at the Arcola earlier this year, Barney Norris’ Visitors is now playing at the Bush Theatre. Impeccably directed by Alice Hamilton, the story of elderly couple Arthur and Edie, she sliding into dementia, is finely written and superbly acted. It’s hard to believe this is Norris’ first full-length play, it’s so accomplished: a moving family drama full of excellent observation and real heart. The subject matter is difficult, but the play so infused with gentle humour and poetic wisdom that it’s a delight to watch and an inspiring experience.

Two younger characters, the couple’s son, Stephen, and Kate, a recent graduate employed as a carer, serve as entry points for all ages in the audience. It’s clear that Norris aims to examine not just the afflictions of old age, but also how memory links to identity, and the importance of the choices we make throughout life. Stephen’s poor jokes show how spot on the humour in the show really is and, while his mid-life crisis might be a touch predictable, Simon Muller does well in the role. Eleanor Wild is superb as the young Kate, ostensibly the visitor of the title, an intriguing and carefully drawn figure.

The elderly couple is an often uncomfortable memento mori for the younger characters. With little action in Visitors, the play reminded me, somewhat fancifully, of a Dutch still life painting; something demanding careful attention and worth treasuring. Arthur and Edie are in no way clichéd and never patronised. Robin Soanes is utterly believable as the elderly farmer Arthur and Linda Bassett’s performance one of the best I’ve seen this year. Bassett makes good lines great with assured comic touches. As Edie’s observations on life, though obscured by her illness, become increasingly poignant, each line she delivers becomes all the more memorable.

Until 10 January 2015

www.bushtheatre.co.uk
Photo by Mark Douet