Tag Archives: Park Theatre

“Almost, Maine” at the Park Theatre

Widely performed in its native United States, John Cariani’s Almost, Maine has received its first UK production at Park Theatre. A series of scenes, with different couples facing the exigencies and ecstasies of love, it’s about ordinary people in a small American town facing up to romantic problems. The potential for sentimentality is notable, so director Simon Evans uses his talented cast to make the proceedings clear rather than cute.

Almost Maine park facebook page 2
Ian Keir Attard and Patrick Walshe McBride

The little stories might be divided into two types. There are those that deal with recognisable situations: an awkward meeting between ex-partners the night before one of them marries, where Susan Stanley conveys her character’s nervous energy perfectly, or the courtship of a tomboyish girl, which gives Lucy Eaton a chance to shine. Then there are scenes with a more surreal edge. Melanie Heslop is wonderfully cookie as a woman who carries her broken heart around in a paper bag. Hamish Clark is splendid in a scene where his character’s long-term girlfriend brings all the love she gave him back – in mail sacks. Ian Keir Attard and Patrick Walshe McBride have a great moment playing friends who literally fall in love, incapable of standing upright, made acrobatic by the truth dawning upon them.

It might frustrate you that Almost, Maine is a collection of sketches. There are unifying factors – characters are mentioned in other stories, random kisses are common and the weather is always cold – but these feel contrived. Also, it’s a little difficult to place the show in time, which bothered me. And though its hardly Cariani’s fault his effort to inject ‘magical moments’ might remind you too much of a chocolate box. I preferred the more bizarre scenes but it’s safe to say there’s something quality here for everyone – what’s your favourite favourite?

Until 17 January 2015

www.parktheatre.co.uk

“Intimate Apparel” at the Park Theatre

Arriving from the Ustinov Studio, part of Theatre Royal Bath, Intimate Apparel opened in London at Park Theatre last night. Written by Lynn Nottage, famed for the unforgettable Ruined, it is a stirring tale about Esther, a seamstress in New York at the beginning of the twentieth century. Inspired by the author’s own ancestors, Esther’s is the kind of life that is often forgotten and unrecorded. Through Nottage’s skillful writing, it becomes a magically powerful imagined history.

Esther, a bravura performance from Tanya Moodie, makes lingerie, the intimate apparel of the title, and is a successful independent woman. She mixes in different worlds: her clients – a frustrated Fifth Avenue wife and a prostitute, both well acted by Sara Topham and Rochelle Neil respectively – and her supplier, the Orthodox Jew Mr Marks (Ilan Goodman), with whom she shares a passion for fine materials.

The play’s construction is sturdy. Director Laurence Boswell does it justice and the ingenious design by Mark Bailey is commendable, revealing different locations like a doll’s house and appropriately relying on fabric to bolt the piece together. This is a great story, well told, with fulsome characters.

It’s the romance that really shows Nottage’s ability. While Esther’s heart belongs to Mr Marks, she embarks on an epistolary romance with George Armstrong, a worker on the Panama Canal. Esther’s customers act like Cyrano de Bergerac: because she is illiterate, they write for her, and her heart is easily won by George. Another fine performance here, from Chu Omambala, who speaks with a carefully reconstructed Caribbean accent.

Esther wins your heart with her decency and modesty. She describes herself as “plain as flour” and combines a gushing innocence with underlying sensuality. It seems a touch cruel of Nottage to develop Intimate Apparel in a way that will disappoint romantics. But the story here is powerful – there were gasps at the twists last night – and Esther’s character provides a thread strong enough to hold the piece together exquisitely.

Until 27 July 2014

www.parktheatre.co.uk

Photo by Simon Annand

Written 10 July 2014 for The London Magazine

“Do I Hear a Waltz?” at the Park Theatre

The Park Theatre’s first musical opened last night with the north London venue handing over to the Charles Court company for a production of Do I Hear a Waltz? It’s a real collector’s piece for musical theatre obsessives, being a one-off collaboration between Richard Rodgers and Stephen Sondheim that is seldom performed.

Rodgers and Sondheim make a fascinating combination. Sondheim’s lyrics bring wit and intelligence to Arthur Laurents’ book, based on his own play, while Rodgers’ ravishing score rises to the challenges of the younger artist and provides glorious tunes. Strangely, put together they often sound odd – a mix of the “ridiculous and the sublime” – a lyric that sums up the show and that I am sure we are supposed to take away with us.

A sensitive secretary visiting Venice has a holiday romance that she finds complicated, even though what’s on offer is simple. Commitment isn’t on the mind of the married antiques dealer she meets, but their shared sense of melancholy gives the whole show a kind of magic, despite its pragmatic approach to affairs of the heart. Added observations about Americans abroad and Italians at home are wry, if a touch too elaborated, and the scenario is impressively novel. But, in general, the premise is too slim to really grab you.

The production itself makes the best of things. There’s a fine performance from Rebecca Seale in the demanding lead role and Philip Lee sounds lovely as the charming shopkeeper looking to add to the itinerary of her holiday. Best value comes from the signora who runs the pensione in which the action takes place, with Rosie Strobel giving the “very, very” character her all. The bare staging and musical accompaniment from just piano and percussion reflect a chamber music feel, but I can’t help wondering what a fuller sound would have been like, as some numbers seem to cry out for it.

Musical director David Eaton has done a wonderful job and clearly knows his stuff but it’s speculation about the piece that will probably excite the aficionado – I suspect it’s more of a curiosity to collect than something that might cross over to a bigger audience.

Until 30 March 2014

www.parktheatre.co.uk

Photo by Bill Knight

Written 7 March 2014 for The London Magazine

“Adult Supervision” at the Park Theatre

Adult Supervision, a new play from first-time writer Sarah Rutherford, opened at the Park Theatre last night. When Natasha holds a gathering on the night of Obama’s election victory, planned to unite “mothers of children of colour” attending the same private school, the evening turns predictably sour. The tensions of motherhood and racism are quickly revealed and discomfit the middle-class protagonists and the audience at the same time.

An actress herself, Rutherford has written four fantastic roles for women. Natasha is a ridiculously uptight former lawyer who has renamed her adopted Ethiopian children to make them sound more exotic – a word she really hates. Happily, Susannah Doyle rises above cliché in the role. Her unlikely friend, the dizzy Izzy (the wonderful Olivia Poulet), attends for moral support, even though her children are Caucasian. Much of the tension is woven from the fact that the heavily pregnant Angela is black, married to a white man. Finally we have Mo, a dangerously down-to-earth woman who is far too frank for her surroundings. The latter parts, played with substance and wit by Jacqueline Boatswain and Amy Robbins, are, painfully, easily recognisable.

The play isn’t as funny as one billed as a comedy should be. There are laughs but, despite the women reminding us that “this is supposed to be fun”, pacing sometimes goes awry despite the efforts of talented director Jez Bond. You see this problem again with some enforced craziness – dressing up as a virgin bride and experimenting with lesbianism – that do not convince. Fuelled by improbable amounts of booze, many of the faux pas are a step beyond the credible. The Freudian slips are better, but the majority of humour comes from the performances rather than the script. Doyle and Paulet are particularly strong here.

Rutherford is best when she approaches darker ground: questioning assumptions about racism, including that directed towards the white community, joking about a “multi-racial mafia”, or showing convincing anger at a complacent “bubble” that denies the problems altogether. These are brave moves, with Robbins and Boatswain injecting wholly credible passion. Combined with the compassion the women show each other, despite screaming at one another plenty, there’s a maturity in the writing that makes up for a somewhat pat ending and bodes well for the future.

Until 3 November 2013

www.parktheatre.co.uk

Photo by Mark Douet

Written 11 October 2013 for The London Magazine

“Daytona” at the Park Theatre

Still in its inaugural season, the Park Theatre in Finsbury Park saw its first première of a new play open last night. Daytona by Oliver Cotton is a clever three-hander, well written and superbly produced. The story of three elderly Jewish emigrants to America, set in 1986, it sees a married couple’s well-ordered life disrupted by the unexpected return of a brother who had disappeared 30 years earlier. Arriving with the announcement that he has killed a war criminal while on holiday in Florida, he reopens wounds, both personal and political, posing moral dilemmas rich in dramatic potential.

Cotton is well known as a performer, so perhaps it should come as no surprise that he has written such wonderful roles. Under the skilful direction of David Grindley (fast becoming one of my favourites, given his excellent The American Plan currently at the St James Theatre), the performances here are truly accomplished. Surely, naturalism like this is only achieved with experience – the characters talk rather than recite, despite lengthy speeches that take us on a journey into the past. John Bowe plays charismatic, mellifluous-voiced Billy, whose return creates such shockwaves. His brother Joe is a retired accountant whose inner strength is revealed in a detailed performance from Harry Shearer. Completing the triangle is Elli, the marvellous Maureen Lipman, cleverly playing with stereotypes of the Jewish wife and injecting a steely tone that’s perfect for the play’s many surprises.

Elli and Joe make a great couple, not perfect – you can insert a shoulder shrug here – but, despite the trauma in their lives, their story is one of carrying on. Persistence, elevated to the point of a memorial to all their pain, makes Daytona an affirming play. And yet most of its power comes from the acting. For all its adroitness, Cotton’s text seems brief, leaving too many loose ends to satisfy. But the ambition to present an elderly trio as our sole concern is executed superbly. With theatre often obsessed with youth, it’s a welcome and original move.

Until 18 August 2013

www.parktheatre.co.uk

Photo by Manuel Harlan

Written 18 July 2013 for The London Magazine

“These Shining Lives” at the Park Theatre

London’s newest venue, the Park Theatre in Finsbury Park, opened its first show last night. Overseen by artistic director Jez Bond, this former disused office space (converted by David Hughes Architects and partly funded by the sale of residential apartments above the theatre) is an exciting addition to London’s burgeoning theatre scene. Two intimate spaces with pleasant foyers are just a stone’s throw from the Tube station – itself only 20 minutes from Knightsbridge. Bond’s inaugural season, combining new writing and classics produced in-house, and providing a venue for other talented companies, should guarantee it many visits.

The first production doesn’t quite match the ambition of the theatre itself, but These Shining Lives by American playwright Melanie Marnich is a competent piece. The story of women workers who apply the illuminating radium on to watch faces, slowly poisoned by what they thought was their dream job, is finely directed by Loveday Ingram and well acted. On the downside, the writing is a little laboured, speculation about the passage of time heavy handed and the politics a touch naive. Based on a true story, the focus on the friendship between the workers doesn’t have enough emotional force, despite a fine performance from Honeysuckle Weeks as a mouthy Mae-West character who embraces the emancipation provided by her wage packet.

The real power in the play comes from main role, performed by Charity Wakefield, whose character Catherine becomes the test case in court against the company. Wakefield has an appealing stage presence and convinces as an ordinary women whose bravery becomes inspirational. Marnich rejects the current Gatsby-fixated view of the 20s in favour of representing the decade for regular people. Her sweet Charity’s relationship with her husband, played brilliantly by Alec Newman, is a moving romance with clever modern touches that show further deftness on Marnich’s part. In the couple’s scenes, These Shining Lives becomes a beautiful love story that illuminates and moves. A promising start for the new Park Theatre.

Until 9 June 2013

www.parktheatre.co.uk

Photo by Anabel Vere

Written 16 May 2013 for The London Magazine