Tag Archives: Tessa Bonham Jones

“Distinguished Villa” at the Finborough Theatre

As fans of London’s fringe theatre know, productions at the Finborough balance new writing with rediscovered classics. The venue hit the jackpot for the former earlier this year with Sophie Swithinbank’s Bacon. Now it’s the turn of the latter: a hit play from 1926 by another female writer, Kate O’Brien, that is thoroughly admirable.

“Refined” is the key word – that’s what proud housewife Mabel wants her home, the property that gives the play its title, to be. But all of O’Brien’s six characters suffer as respectability conflicts with happiness; they are tormented in sophisticated detail by unsuitable relationships and social mores.

O’Brien was breaking ground with her subject matter – looking at suburbanites and “the secret life at home”. The play tackles sex and mental health in what was considered an advanced fashion. Of course, it can’t shock now, but it’s impressively thorough. And there’s a fine sense of rage bubbling under the sophisticated surface.

If someone wrote a period show with this many stiff upper lips (let alone some of the dialogue) today, it would beggar belief. It’s frankly a struggle – you want to shake most of the characters at some point – but O’Brien was there. She is the source material! Her writing makes sure that the repression becomes oppressive.

Brian Martin and Tessa Bonham Jones
Brian Martin and Tessa Bonham Jones

Unfortunately, it is too easy to tell that O’Brien was primarily a novelist. While the plot creates tension, Distinguished Villa is woefully static. Director Hugh Fraser is wise not to try and fight this. The series of scenes, with plodding combinations of characters, is predictable. But the play doesn’t drag and most of what is said is interesting. The scenes themselves are tightly written – there’s an especially strong one for Tessa Bonham Jones, who plays the youngest character and has a stunning moment in the spotlight.

O’Brien seems to miss omniscient narration too much. But it’s easy to enjoy the performances on offer here – again, refined describes them. Mia Austen shows great intelligence as Mabel, combining comic appeal while respecting the character’s arguments and showing her troubles. Matthew Ashforde gives a moving performance as her depressed husband, revealing that the role’s unbelievable timidity stems from deeper problems.

If both leads, and the pivotal role of the ever-observing upper-class lodger Ms Llewellyn (played with great skill by Holly Sumpton), are sometimes flat, the cast makes the most of them. Similarly, Simon Haines and Brian Martin, whose roles are really only about who they may or may not marry, do a great job. Beautifully crafted under Fraser’s tutelage, these are all wonderful studies. But, despite all the detail, I struggled to thoroughly believe in any of characters.

The result of the cast’s fine work is a production full of class. Which is appropriate, as O’Brien’s eye on social status is fascinating. And Carla Evans’ costumes deserve a special mention for accuracy (they are lovely, but this isn’t high fashion as much as home-made derivations). Distinguished Villa is a play more interesting than moving, one to respect more than love. But the chance to see such top-notch craft shouldn’t be missed.

Until 1 October 2022

www.finboroughtheatre.co.uk

Photos by Carla Evans

“A Midsummer Night’s Dream” at the Bridge Theatre

While Shakespeare’s romantic comedy is always a popular seasonal play, 2019 seems to be the summer for ancient Greeks and misbehaving fairies. While the production at Regent’s Park has already closed, you can still enjoy the Globe’s version, or this one from director Nicholas Hytner. It’s not a competition – the text continually proves its versatility and brings out the best of theatrical creativity. Suffice to point out the five-star reviews for this production and confirm that it thoroughly deserves them.

This is a promenade performance with the Bridge’s stalls space converted for standing patrons. I’m not a fan of the format but appreciate that the atmosphere appeals to many and, without question, Hytner manages it masterfully. The danger is distraction, as you have to keep your eyes peeled for potential moves and be more aware of fellow audience members. Some lines are lost during scene changes; rehearsing “obscenely” being a personal favourite that is sacrificed. All the more credit, then, to the impressive cast who command attention and use the crowd expertly. Above all, praise for designer Bunny Christie, who uses small stages that come up and down (seen in Julius Caesar last year) to great effect. The addition of a collection of beds that rise up to the roof and trapeze artists makes the show a visual delight.

Incorporating the audience is a gift to the comedy in the show. Take the play-within-a-play: as the workmen putting on a show account for playing in the round, this scene proves the highlight of a tremendous performance from Hammed Animashaun, who takes the role of Bottom. And there’s a nice self-deprecating note as well – as Moonshine’s torch blinds Hippolyta, Theseus helpfully consoles and explains by saying, “It’s immersive”. The humour may not be subtle (having such a great response to characters taking selfies is vaguely depressing) but it is sure to prove memorable. Touring one of the beds around the crowd or getting everyone to hold hands and circle the action are fun-filled highlights.

Gwendoline Christie (Titania) and David Moorst (Puck)

Along with Animashaun’s fantastic stage presence the production boasts an acrobatic Puck in David Moorst. A little too keen on his ad libs (which the show abounds in) Moorst’s physical performance is hugely impressive. And he brings an interesting cruel edge to his punk-inspired anarchy. This Puck is not entirely likeable or stable. The four Athenians in the forest feel a little too much like his victims and their roles (led by strong performances from Isis Hainsworth and Tessa Bonham Jones, as Hermia and Helena respectively) become more moving than funny.

Hammed Animashaun (Bottom) and Oliver Chris (Oberon)

Hytner’s strength is that, for all the fun, he isn’t afraid to make the show serious. There’s real tension in the plight of Hippolyta and the young lovers, a drama led by the excellent Oliver Chris, whose Theseus is steely to the point of sinister. And there’s an air of menace in Titania’s plot against Oberon – no, that’s not a mistake. In a brilliant gender swap, Gwendoline Christie gets the larger role as a Fairy Queen victimising her husband. A swipe at the patriarchy? Maybe, but while Oberon’s affair with Bottom gets plenty of giggles (praise for Chris and Animashaun again) the swap adds another layer of transgression that makes this dream edgy. Gender fluidity in Shakespeare is embraced more than ever at the moment, and Hytner is very much on board. But it’s because his direction recognises there can be bad dreams as well as good ones that his show appears so magical.

Until 31 August 2019

https://bridgetheatre.co.uk

Photos by Manuel Harlan