Tag Archives: Penny Downie

“Rabbit Hole” at Hampstead Theatre

When it comes to sensitive subject matter, a family’s grief at the death of a child is a particularly brave topic to tackle. But the sensitivity and intelligence that playwright David Lindsay-Abaire brings to his play will make you glad to have seen a work that feels so truthful.

The marriage of Becca and Howie is placed under pressure after the accidental death of their son. Claire Skinner and Tom Goodman-Hill are tremendous as this unfortunate couple. Following their ups as well as downs, seeing the differences in how they manage their bereavement, their strengths and weaknesses are revealed. Skinner is especially strong in the single scene where she breaks down. Restraint is the key to her character and the whole play – emotions are palpable but skilfully held in check in a rich text full of suggestions and suspicions, which explores grief but never feels exploitative.

Georgina Rich and Penny Downie
Georgina Rich and Penny Downie

Such is Lindsay-Abaire’s skill that, remarkably, this is a play with plenty of laughs despite the subject. Much of the humour comes from clever observations of social class in America. This is a family split demographically, with Becca’s mother and sister having a little of the “Jerry Springer” about them. Impeccably performed by Georgina Rich and Penny Downie, both are fully realised, appealing, characters and could easily have a play of their own. The point is that neither the play, nor its characters are paralysed by grief. After all, in the real world, you can’t be.

Sean Delaney
Sean Delaney

Becca and Howie are the focus but they come to fear “the face” from others who can’t deal with their tragedy – in particular, Jason, the driver of the car involved in the accident, who looks to find his own closure. In three short scenes, Sean Delaney makes his mark in the role. Becca’s willingness and Howie’s reluctance to meet him provide the play’s most heartfelt moments. Fittingly, Jason provides hope in the play, providing a scientific theory of parallel universes that Becca can take solace from (she movingly speculates that her present shows only “the sad version of us”).

Rabbit Hole is the second play by Lindsay-Abaire to be performed at Hampstead. Previously, Good People was a theatrical highlight of 2013 and a West End transfer that it’s to be hoped sets a trend. It’s a fruitful association for the venue and director Ed Hall, who shows a through appreciation of the writing and an ability to empower the cast to face the comedy in the piece. I can’t wait to see more from the combination.

Until 5 March 2016

www.hampsteadtheatre.com

Photos by Manuel Harlan

“Judgement Day” at the Print Room

Having just celebrated its first anniversary, a spectacular year that has seen this new theatre run by Lucy Bailey and Anda Winters establish itself as an essential fringe venue, The Print Room presents Judgement Day. The play is a new version of Ibsen’s last work When We Dead Awaken that the adaptor Mike Poulton describes as Ibsen’s ‘confession’ about the price paid for a life lived for art.

Arnold Rubek, a renowned sculptor, is the kind of Romantic artist who’s hard to like and easy to mock. Quick to proclaim his genius and espouse aesthetics, he is aware that he has ‘sold out’. In a loveless marriage and on a constant holiday, he re-encounters his first muse, Irena – an ‘association’ neither of them has ever recovered from. Michael Pennington is engrossing as the objectionable Rubek, taking us past the character’s pomposity to make him profound.

Poulton’s version makes Ibsen’s concerns seem fresh and he brings out the master’s lighter touch when it comes to the women who have suffered from being in Rubek’s life. Sara Vickers plays Rubek’s much younger wife, Maia, brimming with intelligence and frustrated sexuality. She is so bored that when a dashing baron arrives on the scene, she’s willing to accept a trip to see his dogs being fed as a first date. Where Maia is full of life, Irena, Rubek’s old muse, lives in the past. Penny Downie convinces in this hugely difficult role, toying with her character’s ambiguity and succeeding in being always believable. No easy task when you’re being followed around by a nun as your rather Gothic fashion accessory.

Judgement Day is heavy on symbolism but Poulton’s text and James Dacre’s direction also deliver a gripping human drama. The language is poetically satisfying and accessible, giving you plenty to ponder on at the end of the play’s 80-minute run. The Print Room has a hit on its hands and, while you are buying your ticket, take my advice and book up for its next production, Uncle Vanya, at the same time.

Until 17 December 2011

www.the-print-room.org

Photo by Sheila Burnett

Written 22 November for The London Magazine

“Butley” at the Duchess Theatre

Butley is in trouble. The eponymous anti-hero of Simon Gray’s play has left his wife, is being deserted by his friends, and his career as a university lecturer is full of petty politics and pesky students. Lindsey Posner’s impeccably directed production of this comedy classic is the West End’s funniest play. To use a critical cliché, the English tutor would no doubt condemn – it’s unmissable.

Butley has an egalitarian edge that makes him likeable – he’s nasty to everyone. His dowdy colleague Edna (the wonderful Penny Downie) has her high ideals about collegiate life mocked mercilessly. Anyone who has ever hated work will understand Butley’s boredom; his desperation makes him a mid-life everyman and his wit makes him adorable. He deserves to be punched – but you know he’d come back with a killer line.

Butley’s passion for his “creepy” prodigy and now colleague, Joseph, played with intelligent nuance by Martin Hutson, is flirtatiously ambiguous. It’s unconvincing that someone as brutally honest as Butley would be a repressed homosexual (text excised from performance makes this explicit) but love is at the heart of this couple’s relationship. As moving as it is entertaining, it makes Butley an original examination of male friendship.

Being friends with Butley is worth it. Manic, indolent, fey and mendacious, the title role is performed mercurially by Dominic West – this is a landmark performance for him. Gray’s creation is an Ambrose Bierce of the stage, yet West does him justice with a comic ability that makes the shocks, spills and laughter flow, just like the whisky Butley downs. Performance and play are something to celebrate – I’ll drink to them both.

Until 27 August 2011

www.butleylondon.com

Photo by Tristram Kenton

Written 13 June 2011 for The London Magazine