Tag Archives: Jessica Murrain

“Inside” from the Orange Tree Theatre

Joining the list of theatres streaming shows live, this offering from Richmond is a high-quality affair. A better-than-most monologue and two two-handers show three different approaches to stories about the Covid-19 lockdown.

Guidesky and I

This smart script by Deborah Bruce is a superb vehicle for the wonderful Samantha Spiro. Acknowledging how difficult this past year has been, the character of Diana is clearing out her deceased mother’s home and trying not to “unravel” at the same time. With some excellent sound design from Anna Clock, an elegant stream-of-consciousness monologue increases in tension throughout its half-hour duration. It’s clever to make Diana an unappealing character who’s short-tempered, stressed and angry (I’m sure we can all recognise some of this in ourselves of late). A problem with an online order, which holds the piece together admirably, proves startlingly effective and surprisingly moving.

Ishia-Bennison-inside-at-the-orange-tree-theatre
Ishia Bennison

When the Daffodils

Joel Tan’s piece is less successful, although there are strong performances from Ishia Bennison and Jessica Murrain, who do well to hide a mawkish tone. Small pleasures and the importance of the caring profession are handled well enough. But Tan elaborates into a poorly sketched dystopian future where a “consensus” has resulted in older people quite literally imprisoned in their homes. It’s easy to see where the thinking comes from and, although there’s surely a debate to be had around such a topic, Tan’s contrived twists add confusion rather than substance.

Inside-from-the-Orange-Tree-Theatre-credit-Ali-Wright
Fisayo Akinade and Sasha Winslow

Ursa Major

For more big topics highlighted by Covid-19, Joe White has a young man with OCD in conversation with a “houseless” woman. If the backstories about Jay and Callisto aren’t quite convincing, the performances from Fisayo Akinade and Sasha Winslow are fine and the characters themselves likeable. White ticks boxes about lockdown life, and he does it well, with an underlying challenge about “normal interaction” that is sharp. Dark energy provides an impressive and effective metaphor throughout and there’s some welcome humour. Moving away from the theme of lockdown to think about distance more generally (well done!), White even provides a sweet ending.

Outside

For all the shows, the direction from Anna Himali Howard deserves high praise, as respecting the tone of each writer benefits the event overall. United by an “underlying feeling of unease”, at times excessively, it’s no surprise that Inside isn’t cheerful. But each playwright has managed to reflect our times. Maybe things will perk up for the second programme (15-17 April) when the theme, like us, moves away from our homes?

Until 27 March 2021

www.orangetreetheatre.co.uk

Photos by Ali Wright

“Romeo and Juliet” from Metcalfe Gordon Productions

Top marks for trying. For this filmed theatre production of Shakespeare’s tragedy, director David Evans has used technology to carry on working during Covid-19. Using green screens and CGI sets means protective social distancing is possible for a large cast. Unfortunately, the results are uneven; you end up missing live theatre more than ever.

The technology created a lot of work for editor Ryan Metcalfe – his job is mind-boggling – but the results are disheartening. Performing scenes individually, hugely difficult for actors, creates a stilted feel that is too frequently uncomfortable. The detailed planning for each moment is distractingly transparent.

Jessica Murrain as Prince in Romeo & Juliet credit Ryan Metcalfe Preevue
Jessica Murrain

Evans has a firm hand on direction. There is an air of restraint, with many performances understated, as well as physically static, that presumably aided editing. Sensible and understandable, it provides an interesting take for Vinta Morgan’s Friar and works well for Jessica Murrain’s Prince. But most of the time, the reserve becomes monotonal and sometimes downright odd.

Worse still, at a time when so many miss it, the lack of human contact between performers is painful. Moments when characters would have touched, to emphasise any kind of emotion, stand out. You can sense the instincts of performers have been denied. The production is truly of the moment. But could this lack, somehow, have been used poignantly? Instead, it’s just… sad.

Emily Redpath and Sam Tutty credit Ryan Metcalfe Preevue
Emily Redpath and Sam Tutty

The show is saved by its leads (with a little help from Derek Jacobi reading the prologue) and an impressive score from Sam Dinley. Romeo and Juliet do get to touch. Evans has secured a fine Juliet with Emily Redpath. Any struggles come from the role rather than Redpath – as a young woman Juliet’s life is more controlled, an inadvertent insight into the play. Redpath emphasises youth and makes the part moving.

The show belongs to Sam Tutty’s Romeo. The Dear Evan Hanson star is hugely impressive, bringing a natural feel to the lines, without denying their poetry, and a confidence to the part that is captivating. Frequently, his reactions are more interesting than anything else going on. This experiment with a new kind of theatre did not work for me. But fans of Tutty will not be disappointed. 

Until 27 February 2020

www.romeojuliet2021.com

Photos by credit Ryan Metcalfe / Preevue