Tag Archives: Rupert Sadler

“The Good Landlord” at the King’s Head Theatre

This play’s première early in the year at the Vault Festival was a fraught affair, given the recent death of its talented writer Michael Ross. Having collaborated on the play with Metamorph Theatre, the author’s absence for finishing touches was clear. But also obvious, thankfully, was the play’s potential. The story of a London flat with cheap rent because its tenants are to be watched by cameras is topical and challenging. The script is a sharp comedy with clever content. And now, given more time, its quality shines through.

Director Cat Robey deserves much of the praise. The production is sharper, pacier and generally more confident. The plot comes to the fore as flatmates Tom and Ed react to being recorded – we want to know what happens next. The balance between the serious themes in Ross’s writing – relative poverty, pervasive technology and the painful issue of body image – are all deftly handled. The characters feel grounded, a delicious mix of introverts to root for and extroverts you can laugh it (although I suppose that might be the other way around for some!). A quartet of strong performances come into their own with the aid of Ross’s witty and intelligent lines creating interesting characters just the right side of satire.

Rupert Sadler gives a strong performance, having bedded down into his role as Ed. Initially calmer than in the show’s first outing, Ed’s desperation to keep living in the flat develops nicely into a mania. And his fascination with the “all-mighty, all-seeing” landlord leads to a clever play with masculinity that does the text justice. Above all, Sadler is funny throughout. Likewise, Phoebe Batteson-Brown shows her tremendous comic skills with a performance of great assurance – don’t miss a single move she makes as the scary estate agent Clarissa, for each intense twitch is worth a laugh. While these two characters aim at conventional success, Ross points out that their grasp on reality is thin; flights of fancy Ed and Clarissa embark on are deliciously delivered highlights.

Joining the team is Sophia Eleni, playing Clarissa’s PA, who skives off work to become a voyeur of the guys. There’s still room for growth here, as the role connects to an examination of working life that fascinated Ross and could be developed. Nonetheless, Eleni makes a sweet love interest for the landlord’s more reluctant tenant Tom, played by Theo Ancient. Having recently toured Ross’ The Shy Manifesto, Ancient knows the author’s work intimately and it really shows. Tom is a fascinating mix of insecurity and confidence, a balance of sensitivity with an intelligence that doesn’t suffer fools.

The Good Landlord is still a work in progress (according the company’s hand out). But the improvement here is commendable and the show is on the way to becoming a fringe hit. The plan now is to take the play to Edinburgh next year and good luck to the team. Follow @M_MorphTheatre for news. I don’t give stars on this blog, for fear of being too reductive, but this is a firm four with no small amount of confidence that a sought-after fifth is on the way. 

Until 16 July 2019


“The Good Landlord”at the Vault Festival

Crammed to capacity with topicality, this sharp comedy full of serious concerns makes a smart debut show for Metamorph Theatre. It’s the story of two generation renters offered a cheap deal on a flat with a view of Big Ben. The catch is that their new home is full of security cameras. Hilarity and debate follow as Tom and Ed cope, in very different ways, with a live feed to the apartment’s eponymous owner.

Phoebe Batteson-Brown

Driving the show’s comedy is a great performance by Phoebe Batteson-Brown. Playing the brilliant role of an estate agent, there’s a fantastic mix of corporate double-think that plays with being believable and is delivered with deliciously manic touches. There’s a good part, too, for Tiwalade Ibirogba-Olulode as a secretary who sneaks a look at, and falls for, one of the flat’s spied-on occupiers.  A more understated performance makes for a useful contrast and means Ibirogba-Olulode anchors the play.

Tiwalade Ibirogba Olulode

As our heroes, the carefully – and creepily – selected tenants, both Maximillian Davey and Rupert Sadler do a good job of conveying a host of big issues with a light touch. Alongside considerations of technology and privacy, which have a nifty parallel to Ed’s obsession with spies (Sadler delivers this adorably), there’s queasy voyeurism and a consideration of body issues. The hang-ups Davey’s Tom is so quickly labelled with are carefully left open in a sensitive portrayal. Sadler’s strategy is different. He goes all out for comedy with Ed’s toe-curling exhibitionism. This works – he gets the laughs – but it’s testament to the writing that Ed could clearly be a more desperate and edgy character. 

As well as effective work with her cast, director Cat Robey deserves applause for her strong staging of the show in the round, which cleverly conjures up the idea of a panopticon. It’s nobody’s fault that the venue is so far from the des-res. the action takes place in, but it does jar. Maybe some really good landlord would allow an immersive production in a penthouse development still for sale? Given the satire here, probably not! Robey’s direction shows a firm eye for detail and an admirable appreciation of the text.

The script itself is a painful one to critique as its author died so suddenly and so recently. The Good Landlord started as a devised piece that Michael Ross wrote after workshops with the company and it feels that some work remains to be done. Ross was not available for final rehearsals, and it is distressing to wonder about last-minute changes he might have made. As it stands, the play is a little too compact and bijou – scenes need unpacking and developing. But the comedy is great, the dialogue superb. And there are fascinating ideas – the guys as “products” for a voyeuristic project, or “ornaments” for the flat – that are sure to linger. Despite its many merits, there’s a sense of mortgage rather than completion with The Good Landlord. It’s with hope, best wishes, and some confidence given the clear talent here, that this new company moves up the theatre ladder to even bigger things.

Until 10 February 2019


Photos by Ali Wright