Tag Archives: Henry Lloyd-Hughes

“NSFW” at the Royal Court

The name of Lucy Kirkwood’s new play for the Royal Court stands for ‘Not Safe For Work’. Set in the bitchy world of London media, it comes as no surprise that there’s little that’s safe in these particular offices. This sharp satire invites the theatre audience into an industry where employees will agree all too quickly to be humiliated, or compromise their private lives, in order to get ahead or simply stay in the job. To those who’ve never worked in magazine journalism it’s a delicious parody full of laughs; for those who have, it’s painfully close to the bone.

Kirkwood’s play has the benefit of skilful direction from Simon Godwin and superb performances. The magazine editor characters have something of the stereotype about them, but this potential problem is dealt with nimbly, thanks to sharp dialogue that means the play never strays into lazy parody. Julian Barratt and Janie Dee both excel as the “troglodyte” editor of a men’s magazine and the self-confessed “Menopausal old hag” who works for an over-sharing womens title, respectively. The younger characters, desperate for work and predictably overqualified, are wonderfully drawn: Henry Lloyd-Hughes gives a great comic turn as the trustafarian drawn to journalism, Esther Smith expertly judges her role as a young feminist so ashamed of her job she tells people she’s an estate agent, and Sacha Dhawan gives a performance of great charm as an idealist who finds that, in this job, he can’t avoid getting his hands mucky.

Of course, nobody finds the media as interesting as the industry finds itself. Thankfully, Kirkwood’s play uses magazine culture to address broader social concerns. The presentation of women in the media, in particular, is handled in nuanced, thought-provoking style here. While the plight of the younger characters, with whom the play’s sympathies so firmly lie, gives a dark edge and subtlety and balances NSFW’s exquisite portrayal of the excesses of journalism.

Until 24 November 2012

www.royalcourttheatre.com

Written 1 November 2012 for The London Magazine

“Tiger Country” at the Hampstead Theatre

Having a playwright direct their own work might set off sirens – their proximity to the text risks a self-indulgent treatment. But it is a false alarm at the Hampstead Theatre, where Nina Raine faultlessly breathes life into Tiger Country. The vision she has for her work has proved contagious, transforming the auditorium and empowering an ensemble cast to perform superbly.

Raine is known for her extensive research. She spent three months with doctors and nurses to prepare for this new play about the NHS. The politics are subtle, the drama of surgery intense, and the focus is the impact the job has on its practitioners.

Emily, a just qualified Senior House Doctor, encounters expressive dysphasia (‘when you know what to say but you can’t say it’), and not just in her patients. Ruth Everett skilfully portrays this eager intern, on whom the pressure of her decisions starts to weigh physically.

The internal politics of the NHS also take their toll. Vashti, a Registrar, faces the dilemma of giving up her career path when a member of her family is mistreated in the hospital. Thusitha Jayasundera is wonderful in the role. Like many of the surgeons she seems a most unsympathetic character, but her bedside manner reveals a moving, tender side.

The dangers surrounding the doctor’s decisions mean they live in ‘tiger country’ – always on the edge. Pip Carter and Henry Lloyd-Hughes show this tension admirably. With an eye to class, and an obsession with hierarchy, these medics are forced to role play and sometimes behave like animals; it’s a fight for them to retain their humanity and a sense of gratitude for life.

Raine’s script in infinitely richer that your average hospital drama. Her insights make the play a rare beast indeed – informative. Yet it is the lives of these well-drawn characters from which the drama radiates. There’s enough sex and death here for any soap. This is Casualty on steroids. Alongside its other admirable qualities, Tiger Country is hugely entertaining.

Until 5 February 2011

www.hampsteadtheatre.com

Photo by Robert Workman

Written 20 January 2011 for The London Magazine

“Rope” at the Almeida Theatre

It is great to see a thriller on the stage – there simply aren’t enough around.  And, despite its philosophical underpinnings, Patrick Hamilton’s Rope is just that – a great thriller.

Director Roger Mitchell maintains suspense by dropping the interval and gets things off to a great start by opening in darkness, the stage occupied by two young men illuminated only by their cigarettes. The murder they have just committed, we learn, is the result of their plan to stage the perfect crime and assert their Nietzschean superiority.

But something is clearly wrong.  Granilo, played by Alex Waldmann, cannot stand to have the lamp switched on.  Throughout the evening that ensues, he can only play at being calm.  His shrill panic breaks through to add to the tension.

The college friend with whom he has concocted the plot, Wyndham Brandon, played by Blake Ritson with sinister appeal, seems to be more in charge.  To add spice to the plan it is decided to hold a party with the corpse still in the room, concealed in a chest.

Invited to this party are the victim’s friends and relations. Henry Lloyd-Hughes and Phoebe Waller-Bridge play a young couple who serve as the antithesis of Granilo and Brandon. They manage their parts with a carefree humour that adds to the pathos of the evening. Michael Elwyn plays the victim’s father and is deeply touching when learns of his son’s disappearance.

Also in attendance is Rupert Cadell, played by Bertie Carvel, a slightly senior college friend known for his intelligence and suspected of sympathising with the murderers’ perverse ideology. And Cadell is going to ruin the evening. Instantly suspicious of the theatrical atmosphere, he sets out to solve the mystery and entrap the killers. Clearly his morals are far stronger than his friends might have supposed.

Carvel carries the psychological depth of the piece, portraying a damaged man who nonetheless contains enormous empathy – for the murder victim of course, but also for the lost souls whose minds entertained the idea of killing in the first place. He also succeeds in the task of putting passion into the play. Mitchell avoids homosexual connotations between the murdering couple, as seen in previous productions and also Tom Kalin’s 1992 film.  This brings his production closer to the famous Hitchcock’s version.  The killers’ motive seems entirely academic, and it is left to Carvel to urgently explain to them the horror of what they have done.

Rope is the first production at The Almeida to be staged in the round – an impressive technical achievement enabling designer Mark Thompson to place the chest containing the murder victim as centrally as possible. However, the chest is clearly not the cassone referred to in the text. This becomes more of a problem as characters speculate that it looks like the kind of chest you would place a body in – it simply doesn’t.

Until 6 February 2009

www.almeida.co.uk

Photo by John Haynes

Written 21 December 2009 for The London Magazine