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“Intimate Apparel” at the Donmar Warehouse

Nothing written by Lynn Nottage should be missed. Director Lynette Linton’s revival of the playwright’s 2003 piece, last seen at the Park Theatre, is splendid. This story of a seamstress at the turn of the 20th century is well constructed, dramatically engaging, full of poetry and contains great insight. And what a heroine! Esther’s hard work, good heart and bad luck all prove compelling as she looks to better herself and find love. While the show is more than a romance, it is easy to fall in love with her.

The lead role is a triumph for Emmy award-winner Samira Wiley. Barely off the stage, she holds the audience’s attention with ease, although the role could be played with more restraint. There’s a balance between Esther’s determination to fulfil her dreams and her disbelief when some of them appear to be coming true that Wiley doesn’t quite pin down. But the emotion displayed is sincere and always moving.

While Esther overly dominates the play, there is excellent support from three women who are her friends, played by Nicola Hughes, Claudia Jolly and Faith Omole. These accomplished performers share Nottage’s skill in making their roles more than foils. There’s a case for claiming that Intimate Apparel is a play about female friendship.

intimate-apparel-Kadiff Kirwan-credit-Helen-Murray
Kadiff Kirwan

Kadiff Kirwan is George, whose epistolary romance with Esther very results in their marriage. His wonderful letters convince – until their nuptial night. The cloth merchant Mr Marks is a tougher role for Alex Waldmann. The chemistry with Wiley is good, but there’s not enough conflict surrounding this potential romance. And Waldmann should display the material he sells (and praises so beautifully) with more care.

A long-term collaborator of Nottage, Linton is a justifiably confident director. Which makes some fussy touches in the show’s design (by Alex Berry) a surprise. The video work feels unnecessary. But the production’s intensity is a marvel – full of frustration, passion and drama. It’s sexy, too, with innuendos about fabric and Esther’s fantasies given weight. The humour shines out and there are gasps over plot points. None of this is surprising, given the strength of the script, but it’s a still an achievement and a theatrical thrill.

Until 9 August 2025

www.donmarwarehouse.com

Photos by Helen Murray

2021

“White Noise” at the Bridge Theatre

An African American man volunteering to be the slave of his white friend is the core idea that guarantees Suzan-Lori Parks’ play is memorable. Is it brilliantly provocative, instantly horrifying or a gimmick? That Parks acknowledges all possibilities is to her credit.

Coming after a police assault, Leo says he will be safer as the wealthy Ralph’s property. Commentary doesn’t come more damning. Parks uses the experiment to raise the issue of inherited trauma and invites scepticism – Leo’s an artist and there’s the chance his project is a performance.

The ramifications, set over 40 days, prove dizzying even if they are well handled. Even the harshest critic couldn’t say White Noise has just the one trick. In exploring the ‘virus’ of racism Parks thinks big and commands respect.

There is an intelligent contribution on the topic of ‘woke’ culture. As the men’s partners, Dawn and Misha – a YouTuber and a lawyer respectively – try to make the world a better place, and Parks documents their trials and hypocrisies with a steely eye and a keen ear (the verbose dialogue is something else).

The idea of privilege is examined, too – forcing all the characters to ‘check’ themselves. This high-achieving quartet of college graduates seems to have no money worries. Instead, there is a cloying concern for status. And there’s the superb conceit of a – literal – ‘White Club’ that Ralph ends up joining. A conspiracy I found particularly creepy.

The play fizzes with ideas – but not the stage. Of course, the experiment ends badly – that’s no surprise – but the effects on all disappoints. Despite the efforts of a strong cast – Ken Nwosu, Helena Wilson, Faith Omole and James Corrigan – the friends fall apart too quickly and feel like puppets for Parks.

Ken-Nwosu-in-White-Noise-Photo-by-Johan-Persson
Ken Nwosu

The confused relationships and affairs between the four prove tiresome and predictable. A desire to be comprehensive and even-handed results in four excellent monologues (Nwosu’s comes first and is especially strong), but these make the show very long indeed. Each character spends too much time thinking about themselves to be appealing. With all the self-awareness, much of dialogue sounds like a mission statement.

Director Polly Findlay respects Parks’ considered arguments and adopts a slow, even pace that compounds the problem. The scope and insight of Parks’ writing is impressive, but more focus might make a better play.

Until 13 November 2021

www.bridgetheatre.co.uk

Photos by Johan Persson