Tag Archives: Daniel Lapaine

“Between Riverside and Crazy” at the Hampstead Theatre

Danny Sapani’s star performance makes Stephen Adly Guirgis’ play fly. The script, neatly directed by Michael Longhurst, is a quality affair: considered, solid, maybe a touch slow to start. Sapani makes the most of the play’s strong moral dilemma and brings out the text’s focus and intrigue.

Sapani takes the part of Walter ‘Pops’ Washington, a former black police officer who was shot by a white rookie while off-duty. How’s that for a smart take on police violence? And if you think it needs a twist, well…Guirgis’ plotting is so strong it doesn’t deserve a spoiler.

Black, white, blue, and green

An eight-year battle for compensation brings money into the mix. Although Washington stresses his motivation is a matter of principles. Add his wife’s death and it’s no surprise our hero has been left a mess. Or has he? Maybe…he was troubled before. Throughout the twists Sapani commands attention. He is believable as both stubborn and dignified, gruff, yet loveable, easy to dislike and winning admiration. Washington is a strong creation, brought to life with style.

Martins Imhangbe
Martins Imhangbe

Unfortunately, the main character overwhelms the show. Other roles – all well-acted – don’t just pale, they fade away. Washington’s misfit family come too close to caricature. There are funny moments, with strong performances from Tiffany Gray and Ayesha Antoine. And moving ones, played by Sebastian Orozco and Martins Imhangbe (the later especially strong with a great mix of anger and frustration). But they are all just foils, circling around the central figure.

For a London audience, Sapani’s recent role as King Lear will spring to mind. Especially as the character’s rent controlled apartment is under treat and his kingdom about to disappear! Indeed, Washington’s ironically regal touch makes for great moments. But it’s the differences that are more interesting and come in the form of former colleagues, capably played by Daniel Lapaine and Judith Roddy. Their efforts to persuade Pops to settle his law case are strong scenes. Longhurst brings out considerable momentum. They show us different power dynamics, with a balance of discomfort and humour the whole show aims for but isn’t always present.

Until 15 June 2024

www.hampsteadthetare.com

Photos by Johan Persson

“Other Desert Cities” at the Old Vic

Other Desert Cities by Jon Robin Baitz opens a new season at the Old Vic that sees the venue transformed into a theatre in the round. Love it though we must, the Old Vic is a barn of a place and the new intimacy created by the set up is much welcomed. The play is a strong piece that could surely hold its own in any venue, but this skillfully written family drama, full of political ambitions, benefits greatly from the reconfiguration.

Depressed New Yorker Brooke visits home in Palm Springs for the Christmas vacation. Gifting her right-wing parents Polly and Lyman with a tell-all memoir puts an end to any holiday spirit. Along with more than their fair share of family tragedy, domestic conflict comes from politics; the older Reaganesque Republicans (Sinéad Cusack and Peter Egan are utterly convincing) opposed by “hopelessly high brow” Brooke, performed superbly by Martha Plimpton. Adding to the agenda are alcoholic hippy Aunt Silda (Clare Higgins) and younger brother Trip (Daniel Lapaine) who provide some insight from the millennial generation.

Pulitzer-nominated Baitz has been a success on Broadway and is well known for his TV career (Brothers & Sisters, The West Wing). He joins hit American writers doing so well in the West End at the moment and seems very keen to have written a big American play. There are plenty of influences, Albee the most obvious, so it isn’t startlingly original.  Topicality and politics are the important things and, although it seems slightly heavy handed, at one point even melodramatic, the play’s ambition is impressive.

The characterisation is very good. And the cast lives up to the strong writing. In a moving performance, Egan helps reveal a deeper character than we suspected. Likewise, Lapaine makes his smaller part stand out, while Higgins comes close to stealing the show. Great subtlety is invested in the central female characters Polly and Brooke; the writing seesaws our sympathy between the cold yet loyal, domineering mother and the selfish suffering of her brilliant child. It’s clever and complex stuff.

Until 24 May 2014

www.oldvictheatre.com

Photo by Johan Persson

Written 26 March 2014 for The London Magazine