Tag Archives: Pleasance Theatre

“A Gym Thing” at the Pleasance Theatre

As the humour in Tom Vallen’s play shows, it’s temptingly easy to make fun of the idea that someone can be addicted to exercise. Along with being such a baffling notion to most of us, the macho rituals surrounding a workout create plenty of smiles. But Vallen aims to use the jokes pointedly in his serious play. Sponsored by the Body Dismorphic Disorder Foundation, this is a dramatic look at a psychological problem with tragic consequences that’s thought-provoking and important.

As a writing debut the piece is modest but sound. A slightly too speedy journey into body dysmorphia, with little grounding and only suggested explanations, is documented rather than explored. Another debut, as director, from Philip Scott-Wallace is more assured with the cast thoroughly drilled and their comings and goings choreographed nicely. Undoubtedly, Vallen has written a brilliant showcase for his acting talent as he takes the central role of Will. His physicality in the piece is sure to impress while the descent into anxiety is meticulously delivered.

Vallen’s co-stars also do well. Jennifer Brooke fleshes out her role as Will’s girlfriend Rebecca remarkably, suggesting the real woman beyond Will’s romantic ideas. As Will’s womanising gym buddy, a character of surprising depth, and then Rebecca’s colleague, Gabriel Akuwudike makes the most of two chances to impress, skipping between the roles to great effect. Showing the impact on friends and loved ones of such a damaging mental health condition is a sobering addition. There is a notable lack of sympathy for the play’s once amiable lead, who turns psychotic so abruptly, that gives the play dramatic bite.

Until 13 May 2018

www.pleasance.co.uk

Photo by Boris Mitkov

“After Party” at the Pleasance Theatre

Like Edward Albee’s Whose Afraid of Virginia Woolf?, James Meteyard’s play explores a (metaphorical) hangover from years of trauma and delusion. Opening with a debauched celebration, nicely summarised, we join a group of mid-twentysomethings slowly discovering their grief over a tragedy that happened at college. In this drama about adult friends living together, the ambition is impressive, but the results are uneven.

The humour is on one note but delivered well; especially by Atilla Akinci, whose character is the only one removed from past events (using him more could have aided exposition). A bigger problem is the dialogue around those big sex and death themes – horribly stilted and painfully long winded. Will is the troubled lead with a secret – credit to Jamie Chandler for dealing with some clunky lines. One analogy – something to do with a scab – is so laboured that I glazed over. Chief culprit in the bar-room philosophy stakes is Will’s “bro” Harlan, who has an attraction for abstractions that Alex Forward braves valiantly. Injecting some much-needed realism into the group is Megan Pemberton’s Phoebe – the only character even trying to act her age. Cat Robey’s direction needs to speed this indulgence up considerably.

James Meteyard and Callum Cameron
James Meteyard and Callum Cameron

Tiresome heart to hearts, accompanied by far too much forehead slapping and exasperated sighs, are in stark contrast to scenes of tension. The group’s old friend Max’s release from prison and arrival ‘home’ are superb: the mood changing instantly and the suspense terrific. It’s a small role for Callum Cameron, but he steals the show and brings out the best in his colleagues, particularly former partner and unforgiving ex-pal played by Eleanor Crosswell and Olivia Sweeney respectively. Meteyard also performs here – well, it should be added – arguing the case for Max while his own character’s agenda creates a tense undertow.

There’s a suspicion this confrontational scene was the kernel for the play – it’s strong enough – but it takes forever to arrive. Too much effort is expended on giving time to each member of the ensemble. There’s a bold end, but it’s a shame this scene is the only one that feels hurried. Overall, a work with potential that needs polish.

Until 26 March 2017

www.pleasance.co.uk

Photos by Isaac Whittingham

“Transports” at the Pleasance Theatre

Travelling briefly to London from Cornwall, Pipeline Theatre’s play is a strong piece of storytelling, written and directed by Jon Welch. Get your tickets quickly, as this multi-layered story, drawing parallels between two very different women’s lives, is a powerful and rewarding work.

Flitting between the arrival of Lotte in London with Kindertransport and her fostering of troubled teenager Dinah many years later, there’s no shortage of plot here. The script feels crammed at times, but the central relationship, set in the 1970s and tapping into trauma, makes for great drama.

These are dream roles for actresses. Playing the young Lotte and Dinah is Hannah Stephens. The former couldn’t be a bigger contrast to the damaged teenager who was abandoned at birth and disturbingly associates sex with power. Stephens’ conveys a dangerous edge, alongside fragility, brilliantly.

Juliet Welch also doubles roles, as the older Lotte and as Lotte’s first carer when she arrives from Germany. These are carefully crafted performances – her face changes remarkably between the roles and Lotte’s trace of an accent is well studied. Welch’s ability to make this “crazy old woman” more than simply endearing, with the odd penetrating remark, is well honed.

There are occasional moments when the direction feels laboured, often those around the frequent changes of (well-sourced) costumes. Some flashback scenes are frustratingly short. But Transports, gaining poignancy from being inspired by the real-life story of Liesl Munden, still alive and well in Cornwall, is impressively unsentimental. Similarities between Lotte and Dinah’s emotions, focusing on violence against women, are powerful but never forced – they resonate rather than deafen. Best of all are Dinah’s monologues – flashes of poetry that are electric and show that this often quiet play is powered by rocket fuel.

Until 12 March 2016

www.pleasance.co.uk

“The Final Revelation of Sherlock Holmes” at the Pleasance Theatre

The world’s most famous Londoner has yet another incarnation in Tim Norton’s The Final Revelation of Sherlock Holmes, which opened at the Pleasance Theatre last night. A murder mystery, especially one connecting itself with Sir Arthur Conan Doyle, is surely a safe bet for a good night out and this one should help satisfy the insatiable appetites of Sherlockologists.

The action takes place in 1930 – Holmes is often a happy time traveller – and the characters are depicted with a familiarity that will please an audience in the know. Holmes and Watson are an odd couple, after all, and this old marriage-of-sorts is a ripe topic for gentle humour. It’s all done with a lot of affection and, if you suspect the script could do with some trimming, this is hardly a major crime – time spent with old friends is never wasted. The first twist: Holmes and Watson are in debt, deserted by Mrs Hudson and troubled by the prestige of their own reputations.

Holmes’ drug addiction is out of control and Watson has to scrape around the caseload history to interest The Strand in a story. A touch predictable, even in its ironic manner, but the show is carried off in style by its two performers. Nico Lennon takes the lead, undaunted by the heritage of Holmes (or, indeed, the Cumberbatch reincarnation), bringing an accomplished physicality to the role. James McGregor’s Watson is too much in the Nigel Bruce mould for my taste – but this is the stuff of after-show discussions – he’s an amiable stage presence who carries some laboured lines.

As for the mystery… that final revelation… from the greatest detective ever… the finest mind solving the perfect crime so long speculated over: well Norton knows that the build-up is the big thing. With some satisfied chuckles from the audience as the rather post-modern penny drops, you can tell he’s hit home. There’s a clue for aficionados in this review by the way. And if that gets you thinking, you’ll want to go and join in the game.

Until 2 March 2014
Photo by Daniel Swerdlow
Written 13 February 2014 for The London Magazine