Tag Archives: Corey Montague-Sholay

“Bacon” at the Finborough Theatre

Teen dramas are two a penny. Young lives have plenty of problems, ample angst and content that, as the saying goes, is relatable. A playwright needs to up to the ante with this subject matter. And that’s exactly what Sophie Swithinbank does with her powerful and smart script.

Swithinbank takes us on a journey with her characters Mark and Darren that is carefully plotted. The writing, full of strong yet understated imagery, is admirable. But praise does come with spoilers…

Bacon-Finborough-Theatre-Ali-Wright-63-scaled

I’ll admit I was fooled at first. The odd friendship with clean-cut new boy Mark and his rough friend Darren has charm and effective (if predictable) humour. There are laughs about the aloofness of one and the ignorant swagger of the other. It seems that Swithinbank will treat their very different problems equally.

In a bold move, the tone of Bacon changes quickly. The teens’ burgeoning relationship, told in flashbacks, reveals not the romance Mark wants but trauma. The play becomes disturbing as the relationship becomes emotionally and physically damaging.

Think of a topic that gets a trigger warning and it’s here: suicidal ideation, self-harm, domestic and sexual abuse. Could  some have been avoided and others given more time? But there’s no doubt the cumulative effect is dramatic. Some scenes are difficult to watch as Swithinbank explores how lost and lonely these young men are. It’s depressing how incapable they are of understanding, let alone expressing, feelings.

Bacon-Finborough-Theatre-Ali-Wright-63-scaled

The production rises to the challenge of Swithinbank’s ambition. Matthew Iliffe’s direction is faultless, flipping between relaxed and tense moments. The design by Natalie Johnson consists of a simple see-saw used to great effect: reminding us we are watching children and reflecting instability. Further praise goes to top-notch lighting and sound design (Ryan Joseph Stafford and Mwen) each used dramatically at key moments without being distracting.

As for the performances, two such intense and dynamic roles are gifts to actors. Both Corey Montague-Sholay and William Robinson are flawless, with have a strong command of the comedy (balancing how the audience might laugh at, rather than with, the characters). Montague-Sholay brings out Mark’s charm, Robinson does the same with Darren’s vulnerability, ensuring remarkable sympathy. When violence arrives, we see the characters sharing shock and pain. Strong performances and a daring play make this an easy one to recommend.

Until 26 March 2022

www.finboroughtheatre.co.uk

Photos by Ali Wright

“This Island’s Mine” at the King’s Head Theatre

Landmark is the label given to Philip Osment’s play, which premiered with the Gay Sweatshop in 1988. Undoubtedly, the piece makes for interesting history: early Pride marches, the role of the press in forming prejudice against AIDS and campaigns during the miners’ strike are all covered. It’s a play of valuable lessons. But theatre can’t just be a historical excursion. The key to the success of this first ever revival, by director Philip Wilson, is to allow the play to inspire today, by bringing out its universal power.

These tales of the city contain men and women of all ages and classes, going back and forth in time, with surprises in store as to how they interweave. Osment is an exemplary chronicler of London; locations are used effectively, rooting the play. For sure, too much is tackled at times, especially when bringing broader political struggles into the play. And some connections between the characters fit less well than others; a production of The Tempest forms one pivot but any aims of injecting anger with the rage of Caliban sit uneasily in a piece trying hard to be positive. Yet overwhelmingly, the rich themes of lives and loves, family and community, make for captivating stories.

Rachel Summers and Corey Montague-Sholay

The fictional biographies presented are respectfully delivered by Wilson and his cast. Connor Bannister, whose character’s coming out story is one focus, and Jane Bertish, taking the role of an elderly Jewish woman who fled World War II, give strong performances that form the backbone of the show. The rest of the cast all impress by taking on multiple roles, swooping ages, nationalities and genders, often with wit. There’s a lovely turn from Corey Montague-Sholey as a young actor and a ten year old boy, while Rachel Summers does well with four roles including an aged Russian aristocrat in exile. The show’s considerable humour is best served by Theo Fraser Steele who tackles the part of middle aged Martin with waspish panache.

Theo Frazer Steele and Connor Bannister

Osment’s text is marked by attention to detail. So much so that it’s occasionally overpowering, if often beautiful. That characters also narrate their own actions, interestingly a technique seen recently in The Inheritance, isn’t to all tastes – it can be long winded – but it proves a boon to performers here and Wilson adds some lovely theatrical touches that prevent the piece from becoming too static. And the play is remarkable democratic, even a cat gets attention, as gay life in many forms is celebrated. Race and sexuality, along with gay parenting and marriages of convenience are all addressed. Osment’s play reflects life’s complexity to an impressive degree, his opposition of fate to “patterns of coincidence” provokes thought and sentiment in equal measure. Admittedly meandering at times, This Island’s Mine has both tragedy and comedy to recognize and inspire an audience; the play’s success boils down to superb storytelling, excellently delivered.

Until 8 June 2019

www.kingsheadtheatre.com

Illustration by Curtis Holder, Photos by Mark Douet

“The Enchanted” at the Bunker Theatre

Rene Denfeld is an investigator for death-row prisoners, discovering facts that might save their lives. But her award-winning novel, adapted by Joanne and Connie Treves, is a poetic affair with a magical strain. Bringing such lyricism to the stage is a big task and this attempt is both impressive and intriguing.

Our guide is the prison “monster” Arden, institutionalised his whole life and now awaiting execution. A mute bibliophile, he narrates even his own death, and Corey Montague-Sholay is terrific in the role. His is a captivating performance, with some contrived internal dialogue delivered naturally and a remarkable physicality (including a great catuspadapitham).

Montague-Sholay’s movement, directed by Emily Orme is a nice attempt to express the novel’s flights into both fantasy and despair. But as the director Connie Treves uses it too much; particularly when the whole cast join in for small reason. Likewise, chalk drawing over the set is a good idea, linking the world of legal documentation and the prison cell, but it could be employed with more restraint.

There are fewer reservations with the second major character, known as The Lady, who has the same job as Denfeld. Jade Ogugua tackles emotions sensitively and leads the plot, finding evidence to help a prisoner called York, with suitably intensity. There’s strong supporting work from Liam Harkins as various characters she meets while puzzling over the case’s history. It’s a shame The Lady’s love interest, a defrocked priest, feels tacked on.

I am loathe to criticise the Treves’ work on the adaptation – it is excellent. Having only just finished the novel, let’s go all out and call it exemplary. With a steel will, the tone of calm around the emotive issues raised is preserved. Ruthless in all the right places, the adaptation doesn’t just preserve Denfeld’s themes and style, but enhances them. The characters are more vivid and the action clearer. There might be flaws when it comes to the staging, but this development from page to script is superb.

Until 17 June 2017

www.bunkertheatre.com

Photo by Dina T