comedy

King & Country, Barbican Centre/RSC

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Shakespeare’s history plays are some of his best. Epic tales with tragedy and comedy, love and war, politics and history are brought to life on stage, with the storyline of some characters spanning years and multiple plays. The RSC and Barbican have, over the last few years, presented the first four as separate productions but to celebrate the 400th anniversary of Shakespeare’s death this year, unite them as a single ticket. King and Country is Richard II, Henry IV part i, Henry IV part ii and Henry V is a marathon package deal of roughly twelve hours of theatre (plus intervals) spread over several days. A large ensemble cast play all roles across the four plays, with the same actors satisfyingly playing the same parts that stretch across multiple productions. Set and design also carry through; this quartet is slick, engaging and brings together original and contemporary practice.

Big names in the cast are an initial draw and live up to their hype (David Tennant, Antony Sher, Julian Glover), but the thirty-strong ensemble are just as good, if not better. Sam Marks as Aumerle, Poins and the Constable of France is excellent, particularly as Prince Hal’s laddish sidekick with a magnetic energy that bounces around the stage and fills the 1,156-seat theatre with youthful vigour. Matthew Needham comically interprets Hotspur; random, extreme outbursts get laughs, making the character’s tragic flaw the reason for his defeat. He also plays Mowbray and Shadow, the latter being a minor role but played with such commendable contrast that he is unrecognisable. Jennifer Kirby is a feisty Lady Percy and a naughty and nice Katherine, endowing both small roles with heaps of personality. The best comedic performances include Oliver Ford Davies as Shallow (also a fantastic Duke of York and Chorus), Emma King as Doll Tearsheet, Sarah Parks as Mistress Quickly and Joshua Gardner as Fluellen.

Tennant is just as exquisite as Richard II as two years ago, and Jasper Britton’s Bolingbroke/Henry IV is endowed with pathos, guilt and an extraordinary character journey. Alex Hassell is delightful as the devil-may-care Prince Hall, but his quieter, matter of fact Henry V is sensitive but less dynamic. He aims for intimacy rather than bombast and arrogance, a unique interpretation but one that is not overly effective due to a lack of power, particularly in his famous speeches. Antony Sher nails Falstaff’s characterisation, but his even, rhythmic delivery lacks variation and harks back to the old fashioned declamatory RSC stage speech – hugely disappointing.

Stephen Bromson Lewis’ set is the same as it was for Richard II’s performance two years ago and has little variation over the four productions. Paired with Tim Mitchell’s lighting, the audience sees austere courts, earthy battlefields and debauched public houses that don’t interfere with the action. The acrylic floor of under lit ploughed furrows is the surprise of the event, not viewable from the stalls closest to the stage but adds a striking dynamic and atmosphere from the gods: a delight for us peasants with the cheapest seats. Costumes (presumably also by Lewis) hint at a time period, but have a contemporary, minimalist touch that please the eye but not dominating.

There are some odd directorial choices by Gregory Doran in these otherwise stunning productions. Rumour (Antony Byrne) is in contemporary dress, accompanied by a projected digital cascade of hashtags and “rumour”. The Chorus (Oliver Ford Davies) is similarly dressed, which makes sense with the text. The token technology reference? Much less so. These are jarring in their modernity, unneeded and contribute nothing to the meaning and aesthetic of the plays. He misses an opportunity to put Henry V on the elevated walkway heavily used in Richard II; instead he lowers him to a wooden cart and diminishes the gravity of the St. Crispan’s Day speech.

It was an utter joy to see Doran incorporate audience interaction; even though there weren’t many of these moments. They unite the audience and actors in a love for Shakespeare’s work, bringing everyone together in a celebration of living, breathing theatre rather than maintaining a distant reverence for it. Henry V’s adorable insecurity in the presence of French princess Katherine leads to asking the audience for advice, and Hassell’s corpsing during a pub scene as Hal (when an audience member loudly blew his nose and another actor acknowledged it within the action) was a delight. His easy confidence with this style of performance clearly stems from his early work with The Factory and The Globe; Doran should have exploited this more, particularly during the character’s youthful exploits. The audience could have easily been his army or his mates down the pub more often.

Though RSC productions have often missed the mark in the past, these four are almost as on it as they can get. They do not force a modern concept that only tenuously relates to the themes in the script, but they are not stuck in a stilted, stuffy style of yore. Doran’s productions are unified, alive and vibrant with stellar design and performances. Here’s hoping they see life in the UK beyond this Barbican run and their international tour this spring.

The Play’s the Thing UK is committed to covering fringe and progressive theatre in London and beyond. It is run entirely voluntarily and needs regular support to ensure its survival. For more information and to help The Play’s the Thing UK provide coverage of the theatre that needs reviews the most, visit its patreon.

The Xmas Carol, Old Red Lion Theatre

rsz_2cc9d33d00000578-3250546-i_ve_never_doubted_that_mr_cameron_like_most_of_his_generation_w-m-2_1443338742165Dominic Cavendish thinks this year’s theatre lacks relevance to current affairs. He’s probably been working under a commercial and subsidized theatre-shaped rock (as mainstream critics are prone to), citing Anders Lustgarten’s Lampedusa as, “number one in a field of one” where, “nothing stood out as ‘the’ play for today.” Matt Trueman defends theatre’s ability to respond at the speed Cavendish would like, and also cites several examples Cavendish neglected: “The Fear of Breathing by Zoe Lafferty and Lucien Bourjeily’s 66 Minutes in Damascus, part of the 2012 LIFT festival, spring to mind, though Cordelia Lynn’s Lela & Co was set in an unnamed country gripped by a similar civil war.” Also springing to mind and not set in Syria but Liberia, Danai Gurira’s Eclipsed starkly presents the victims of another civil war.

The nightmare in Syria driving tens of thousands of people to flee their homeland in search of safety demands global action and aid, of course. But there were numerous other hotbed issues addressed in British theatre over the past year, even the last couple of weeks. Theatre Ad Infinitum’s Light looked at government surveillance, As Is reminded us that AIDS diagnoses are on the rise, Goodstock describes the uncertain life as a young woman with a high risk of breast cancer. Down & Out in Paris and London rallies support for the working poor, The State vs. John Hayes gives us the last night of a schizophrenic woman on death row, and Skyline is a relentless attack on the London housing crisis. There are many others as well, and that’s just in the past year of one critic’s theatregoing.

Within the past week, The Old Red Lion opened Arthur Miller’s first play, No Villain, a love letter to communism and the strikers of 1936 New York City. Accomplished theatre critic and author T L Wiswell also offered her latest work for two nights only, a satirical update of Dickens’ classic Christmas novel to the current 10 Downing Street, The Xmas Carol. That’s just at one venue, not specifically known for political theatre. The Xmas Carol has a dig at pop culture/The X-Factor to frame the consequences of David Cameron’s legislation on everyday, working people after his annual Christmas party, similar to Miller’s use of the strikes to focus on the life of one family out of millions. Both plays need further development (though it’s obviously too late for Miller), but both brashly and fearlessly confront the politics of their day.

In The Xmas Carol, Simon Cowell (Chris Royds) introduces his latest programme that’s sure to be a ratings hit; it’s an interesting meta-theatrical device that works towards justifying Cameron’s (Warren Brooking) travels through his past, present and future. Jason Meininger’s lighting and Keri Danielle Chesser’s sound effectively evoke transitions in time and space. Some more exposition to set up the television show that Cowell is steering would have clarified Cameron’s complicity and aim to improve his ratings, but the device itself is a creative deviation from having Cameron fall asleep and dream the whole thing.

There are some great impressions in the cast, particularly from Luke Theobald as Ghost of Christmas Past Margaret Thatcher. Brooking could have been a louder, bolder Cameron but he captures an element of the man in his gestures and general lack of humanity. Will Bridges is an amusing, though not particularly accurate Jeremy Corbyn but as this is a satire, his punditry can be excused. Jenny Wills as Cameron’s PA Bob Cratchett brings some grounded naturalism to this piece. She’s a lovely character, warm and family focused, with some good dialogue, but her performance style jars with the heightened delivery from the rest of the cast. It works to ground Cameron’s devastating policies in reality, but she could use some backup from other characters. As the play’s currently just under on hour, more down-at-heel, working people could easily be brought in to further emphasise the battle between the ridiculous politicians and celebrities, and the everyday man.

Having gone to a reading of The Xmas Carol about a month ago, the concept has developed quite a bit since then, but the structure could still use additional tightening and detail. More dialogue and exposition will help, particularly in the beginning and end. There are some genuinely funny moments and well-crafted scenes, but a brief resolution. The Tory criticism is relentless and mocking but also pointed and moving. Wiswell is certainly in the process of striking a good balance within the piece, but it needs just a bit more shaping.

Both The Xmas Carol and No Villain are highly political, but in very different ways; the same can be said of many of the aforementioned productions. Sure, they’re not about Syrian civil war and refugees, but they focus on diverse, divisive issues relevant to contemporary life. Perhaps Cavendish needs to visit the fringe more: it’s where angry voices can express their views unfettered, without the burden of corporate sponsors and other such bureaucratic obstacles. These shows don’t have the high production values or years of development and funding that commercial theatre does, but political theatre on the fringe is some of the most raw, honest, relevant theatre I have seen this year.

The Play’s the Thing UK is committed to covering fringe and progressive theatre in London and beyond. It is run entirely voluntarily and needs regular support to ensure its survival. For more information and to help The Play’s the Thing UK provide coverage of the theatre that needs reviews the most, visit its patreon.

Mirror Mirror: A Snow White Pantomime, King’s Head Theatre

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They are new to the King’s Head, but Charles Court Opera aren’t new to pantomime. This year’s Mirror Mirror: A Snow White Pantomime is their ninth “boutique” panto. Though an opera company, this show and cast of six are anything but stereotypical opera fare. John Savournin’s script is fresh and witty, the performances are camp and vibrant, and the re-written pop song soundtrack is so well sung that it deserves a cast recording. There’s plenty of typical panto interaction, made easier and more personal in a fringe venue but doesn’t overwhelm the space, either. Though the costumes are detailed and fun, the set is a bit analog and takes up a lot of playing space, restricting movement and choreography. Some of the performances were more genuine than others, but this remains a wonderfully current panto with excellent writing.

Savournin also directs and plays Snow White, the ditzy, ingénue widow of Barry White living with the seven dwarfs, all distinctly and energetically played by Matthew Kellet. Greedy queen Andrea Tweedale uses her mirror (Simon Masterton-Smith) to help her search for a husband, but her plans are thwarted when prince Larry Black (Amy J Payne) and his valet Harry (Nichola Jolly) show up looking for a bride and instead of being impressed by her beauty, Larry falls for Snow. The traditional story veers off in numerous contemporary directions from there, which adds to the audience’s delight and prevents the show from becoming stale or generic. The music is mostly cleverly reworked pop songs, but there’s a bit of musical theatre thrown in and the Act one Finale numbers are fantastic.

No individual performer overshadows the others, instead they are a balanced lot with clear strengths. Payne and Jolly are a charismatic pair, with Kellett’s range of dwarves a hilarious counterpoint to the leads. Savournin’s Snow is shallow but sweet and doesn’t fall short in any of the creative roles he takes on. Tweedale stokes the audiences’ booing and aww-ing brilliantly. The height difference between Savournin and Payne supports the comedy heavily peppering the dialogue, as does the cross-gender casting that goes beyond the dame and principal boy. There is some lovely chemistry between some of the characters but even though it’s a panto, there could be more between Payne and Savournin.

There’s loads of audience interaction and mess, the best being a Great British Bake Off-style competition that results in dough everywhere. Of course, there’s your usual panto call and response but not so much so that the script is otherwise flimsy. The unique visual gags Savournin employs are much more satisfying, anyway (pro tip: look out for Barry). A few give a nod to tradition, but this is definitely a language-focused script. This gives the performance a richness and depth missing from more traditional fare, hence the “boutique” label. Charles Court Opera is certainly onto a winning formula here within London pantomime offerings and is not one panto fans should miss.

The Play’s the Thing UK is committed to covering fringe and progressive theatre in London and beyond. It is run entirely voluntarily and needs regular support to ensure its survival. For more information and to help The Play’s the Thing UK provide coverage of the theatre that needs reviews the most, visit its patreon.

Beauty & the Beast, Polka Theatre

Beauty and the Beast - Polka Theatre - 20 November 2015 Writer - Charles Way Director - Roman Stefanski Designer - Laura McEwen Music - Julian Butler

Cold, dark days make me want to see feel-good theatre, especially in the run up to the holidays. Bonus points if it’s colourful, has some depth and at least some non-formulaic elements, even in a classic story. Polka Theatre’s Beauty & the Beast for ages 6-12 meets these criteria with a surprisingly complex storyline that keeps adult attention as well as kids’. Despite the target age range, there is some great humour and a touch of innuendo adults will appreciate (kids definitely won’t get it), sumptuous set and lighting and an adapted, relevant script. Some of the performances are wooden from the dated language and there are some dodgy movement-based transitions, but the school group audience was quiet and focused for most of the nearly two hours with interval.

Charles Way’s adaptation of the traditional story gives a much wider context than the Disney film and is more relatable to a modern, young audience. Belle is still the main character, but we get to know her father, Mr Godwin (Simon Holmes) and sister Cassandra (Géhane Strehler) well. Belle and Cassandra are complete opposites: Belle’s bookish, a visionary and frightened by most things; Cassandra loves boys, pretty dresses and adventures. The two bicker regularly and their money-driven merchant father is tired of it, a family dynamic that many children will recognize. Beginning in London and moving to the remote countryside when Mr Godwin loses his fortune, the girls also have to cope with big life changes and overcome adversity.

The women’s performances are consistently stronger than the men’s. Ritu Arya’s Belle is convincingly performed with a wonderfully dry sense of humour and an excellent character arc that isn’t overly saccharine. She carries the story and its energy well without being a stereotypical children’s performer, dealing with the old fashioned language brilliantly. Géhane Strehler is great contrast, giving young girls two opposite ideals to potentially relate to. Both have flaws, virtues and detail. Emma Cater is a sinister housekeeper for Jason Eddy’s Beast, a gentle man with stylized physicality and an imposing presence. Eddy doesn’t quite manage to carry that through after his transformation, but it’s so close to the end that it doesn’t matter much.

The set is layers of swirling panels that change colour and glow according to location, with the Beast’s castle the richest of them all. Laura McEwen’s set and Ian Scott’s lighting work together in wonderful harmony, with the occasional addition of puppets. Stage combat from RC Annie also adds a visual component, but the fights are slower that fight speed and brief. Some of the transitions lag and have abstract movement to fill the time, but this doesn’t contribute to the story and usually look pretty naff. Costumes, also by McEwen indicate the characters’ circumstances and changes in social class, but the highlight is the headdress and mask for the Beast.

Though there are still age and gender stereotypes, the adapted script empowers the young female characters. The detail and length will occupy adults as well as children and Way’s story is excellently constructed. With wonderfully visual design and a stirring score by Julian Butler, this is a lovely production harking back to the classical story without the glitz of Disney-fication or the panto cheese, and a solid option for a family holiday show.

The Play’s The Thing UK is an independent theatre criticism website maintained voluntarily. Whilst donations are never expected, they are hugely appreciated and will enable more time to be spent reviewing theatre productions of all sizes. Click here to make a donation with PayPal.

Jackson’s Way: The Christmas Top-Up Power Seminar!, Battersea Arts Centre

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Will Adamsdale’s standup/solo performance creation Chris Jackson is a motivational speaker and life coach, and the audience is at his seminar to learn his life changing methods. Jackson’s Way: The Christmas Top-Up Power Seminar! teaches you the importance of attempting meaningless or impossible actions, or “jactions”, in our lives that are otherwise filled with purpose. Adamsdale’s script has a clear narrative but somewhat lacking in follow through – we never really learn precisely WHY we should be filling our time with jactions, but the character’s detailed biography and emotional journey through the Christmas story is satisfyingly seasonal.

Just so you know, jactions have levels, can be compounded and done in groups or individually. You know you’ve succeeded when you have a mild feeling of nausea but manage to Push Through It (PTI). Some of Jackson’s most famous jactions include trying to move the floor, preventing a thrown towel from hitting the ground, and making your hand be in two places at once. The absurdity and existentialism are wonderfully funny, as is the conviction with which Adamsdale gets the audience to attempt jactions.

The autobiographical storyline and the use of projections add to the theatricality of the piece, as does Adamsdale’s immersion in the character he created and his sudden change of mood. Though the structure seems pre-formatted some of the content is improvised and there’s loads of audience interaction.

The ending is rushed but generates plenty of laughs with the character’s narcissism and has a degree of resolution. A bit more time on end and clearer goals for the seminar premise would give this already polished piece of performance more finesse, but it definitely isn’t lacking in humour that functions on multiple levels.

Adamsdale is clearly a skilled, charismatic (and sweaty!) performer with an innate sense of comedy and stage presence, as it should be for such a seasoned performer. Though English, his American accent is flawless. Running for over ten years now, it’s no wonder that Jackson’s Way has staying power in the performance and comedy circuits, and Jackson’s Way: The Christmas Top-Up Power Seminar! is a great variation on usual holiday theatre offerings and a reminder to enjoy the frivolity of Christmas rather than stressing out over its logistics.

The Play’s The Thing UK is an independent theatre criticism website maintained voluntarily. Whilst donations are never expected, they are hugely appreciated and will enable more time to be spent reviewing theatre productions of all sizes. Click here to make a donation with PayPal.

Spin Cycle, Theatre N16

https://pbs.twimg.com/media/CTpuSCxWcAEiYNI.jpgWe’ve seen “Mad Men,” or at least heard the clichés about cutthroat ad agency types. Competition for clients, drug and drink fueled late nights, ruthless bidding for commissions regardless of morals. Steve Thompson’s Spin Cycle uses all these ingredients, but the writing style doesn’t match director Stephen Oswald’s delivery. It’s either a farce that was delivered as naturalism, or a naturalistic piece (albeit with a liberal use of humour) that attempts a farcical production. All of the characters are pretty stereotypical with at least some degree of reinforcement from the script, causing the two hours of day-to-day office life to feel repetitive and lacking in depth. There are clear individual storylines, but everything that goes wrong is treated as a crisis that’s conveniently and speedily resolved. The performances are generally quite good in this strong ensemble, but the actors are unable to show much range or development due to a lack of character journey.

Jane (Anneli Page) is the boss, with a good balance of motivation and friendliness. Page easily adopts Jane’s quick wit but also shows some warmth and vulnerability; it’s a shame she is prevented from more than a bit of this. The character has an underlying humanity that is neglected in favour of style, but I chalk this up to a directorial choice. Ash Merat as Piers is the prodigal son with a dangerous edge, also well played. Both Mary Looby and Dan Shelton play three roles each and show excellent contrast between them. They are clearly skilled performers who deserve a shot at a meaty lead, but are excellent character actors as well.

My inkling is that the script is the issue here. It tends towards a circular structure with slow development and a few random sections of rhyming verse that don’t contribute anything other than questions about the reason for their existence. The storyline doesn’t follow a standard dramatic arc, which isn’t necessarily a problem, but the repetition employed quickly becomes tedious. The script could easily be halved and still make its point about the awfulness of the advertising industry, but at least the performances were good enough to get us through two hours of corporate rhetoric and pandering to the Tory party to make a buck.

The Play’s The Thing UK is an independent theatre criticism website maintained voluntarily. Whilst donations are never expected, they are hugely appreciated and will enable more time to be spent reviewing theatre productions of all sizes. Click here to make a donation with PayPal.

Four Minutes Twelve Seconds, Trafalgar Studios

rsz_four_minutes_twelve_seconds_-_kate_maravan_2_-_photo_ikin_yumWhat do you do if your teenaged son’s ex-girlfriend accuses him of sexual assault? What if her family refuses to go to the police and takes justice into their own hands instead? Di (Kate Maravan) and David (Jonathan McGuinness) don’t know either, and they’re living this nightmare every moment of Four Minutes Twelve Seconds. They have huge aspirations for their bright boy, hoping he makes it out of the Croydon that they themselves never managed to leave. But those dreams are teetering precariously on top of vicious rumours…or are they facts? Seventeen-year-old Jack who the audience never sees, may or may not have uploaded a film, that may or may not show him forcing himself on his girlfriend Cara (Ria Zmitrowicz) in the run-up to his A-level exams. As his parents try to discover the objective truth of the situation, some awful discoveries come to light. In short, fast scenes spanning several months, social class, parental aspiration and sexism influence the four characters’ choices in this riveting, dialogue-driven one-act.

This energetic first play by James Fritz, writer of the acclaimed Ross & Rachel at this year’s Edinburgh Fringe, doesn’t shy away from honest, infuriating material confronting ingrained attitudes that interfere with rape convictions (at the end of the play I was so angry I was shaking with the knowledge that these sorts of things probably happen all the time). A ferocious Maravan leads with an intense, focused performance and a satisfying character journey. To see a mother cope with drastically altering perceptions of her own child is heart rending, particularly as her husband’s views often clash with her own.

This is definitely an “issue” play, albeit a sophisticated one, that looks at the role of social media and the selfie culture in the lives of young people who don’t fully understand the implications of putting every detail of their life on the internet. It also looks at consent, sexist definitions of rape and how police view rape accusations. There’s also the question of how to treat crimes committed within one’s own family, vigilante justice and taking responsibility for mistakes. It’s a packed script, but manages to not overwhelm with ideas. Fritz’s dialogue is advanced for a first play, if formulaic in its gradual revealing of information. He liberally uses humour and nuanced humanity to counter the dark subject matter; these characters could easily be portrayed as stereotypes, like the sort in a bad TIE play.

On that note, this would be an excellent production to tour to secondary schools, colleges and unis, particularly since this attitude is so prevalent: https://metrouk2.files.wordpress.com/2015/10/12165535_470783216459605_1739814260_o.jpg?w=748&h=561&crop=1Frankly, this is a crucial piece of theatre that all young people growing up in our cyber-obsessed culture should see. With simple design elements that draw attention to the dialogue and story, it would be easy to tour this powerful production.

Four Minutes Twelve Seconds is hip as well as topical and provocative. Witholding Jack’s appearance draws attention to the wider impact of his actions rather than wallowing in his emotional state, a wise choice by Fritz. Excellent performances by the company and snappy dialogue keep our attention as well as enrage, but what would we do if we were in Di and David’s shoes? Though we all strive for justice for rape victims, we are but judgemental, selfish humans after all, and that is the real flaw in the system.

The Play’s The Thing UK is an independent theatre criticism website maintained voluntarily. Whilst donations are never expected, they are hugely appreciated and will enable more time to be spent reviewing theatre productions of all sizes. Click here to make a donation with PayPal.

La Soirée, Southbank Centre

rsz_1bret_pfister_image_by_bertil_nilssonSouthbank Centre has a spiegeltent in residence under the Hungerford Bridge; it’s a sexy, glam, velvet and mirrored thing miles away from shabby travelling circuses with tired acts. It’s a fitting home for La Soirée, a heady mix of circus, cabaret and variety performance from around the world. Each act has a distinct character combined with extraordinary skill sets, often leaning towards adult and edgier content. Though the characters created as a vehicle for the skills on display generally rely on stereotypes, this doesn’t diminish the impressiveness of the techniques. The sumptuous environment and range of talent on show makes for a frivolous, fun night of light entertainment with heaping dose of sex appeal.

Though not solely circus, La Soirée seems to focus on circus arts and use other performance styles to add variation. They also change the lineup on a regular basis, so any given night is unique. These artists are multi-skilled, too: The English Gents are a pair of balancing acrobats, who separately are a bubble artist and a pole dancer. Captain Frodo contorts himself through tennis racquets as well as doing a bit of comedy magic. My favourite is Asher Treleaven, who has a sexual Diablo routine as well as a side-splittingly funny stand up act around a Mills & Boon novel. Then there’s a hoop artist, an aerialist using a single strap and a hand balancer on a motorbike. A singer, and modern clown/comedian Mooky with a double act composed of herself and a willing audience member complete the lineup. All of these performances take place on a tiny round stage, no more than 2 metres across.

There’s plenty of subversion in the event, as there always has been in circus – the exotic on display for the everyday Joe to get a glimpse at those who are unwilling or unable to conform to the status quo. From large tattoos and a lesbian kiss, to deliberately dislocated joints and extreme flexibility, that “otherness” is still very much present, even though its more mild forms no longer shock us. That subversion is sexy, titillating and occasionally grotesque, making the groups of business people on corporate outings squirm as well as gasp. It’s so easy to be impressed by the physical abilities, but the additional layers of characterization make these acts stand out from others I’ve seen previously. I don’t see much circus, cabaret or variety, but La Soirée has such a high quality range of acts that it’s hard not to be impressed.

The Play’s The Thing UK is an independent theatre criticism website maintained voluntarily. Whilst donations are never expected, they are hugely appreciated and will enable more time to be spent reviewing theatre productions of all sizes. Click here to make a donation with PayPal.

The Killing of Sister George, London Theatre Workshop

JHDTHmHNUC5s8ahQ6vv0FnjNF0ywJmSNOl7h0gT9Ch8,hFmORSc8H8GW1FxpEpv8GOdBhVvJqoliuWLo_jZszeU,PCCZDB9Yh7LIfBnwbk-dicJH55Con_eOwl7icS3jyXYIf a play includes the BBC, lesbians and emotional instability within the arts, it would be fair to assume it’s a contemporary text. The Killing of Sister George, written in 1964 by Frank Marcus, is refreshingly ahead of its time and despite its age, doesn’t feel particularly dated. In an excellent production by Artful Theatre, this all-female four hander kills off a beloved radio drama character to look at the difference between public perception and actual reality.

The cast of characters is a vibrantly coloured one. June Buckridge (Sioned Jones) has played Sister George on the popular radio drama “Applehurst” for over six years. Over that time, she’s lived with her “flatmate,” Alice “Childie” McNaught (Bryony Rawle) who she emotionally manipulates and abuses. Sister George is lovely and virtuous, June is anything but. Jones captures the blur between actor and long-embodied character exquisitely, embodying June’s aggression that covers her fragility. Sarah Shelton is Mrs. Mercy Croft, the BBC’s assistant executive head who is tasked with breaking bad news to June. Initially cold and businesslike, she warms to Rawle’s vulnerable Childie. Rounding off the cast is Janet Amsden as the eccentric clairvoyant Madame Xenia who lives upstairs, a woman who adds some much needed levity and stability. Marcus would have done well to include more of Madame Xenia, as even though there is plenty of comedy written into the script, the story is a dark one indeed. The four women fill the intimate venue with energy so it’s fit to burst.

Despite mentions of telegrams and conspicuously absent mobile phones and computers now vital to working professionals, the play feels modern due to themes that are still relevant. June and Sister George could not be more different, and the public adore Sister George; June doesn’t cope well under the immense pressure of living up to the ideals belonging to someone imaginary. June’s work-life balance is disturbed when Mrs Croft visits her home for meetings, a feeling actors know all to well what with the amount of admin and line learning that happen at home. There is also the implication that these women have no one else in the world that’s a friend or family. Of course there are work colleagues, clients, and fellow cast members, but there’s a desperation and heavy loneliness that hangs over these four.

I hadn’t been to London Theatre Workshop before, or seen a production of the quintessentially English The Killing of Sister George, and was impressed by both. A well-looked after gastro pub theatre space and a new-to-me play that could easily come across as stuffy and old fashioned is instead filled with life.

The Play’s The Thing UK is an independent theatre criticism website maintained voluntarily. Whilst donations are never expected, they are hugely appreciated and will enable more time to be spent reviewing theatre productions of all sizes. Click here to make a donation with PayPal.

The Devil is an Ass, Rose Playhouse

rsz_devil-is-an-ass-700x455Enthusiastic little devil Pug wants a crack at antagonizing mortals, but big man Satan isn’t sure he’s ready. After some discussion, Pug eventually gets his way and finds himself in London, where he is encouraged to bother greedy Fabian Fitzdottrell, an odd little man obsessed with using the dark arts to get rich. Taking up a position as his servant, Pug witnesses all sorts of bad behaviour and scheming from Fitzdottrell and the various con men after his money. Ben Jonson’s The Devil is an Ass is less about the devil and more about devilment, and Mercurius bring this farcical, Jacobean world to life with a snappy edit, good energy and some excellent performances in original dress.

At just over an hour, the edited script becomes focused on plot points rather than character development, but it works well for this story consisting of constant attempts at trickery that go wrong. Short, energetic scenes keep the action ticking along nicely in The Rose’s intimate staging area; only two moments are staged at the back of the archaeological site across the pool of water preserving the theatre’s remains. It’s a shame to rarely this part of such a unique venue, particularly as it would have expedited some of the longer transitions. Director Jenny Eastop’s use of fabric drapes and a few wooden chairs to create various locations is lovely though, particularly when arranged to make windows across a courtyard from which handsome Wittipol (Monty D’Inverno) attempts to woo Fitzdottrell’s much abused wife (Beth Eyre). Handy signs also add clarity and sumptuousness to a story driven by money and deception.

The men lead in the performances, with Michael Watson-Gray as the hapless Fitzdottrell who is unable to decline Meercraft’s (Benjamin Garrison) blatant exploitation of his greediness. Watson-Gray’s Fitzdottrell is also wonderfully abhorrent in the way he treats his wife and the men that he, in turn, also tries to con. Garrison gives a performance nearly identical to the style of Jack Whitehall, but this professional debut of a recent graduate shows confidence, presence and style. D’Inverno is delightful disguised as a Spanish lady in his attempts to get some alone time with Mistress Fitzdottrell, and Nicholas Oliver as Ambler is also very good. Some of the other performances lack confidence and seem unsure about handling the text, but do not detract from the others much.

Rather than forcing this play into an unrelated time period, Eastop wisely focuses on the text-based comedy and leaves the setting in its original time and place. As Pug becomes more and more baffled by the antics of these mere mortals and misses the roaring fires of home, his frustration eventually explodes after a run in with a lady of fashion, of which there is no greater hell. With a focus on money as much as the dark arts, there is some contemporary relevance, but it is very much a relic of its time. There are definitely some great choices in Mercurius’ funny production of Jonson’s rarely staged play that makes it worth seeing in this very special venue.

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