Tag Archives: Finlay Bain

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“The Straw Chair” at the Finborough Theatre

There’s a lot going on in Sue Glover’s historical drama. The true history of an imprisoned noblewoman is told alongside the story of a newly married missionary and his young wife. Meanwhile the setting, a remote island steeped in paganism, elaborates on themes of religion and power. If the script is disjointed – an odd mix of romance and intrigue – The Straw Chair is always interesting.

First the location (the jail of Lady Rachel Grange as well as the parish needing a priest), the Hebridean island of St Kilda, is a character it its own right. Embodied by the only local we meet, Oona, played with great charm by Jenny Lee, there is a lot of anthropological detail. Might the role have a touch more drama? Should we be suspicious of Oona’s role as jailer? Nonetheless, her love of the island is evocative.

To hell, to Hades, to Kilda

For Lady Rachel, kidnapped and carted off to a house with only one chair, it is understandable and amusing that she hates St Kilda. In a commanding performance, Siobhan Redmond makes this great character fascinating as she plays with degrees of madness. She isn’t a figure of sympathy – her snobbery ensures that – but, as a mix of Mrs Rochester and Lady Macbeth, Redmond ensures the character has the required magnetism. It is to the credit of all, not least director Polly Creed, that the role doesn’t swamp the play.

Finlay-Bain-and-Rori-Hawthorn-in-The-Straw-Chair.-Photo-credit-Carla-Joy-Evans
Finlay Bain and Rori Hawthorn

Lady Rachel’s relationship with the newly wed Isabel could be elaborated on. It’s another strong performance – from Rori Hawthorn – but I wonder if the young woman is too naïve – and her growing affection for the island a little pat? The character is fuller when it comes to her relationship with her husband, the missionary Aneas, a role that benefits from a final strong performance, this time from Finlay Bain. The “rigid piety” of the aspiring churchman is offset by a convincing sense of religiosity and a nervousness around his young wife that Bain depicts expertly.

The play’s conclusion is wilfully frustrating. We don’t know what will happen to Lady Rachel or the couple whose marriage is tumultuous – little bodes well despite Bain and Hawthorn’s chemistry. And the minister’s conversion to Lady Rachel’s cause is so quick that it seems clumsy. This trip to this island feels rushed, but it is still a journey worth making.

Until 14 May 2022

www.finboroughtheatre.co.uk

Photos by Carla Joy Evans

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“Write Here Write Now” by Front Of House Theatre Company

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It’s a cliché that ‘resting’ actors work as bar staff and ushers in theatres and, predictably, the National Theatre attracts writers, directors and performers whose work you don’t get to see on its stages – yet. An enterprising group, all of whom work at the NT, have set up their own company to showcase their capabilities, creating the best theatre atmosphere I’ve experienced in a long time.

An evening of five short plays show their efforts so far this year. All are energetically performed and cover an impressive variety of styles and subject matter. Michael Ross’s Preoccupied – a superb treat – mixes the politics of the housing crisis with a supernatural twist so effective it got a scream from more than one audience member. Winning performances from Katherine-Ellen Kotz and Karl Mercer show how pin-sharp Ross’s writing is.

Surrender is a tight two-hander by Aaron Gordon, ably performed by Kate Griffin and Luke Gray, that skillfully juggles humour with a serious topic. A similar mix of jokes and tragedy is combined in Katie-Ann McDonough’s We Grew Up in the Back of a Van; a whimsical take on an Irish childhood, brilliantly performed by Emily Carewe-Jefferies and Charlton O’Connor.

Finlay Bain stars in his own piece, Living A Little, a crowd-pleasing Men Behaving Badly sketch with zombies thrown in! And if you think that’s odd, Jill Davy’s Science Experiment is a sci-fi farce that has Ross Virgo as the only human, while Jill Davy, Laurie Harrington and Katie Overstall perform as various planetary bodies.

Perhaps the strongest pieces were the shorter ones, with less time spent spinning scenarios and more emphasis on powerful themes. But there’s no doubt about the talent here: fine writing, brimming with original ideas and great performances. If talent spotting is your thing, keep in touch with Front of House on Twitter. And be nice to the staff next time you order your interval drinks.

15 March 2015

Photo by Patricia Oliveira

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“The Flouers o’ Edinburgh” at the Finborough Theatre

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This is my kind of way to join the debate about Scottish independence. As those north of the border go to the ballot box, Londoners should vote with their feet and visit the Finborough Theatre’s new production of The Flouers o’ Edinburgh. Set not long after the Acts of Union in 1707, it raises pointed issues of identity and politics, but in such an endearingly comedic fashion that the topics feel light and fresh.

Jennifer Bakst’s direction makes the play easy entertainment, controlling potential touches of farce and opting for a gentle comedy that is close to frothy. There’s plenty of satire but nothing mean spirited and, since politics is one of the topics, it ticks the ‘timeless’ box. Philip Lindley’s set and Rose Adolph’s costumes are impressive. The cast is huge for such a small venue and the standard of acting high. It all bounces along very merrily indeed.

Maybe the play feels so sprightly because of the romance at its heart. It’s Sir Charles and Aunt Girzie’s intention that his son and her niece should marry, but should the elder couple get together as well? Kevin McMonagle and Jenny Lee perform with such twinkles in their eyes, we yearn for their union. The younger Charles and his intended Kate have obstacles to overcome, namely his snobbery and ambition, all ripe for mockery. Finlay Bain plays Charles Jnr with great stage presence but a touch too much restraint. Leigh Lothian’s Kate is feisty and much more fun.

The hot topic is whether or not to abandon the Scottish language for English. Young Charles is an early adopter, to the disgust of all, especially Kate, who continues to speak in Scots. But rejecting the mother tongue is the only way to get ahead in public life. The playwright Robert McLellan makes his political point well, but what’s remarkable here is that, despite the language used, comprehension is easy. There’s a lot a Sassenach might not know but Lee, in particular, still manages to make you laugh. McLellan was committed to writing in Scots. It’s telling that this 1948 play is only now receiving its English premiere. This fine play is a very welcome import.

Until 27 September 2014

www.finborough.co.uk

Photo by Ciaran Cunningham

Written 3 September 2014 for The London Magazine