Month: June 2013

The Exonerated @ New Players Theatre, London – March 2011

The Exonerated relays the true stories of six wrongly accused individuals sent to Death Row through dialogue excerpted from letters, interviews, case files and the public record. The protagonists’ accounts intermingle throughout to expose not only some horrific events and unthinkable treatment born from being in the wrong place at the wrong time, but a collective, indomitable human spirit which is to conquer the corrupt American justice system as truth is finally revealed.

Although there is absolutely no interaction between the characters, this distinguished and accomplished cast achieves the perfect balance. With the exception of Derek Griffiths’ Delbert, whose enlightened interjections as he moves deftly and purposefully about the stage cast him in the role of detached onlooker, the characters are mostly motionless. Yet Jaclyn McLoughlin’s clever direction ensures the feeling is always one of eerie unity; even without touching or speaking, these people are inextricably and poignantly linked, somehow hearing every word that is uttered.

Lisa Eichorn’s Sunny is beautifully understated. Gentle, accepting and softly spoken, she relates the tragic details of her sixteen lost years in a way that exudes pathos but which never fails to invoke admiration for her incredible strength.

Glenn Carter’s Gary is similarly philosophical as he tells of his murdered parents and various survival mechanisms. Unobtrusiveness does not negate his powerful presence and we are continually drawn to his wistful stare as the others speak. Worthy also of particular mention is Ian Porter, whose character Kerry is incorrectly branded a homosexual and appallingly abused by other inmates in jail. His accounts of this and the death of his beloved brother are both sensitive and incredibly moving.

The death penalty remains a way of life in Texas and many other US states. The Exonerated is a potent reminder of this and, for this reason alone, well worth a look.

Huck @ Southwark Playhouse, London – May 2010

The Southwark Playhouse is a fantastic venue, almost like an extension of its neighbour, the London Dungeon, with exposed brickwork, red satin drapery and the trains rumbling overhead.

For this production, one enters the auditorium to the atmospheric sound of lapping water. Garance Maneur’s striking set dominates the space. An ingenious concoction, it depicts an old pier which, in the designer’s words, is intended to “represent the element of transition between the river and the land”. Marneur certainly achieves his aim: as the action ensues, the set almost becomes a character in its own right, adapting fluidly to the fast-paced action of the piece.

My memories of Huckleberry Finn are happy childhood ones. I read Mark Twain’s novels at an early age and spent many a contented tea-time enjoying episodes of the Canadian 1980s television series starring Ian Tracey and Sammy Snyders. What I failed to acknowledge as a young child were Twain’s vital messages and themes. In the novel, his criticism of entrenched discriminatory attitudes and the powerful undercurrent of racism and slavery flow as surely beneath the depiction of romantic, idyllic river-life as the makeshift raft which carries fugitives Huck and Jim on their journey down the Mississippi river.

This adaption does not fail to bring to life the colourful descriptions of people, places and outlandish events its source is noted for. Graeme Dalling’s Huck and Joe Speare’s Jim perfectly embody Twain’s enduring images of escape and liberty as Jim attempts to free himself from slavery, and Huck shuns the boring confinement of “civilised life”. Whilst this Huck is very believable as a young innocent going through all the pains and dilemmas of becoming a man in a morally flawed society, he is just too clean-cut to be a real runaway urchin. Speare’s performance is sensitive and flawless, a deeply human, father-like portrayal of a man who faces an agonisingly uncertain future. Of the supporting cast, it is Jos Vantyler who really shines as Tom Sawyer and a variety of other minor characters, moulding himself effortlessly with the changing scenery.

Back in 1855, when his novel was published, Twain jovially threatened anyone that tried to find a plot in it, with death. Unfortunately, this production remains true to the original in this sense too. Whilst the desire to bring Twain’s narrative to the stage by mimicking his written style is admirable, I doubt anybody without prior knowledge of the novel would know what was going on most of the time. Many great novels pride themselves on being ‘plotless’ but I am not sure such a medium translates as well to the stage. I would have liked to have seen some less rambling depictions of certain episodes, perhaps even with some narration to connect and explain them.

The Killing of Mr Toad @ Finborough Theatre, London – April 2009

For most people the mention of Kenneth Grahame’s timeless classic The Wind in the Willows evokes warm childhood recollections of gentle bedtime stories. Furry animals whiling away their days on rivers and a flamboyant, mischievous toad causing regular mayhem.

Few, however, are aware of the extraordinary tale behind this much-celebrated book and it’s this that is the subject of David Gooderson’s The Killing of Mr Toad. The opening scene introduces Grahame’s widow, Elspeth. Living alone, she barely eats and barely washes, spending her days reminiscing, taking delivery of letters and gifts from admirers of her late husband’s work and talking to his photograph.

Her wandering thoughts soon translate into a full-blown musical celebration of The Wind in the Willows, its four principal characters expertly portrayed by the male members of the company. Animals then morph into humans as the story of the Grahames’ meeting, courtship and eventual marriage unfolds.

Both Elizabeth Counsell and Jeffrey Perry give stellar performances as the protagonists with Perry’s transition from nervous, subservient Mole to Grahame, his childlike creator, a real joy to behold. The marriage is not a happy one; sexually unresponsive, emotionally aloof, and often away from home, Grahame lives in a world of fantasy and ‘private’ dreams which exclude his wife.

They do, however, produce a son. Alastair, affectionately nicknamed ‘Mouse’. He’s born blind in one eye and although his parents dote on him, they neglect him, sending him away to school, failing to visit on his birthday or to acknowledge other important events. Despite this he has a wayward, headstrong nature, demonstrating his regular disappointments to his parents through exuberant play-acting and bouts of song. It is the boisterous, fun-loving character of his young son which inspires Grahame’s creation of his most famous and beloved fictional character.

Leo Conville is outstanding throughout, seamlessly evolving from the swaggering, pretentious Toad into young Mouse, portraying his early childhood and troubled stages of his adolescence with ease. This is a young man who fails to fit in; eccentric and academically and socially unsuccessful, he undergoes unproductive stints at Eton and Oxford University, before finally committing suicide on a railway track three days before his 20th birthday.

Her son’s death is recorded as accidental, but the question of the true circumstances plagues Elspeth for the rest of her life. Counsell really shines here; from the stricken howl of the bereaved mother to her gentle, continuing search for the truth at the end of the piece, she effortlessly evokes real pathos.

Unusual, imaginative and superbly acted, this is a wonderful theatrical experience. At times extremely funny, at others deeply touching, it achieves exactly the right balance of humour and tragedy and works particularly well in the intimacy of the Finborough.

Justin Bond: “Lustre” @ Soho Theatre, London – October 2008

Both Tony-nominated and Obie award-winning, downtown New York icon Justin Bond has an impressive CV. He has toured the world as the Kiki half of legendary performance duo Kiki & Herb, headlining at venues as prestigious as Carnegie Hall, Sydney Opera House and the South Bank Centre and on and off Broadway.  His previous solo show, “Glamour Damage” had its world premiere at Soho and he has since starred in the acclaimed John Cameron Mitchell film, “Shortbus”. This is the London premiere of Bond’s new show, “Lustre”, which has been critically acclaimed on the other side of the Atlantic.

Bond has clearly cultivated a loyal cult following and as the predominately male audience fill the intimate space that is the Soho to the strains of Antony and The Johnsons, there is an air of eager anticipation. The stage is dressed lavishly with sparkly drapes and other paraphernalia, creating, along with the total darkness into which the auditorium is plunged when Bond makes his entrance, the ambience of a sweaty New York cabaret joint.

What ensues is an hour and a half’s worth of glitzy entertainment designed to celebrate, as Bond explains, ‘everything trans’. We are treated to evocative, over-the-top stories and banter laced with sexual politics, references to current affairs (the current global financial crisis and the Presidential Elections, to name two) and undoubtedly all kinds of other ‘in’ jokes that escaped me. Bond makes a fantastic woman, showcasing some spectacular outfits and a sickeningly good pair of legs. He also sings, accompanied on piano by Our Lady J, who, a cross between 1980s pop icon Marilyn and Rolf from the Muppets, is an absolute wonder. Playing with almost manic passion, she provides the perfect compliment to Bond’s endearing, glamorous persona and charisma. Her solo spot is a real highlight, and other special, surprise guests, Novice Theory, and fellow-New Yorker, Ryan Styles, are cleverly interspersed with the main attraction, ensuring variety throughout.

Overall though, the performance lacks the atmosphere and fun I’d expect from a show of this nature. Bond often successfully combines cutting-edge humour with poignancy and emotional rawness, but never really seems to connect fully with his audience; rapport, spontaneity and interaction are unfortunately lacking and it often feels as though he is simply going through the motions of the act. As a result, this will really only appeal to a niche audience and already-ardent fans.

The Beautiful People @ Finborough Theatre, London – October 2008

This rare revival is the first production of “The Beautiful People” in London since 1956 as the Finborough Theatre celebrates the centenary of the birth of Pulitzer Prize winning American playwright William Saroyan. The commemorative season runs until December this year and also features revivals of two of his other plays.

The intimacy of the Finborough is such that as we enter the tiny auditorium to the sound of 1940s America on the wireless, we feel immediately involved. The setting is one of cosy domesticity; we are sitting in a living room with comfy chairs, a piano and all the traditional family clutter. However, as we soon realise, the family who occupy it are far from conventional.

The historical and political backdrop is the Great Depression, alarmingly apt for the current climate. As most Americans struggle, finding themselves at the midst of social and economic turmoil, questioning democracy, capitalism and all the truths on which they have based their lives, the play’s protagonists represent a more optimistic breed, refusing to conform or play by the rules of the troubled world outside. Detached and eccentric, they surround themselves with a protective bubble designed to preserve the enchantment and innocence of their existence even if it involves engaging in illegal practice.

Working for a living is unheard of, and recent RADA graduate Kyle Soller puts in a superb performance as 15-year-old Owen who, a self-confessed ‘loafer’, has been well-educated to this end. Living in a fantasy world of literate mice and one-word novels pervaded by the disembodied cornet-playing of his absent brother, he is of the bold opinion ‘if nobody worked, nothing would collapse…’ With his fuzz of curly hair and unabashed exuberance he is at the nub of this ideal world, determined for his dreams not to be shattered, smacking of a raw potential which is in danger of never being fulfilled. Paul Greenwood is also outstanding as Jonah Webster, the philosophical father. Charming, charismatic, and permanently inebriated, he is caught in a world of nostalgia and celebration of life’s simplistic beauty. However, even he has a past and he is confronted with reality at the play’s end when his prodigal son (Steve Pretty) returns and his lost love in the shape of Miss Harmony Blueblossom (Elizabeth Counsell) reappears. Neither absence or return is really explained, leaving the audience to wonder.

Director Mel Cook successfully embraces the humour of the piece but deals equally well with more serious moments, for example the nostalgic outbursts of frustrated romantic ‘vice-president’ William Prim (Vincent Shiels), the drunken frustration of ‘good companion’ Dan Hillboy as he mourns his youth and the unhappy admission of daughter Agnes (Rachel Clare) that courtship is really not all it is cracked up to be in the wake of her liaison with the safely-named John.

This is an unfortunately short run with just four performances remaining; try not to miss the chance to experience a remarkably unusual, very special piece of writing complemented by some impeccable performances in an ideal setting.

One Minute @ Courtyard Theatre, London – September 2008

The atmosphere is one of buzzing anticipation as the audience fills this small, relatively new space in a quiet corner of Hoxton. Simon Stephens has been enjoying incredible acclaim recently and this is the opening night of a revival of his “One Minute” first performed in Sheffied in 2003. The initiative behind the venture is “Shining Man”, comprising director Robert Wolstenholme and producer Ben Crystal (who also stars), set up with the aim of staging the first major revivals of lesser known modern classics. This challenging debut does not disappoint.

The play is a five-hander and the action, set over eleven months in 2001, is built around the sudden disappearance of 11-year-old Daisy Schults from the heart of London. The police search is on to find her and as we are introduced to them one by one, we realise the play’s five protagonists are unknowingly, yet inextricably linked by this desperate race against time.

Stephens’ characters are gritty and real, sharing a sense of displacement. Where Daisy is literally lost, these people are struggling to make sense of their own lives. Each actor gives a heartfelt and believable performance, especially when given the opportunity to shine and explore with a short monologue. The speeches focus on different urban experiences, bringing particular corners of London to vivid life, relaying all the frustrations, dilemmas and emotions specific to particular slices of time.  The direction is impeccable and the city almost takes on its own character as the missing child’s mother relates the crippling effects of grief as she makes her way home from work on a dark evening. The detectives in charge of the investigation struggle to deal with the frustration of a fruitless search, the stress and strain of the task impacting on their relationships as they constantly question their self-worth and realise how lonely they are. Alice O’Connell’s Marie Louise is a particular highlight. Witness to the disappearance but no longer sure what she saw, she is endearingly neurotic. With her quirky, displaced articulations and desire to return to Bloomsbury, she is reminiscent of a young Virginia Woolf.

We are constantly drawn in, forced to relate and empathise, and it is particularly through the unusual, repetitive use of monologue we really awaken to the significance of the play’s title; one minute Daisy was there, the next she was gone and the minutes tick away mercilessly towards her fate.  A stunning series of intricate, one-minute snapshots into five very different London lives support the central theme and several uncomfortable, yet effective silences remind us not only of the loss of the child but of the awkward silences that so often pervade real life.

This play is not only the story of a child who has gone missing, but an intelligent study of human beings touched by a tragedy which forces them to confront themselves. Christopher Hone’s simple, effective set and Rez Safinia’s haunting, evocative score complete what is a thoroughly entertaining and thought-provoking production.

Out of His Mind @ Shaw Theatre, London – July 2008

New Yorker Marc Salem labels himself a “mentalist”, “developmental psychologist” and “student of the human mind for over thirty years”. After introducing himself and proudly highlighting the fact this is his 7th season at the Shaw, he is careful to assure the audience that respect for participants will be paramount and that nothing we will see will bear any relation to the supernatural or occult. Interesting choice of what is presumably a stage name, then, however that is possibly another interesting discussion for another day…!

Salem demonstrates a number of different “mind games” as the evening progresses, using randomly chosen volunteers from the audience, his presentation slick, humorous, and relaxed. Particularly interesting is his apparent ability to guide and manipulate the way a person thinks, for example a lady who is given a choice of three envelopes, inevitably picking the one with no cash value. Non-verbal communication and body language are explored as Salem pinpoints just exactly who is telling lies on stage, the predictable progression of language demonstrated with a game of Chinese Whispers, and the human being’s innate feel for familiarity shown when the correct, missing piece of a jigsaw is picked from an overflowing bag of different shapes.

Mostly, we get the feeling that this is simply an incredibly astute, intuitive man who relies heavily on clever guess-work and years of practice in his chosen field. He is not always 100% accurate or convincing, and although glaring blunders are rare, he works to gloss over them very quickly.

However, it is towards the end of the show that Salem truly comes into his own. The real highlight is his ability, when completely blindfolded, to seemingly tap into the thoughts of random audience members, extracting accurate pieces of information about them and identifying their belongings (hand-picked by volunteers!) by listening to their disembodied voices alone and without touching. Spooky indeed, and this is one point where we are truly left wondering how he does it.

All in all, an enjoyable evening. Interesting, entertaining and undeniably ingenious, but only rarely completely jaw-dropping.

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