Tag Archives: Trafalgar Studios

“Third Floor” at the Trafalgar Studios

It’s a truism that Londoners are obsessed with property. The London Magazine itself is testament to that fixation. And our neighbours fascinate as well. Third Floor, a new play by Jason Hall about two young neighbours in a part-buy scheme, looks at the fears and quirks that result in the way we live now. It’s commendably topical and guaranteed to strike a chord with anyone living in the capital.

Hall is a talented writer and his script a fine one. Third Floor is funny, with strong observational humour about the social mores of communal living. And it is dramatic – as the new neighbours start to learn about, and subsequently fear, one another. The connection between the two is disappointing though: despite frequent references to Hitchcock, this short play lacks suspense.

And yet there are fine performances to enjoy. The two cast members are identified by where they live (aren’t we all?) and Craig Gazey plays ‘11’. He’s the kind of guy who reminds you that inhibitions can be useful. Revelling in the extravert nature of his character, Gazey gets plenty of laughs. Along the corridor Emily Head is ‘12’. One of the nicest characters I’ve seen on stage for quite a while, she might be prim and officious, but she is hugely endearing, and Head performs the well-written, well-rounded character, wonderfully.

The neighbours unite in acrimony over the resident of flat 10, whose crime is to leave bin bags in the communal corridor. Events escalate and there’s a twist, but it’s the humour that makes Third Floor worth watching; the politics of post-it notes left as complaints and the psychology of doormats! I am obliged to point out the benefits of a competent managing agent – who would surely have prevented the problems that number 12 runs into – although admittedly it wouldn’t have led to such a good play.

Until 5 November 2011

www.atgtickets.com

Photo by Matt Crockett

Written 14 October 2011 for The London Magazine

“Top Girls” at the Trafalgar Studios

What an opening: given its first act, it’s no wonder Caryl Churchill’s Top Girls has such a great reputation. A riotous dinner party unites women from myth, history and fiction in an Absurdist tableau to discuss their lives, loves and deaths. The stuff of doctoral thesis is seldom this funny – witness the Victorian explorer’s racist faux pas towards the medieval Japanese noblewoman – but what makes the scene so riveting is Churchill’s ability to bring the pain these women experienced so close to the surface.

How this connects to the rest of Top Girls is another chapter in that thesis. The play becomes the story of the party’s host Marlene. An 80s career women with a recruitment agency, the role is performed superbly by Suranne Jones. Wonderfully attired and every inch the thrusting executive, Joseph Epstein could have had her in mind when he coined the phrase ‘yuppie’.

Marlene’s is a cruel world. One of her clients, in a stand-out performance from Lucy Briers (who has a great night, also playing Pope Joan), is a bitter middle manager of 47, who’s told that her age is a “disabling handicap”. And Marlene’s back story, escaping to the city, has enough drama when she returns to Ipswich to match The Homecoming.

Max Stafford-Clark’s assured direction does a lot of favours to Churchill’s text. He has the experience, having directed the premiere in 1982 at the Royal Court, and this new production arrives from Chichester with rave reviews.

Marlene’s casual rejection of her daughter Angie, played cogently by Olivia Poulet, is devastating – she’s no “top girl”. The family confrontation that centres on Angie’s future is electric, with a passionate performance from Stella Gonet, the character who gets to ask what will happen if the young girl just can’t “make it”.

Top Girls is political to its core. Marlene’s pin-up girl is Mrs Thatcher – she’d give her the job – and Churchill’s particular politics of fear, debatably, makes the play feel dated. But the strength of this revival is to show the nuances within this landmark play. The complexity of the characters indicates that there are still questions to ask – Churchill’s provocative presentation demands they are answered.

Until 29 October 2011

Photo by John Haynes

Written 17 August 2011 for The London Magazine

“Ordinary Days” at the Trafalgar Studios

Having had its London premiere at the Finborough Theatre back in 2008 we owe director Adam Lenson enormous thanks for staging another production of Ordinary Days. Adam Gwon’s musical is as far from the quotidian as it is possible to be. It’s a must-see.

Gwon’s story of four young people on one day in New York is a song cycle of love to the city. New York’s stresses and excitement, its random possibilities, are common enough urban tropes but Gwon presents them with unusual, appealing modesty as well as intelligence and great tunes.

Lenson has a similarly light touch, focusing on the intimacy of the piece and getting the best from his cast of familiar musical theatre performers. It would be a privilege to see these guys on any stage, but in a venue as intimate as the Trafalgar Studios it’s an unmissable opportunity.

Daniel Boys is perfectly cast as the lovelorn James. The chemistry he has with co-star Julie Atherton, who plays the recondite Claire, is palpable and both are in fine voice.
Deb and Warren
Lee William-Davis shows off his fine acting skills playing Warren, a sensitive soul lost in the city. Yet the revelation of the night is Alexia Khadime, who gives a tremendous performance as Deb, a frenzied graduate student who loses her notes and finds something more important. Khadime’s voice is as stunning as her comic ability.

Comparisons with writer/composer Jason Robert Brown are somewhat inevitable for Gwon. There are similarities and that is no bad thing. Ordinary Days is fresh, contemporary and brave. But Gwon’s musical has a more immediate lyricism and his writing a sentimental touch Robert Brown might shy away from.

Underlying Ordinary Days are questions that resonate with a modern urban audience, and ruminations on art and life that are delivered with emotional truth. Beauty is never far away in the city, or in Gwon’s wonderful score. With Lenson on board, Ordinary Days is 80 minutes of near perfection, so good you’ll want to see it again as soon as it’s finished.

Until 5 March 2011

www.ambassadortickets.com

“Holding The Man” at the Trafalgar Studios

On paper, Holding The Man is a potentially grim prospect – a gay coming-of-age story at the start of the AIDS era. The play might also risk seeming dated, as the confusion and fear surrounding the deadly disease has changed. The Australian Griffin Theatre Company’s triumphant arrival in London blows such qualms away in a startlingly effective production. Holding The Man is, quite simply, a beautiful love story.

Romance with a capital R exudes from playwright Tommy Murphy’s adaptation of the late Timothy Conigrave’s celebrated memoirs. Guy Edmonds, who plays Conigrave, and Matt Zeremes, his lover John Caleo, are utterly convincing as the two men in love. They show passion, tenderness, anxiety and pain in their rich performances
The lovers have their faults, but Conigrave’s is also his virtue – his honesty. Blunt to a fault, his writings reveal how hurtful he could be. Often painfully crude and cruel, his desire to be open about his sexuality and then to have an open relationship comes before others’ feelings. He isn’t always an attractive character, but his truth wins our admiration.

The truth has a power to make us laugh. Holding The Man reminds us that laughter goes on even when we are so ill that it hurts us to do so. From the touching naivety of the boys as they fall in love, through Conigrave’s time at college and even in sickness, there is fun to be had. Along the way we get a fantastic soundtrack and costumes so spot on that they deserve a stand up comedy show of their own.

However, director David Berthold and designer Brian Thomson have created more than a supremely funny period piece full of guilty pleasures for those who remember the 80s. Thomson’s beautifully poetic set of lights and mirrors reflects the magic of romance and theatre. Equally, Berthold creates a highly inventive production with a tight ensemble cast using the most of basic props and techniques powerfully.

The play has hundreds of characters. Amazingly, just four actors play all of the other roles with dazzling transformations of gender and age. Jane Turner is given star billing. She succeeds in differentiating her performance as both boys’ mothers from her famous role in cult TV show Kath & Kim. Along with great lines and an easy ability to make people laugh (every gesture gets a giggle), she can also be deeply moving. There is a danger she might steal the show.

Turner is disciplined enough to prevent this and she has some stiff competition anyway. Simon Burke is excellent in the diverse roles he has to perform and outstanding when it comes to portraying Caleo’s father. The British performers joining the cast are Oliver Farnworth and Anna Skellern. Their roles include Farnworth playing a school friend’s mother and Skellern a sexually charged teenage boy in a candid group masturbation scene.

For some this might sound a little unpalatable, but it is fitting that Conigrave’s frankness provokes. For others it will sound like a great deal of fun. Holding The Man is terrific and there is more joy than shame here. The sense of loss as its characters die tragically young turns into a celebration of their lives. The pain felt is embraced, as it must be, in any true romance.

Until 3 July 2010

Written 5 May 2010 for The London Magazine