Louise's Theatre Reviews

Friday, 10 April 2009

The Murder Game ** TNT

Thursday 09 April 2009 14:47 GMT

In a lengthy programme note, American writer James Farwell thanks a long list of friends and helpers for their input and support. It’s a pity they weren’t more stringent with their criticism as the result of his “long-time dream” is a heavy-handed attempt at a screwball comedy which rarely hits its mark.

Things aren’t going too well for glamorous New Orleans Judge Katherine Kelly (Josefina Gabrielle) – she’s on the hit-list of a convicted criminal, her husband, district attorney Randall Kelly (bland Michael Praed) wants a divorce because he’s impregnated his paralegal, and their mutual friend Melvin (an ultra camp Patrick Clancy) is using her office phone to place losing bets on the horses. But at least her smarmy new beau, a Brazilian ex-footballer (Ben Jones) is paying her lots of attention.

Credulity is stretched ludicrously past breaking point, though, when both Kellys decide not only to hire a contract killer (Matt Healy) to rid each of the other, but also end up inviting him to dinner.

Farwell (an attorney and political consultant – this is his first play) sensibly sticks to an environment he’s familiar with and manages to tie up all the flailing ends, but the hardworking cast has its work cut out trying to breathe life into paper-thin characterisation, embarrassingly laboured jokes and an irredeemably ridiculous plot.

Kings Head Theatre, Upper Street, NI (0844 412 2953) till 19th April (£18- £23, concessions available)

Tusk Tusk **** TNT

Thursday 09 April 2009 14:54 GMT

I’m getting really worried about 22 year old Polly Stenham. She first hit the headlines a couple of years ago with her coruscating drama of dysfunctional middle-class family life, That Face. Written when she was still a teenager, it won her a clutch of awards and a West End transfer, but it also suggested intimate knowledge of an affluent but far from happy upbringing.

Her new play revisits much of the same territory – absent father (this time through cancer rather than lifestyle choice), a mother whose prescription drug and drink habit has rendered her essentially unfit for purpose, and articulate teenage children home alone trying to cope against the odds. One can only hope that the disturbing scenarios she so skilfully depicts aren’t too rooted in autobiography.

Maggie, Eliot and seven-year-old Finn have just moved to London, but their mother has walked out the door and they haven’t seen her since. With unopened packing cases still littering the flat, Maggie senses that this time it’s different and she’s not coming back, whilst Eliot refuses to believe that she won’t return for his 16th birthday just a few days away.

Stenham’s dialogue fizzes with energy and mounting panic, with black humour as well as pain, and her young cast gives absolutely knockout performances - little Finn Bennett’s cheeky Finn, tutored in evasive lies, Toby Regbo’s Eliot, forced by default into the role of head of the household and desperate to keep their fragmenting family together, and Bel Powley’s 14 year old Maggie, a child growing up far too fast and already weary of the unasked for responsibilities foisted on her by their habitually A.W.O.L. mother.

Royal Court Theatre, Sloane Square, SW1 (020 7565 5000) until 2nd May (£15- £10)

Friday, 3 April 2009

New Boy *** TNT

Thursday 02 April 2009 14:07 GMT

Skins star Nicholas Hoult takes to the stage as a sex-obsessed schoolboy in Russell Labey’s adaptation of William Sutcliffe’s 1996 novel. He plays 17 year old Mark, an academically gifted but socially unaccepted sixth former who, in a decidedly confused way, falls for good-looking newcomer Barry without even realising it in this diverting, if slight, tale of adolescent angst and irrepressible hormones.
Through Barry, he realises his sexual fantasies – matching him up first with a succession of local schoolgirls, then with the married French teacher (a gem of comic acting from Mel Giedroyc), before trying to sabotage the relationship when he feels sidelined.

Labey’s swift production – and Hoult’s gangling performance - capture the embarrassed self-consciousness of pubescent insecurities as Mark’s fumbling attempts to get laid finally pay off. Some of the gags fall flat – and would even the geekiest teenager really be driven to practice with a milk bottle filled with chicken livers? But there’s more than enough humour and underlying truth here to make this short, undemanding show well worth catching.
Trafalgar Studios (2), Whitehall, SW1 (0870 060 6632 till 11th April (£25.00 – £20.00 Mondays)

Trying **** TNT

Thursday 02 April 2009 12:41 GMT

The familiar territory of eager young newcomer winning over curmudgeonly old-timer is given an autobiographical twist in Joanna McClelland Glass’s 2004 dramatised reinvention of her time spent as personal secretary to Judge Francis Beverley Biddle in the late 60’s.

In his heyday, Biddle (who was born in 1886) served as Solicitor General, then Attorney General of the United States and subsequently was appointed a judge at the Nuremberg Trials in the mid 40’s. By the time 25 year old Sarah from Saskatchewan comes to work for him, he’s into his eighties, frail and ailing, but with a mind that (though subject to occasional lapses of memory) is often as sharp and incisive as that of a man many years his junior. Harvard educated and a stickler for routine and grammatical correctness, the irascible old man isn’t impressed with the new employee selected by his wife, but his initial doubts are gradually replaced by an increasing dependence and respect as she sorts out the accumulated chaos on his desk and encourages him to finish his memoirs.

There’s only one possible ending to this two-hander, but Derek Bond’s jewel of a production (lovingly designed by James Perkins) makes their relationship a very human one, amusing and touching by turns. Meghan Popiel’s down-to-earth Sarah exudes earnest determination, and Michael Craig (himself an octogenarian) is in impressively fine, nuanced fettle.

Their journey together is predictable, but the acting is first rate.

Finborough, Finborough Road, SW10 (0844 847 1652) to 11th April (£13 - £9)

Thursday, 2 April 2009

Mrs Affleck - This is London

Samuel Adamson’s new version of Little Eyolf transports the Allmers family from the fjords of Norway in 1894 to the Kent Coast in 1955, renaming them Affleck en route but staying true to Ibsen’s basic themes. Other characters’ identities are also changed and a couple more are added to this emotionally charged adaptation in which the guiltridden relationship between a husbandand wife (Alfred and Rita – the only ones to retain their original names) is ripped even further by the death of their crippled young son.

Back from a stay in the Highlands, Angus Wright’s distant, tortured Alfred has abandoned the book he was writing and vowed to concentrate on the education of their son, Ollie. Meanwhile Claire Skinner’s immaculate Rita, posed elegantly in her pristine grey kitchen (designed by Bunny Christie) looks as perfect – and as untouchable – as a 50’s advert. But her soignée exterior belies a desperately possessive and unhappy woman, physically rejected by her husband and shamefully resentful of the child who’s damaged, recriminatory presence – and, later, absence – stands like a barrier between them.

Marianne Elliott’s production reveals all the painfully tormented disquiet of the near incestuous intimacy between Alfred and his half-sister Audrey (Naomi Frederick) but, well acted though it is, Adamson’s sometimes awkward script neither improves nor illuminates the original.

Cottesloe

Stovepipe This is London

The new Westfield mall in Shepherds Bush may look tempting with its shiny shops and restaurants, but there are more substantial riches to be found beneath the older West 12 shopping centre just across the road. In collaboration with the National and BushTheatres, HighTide has taken over a basement space beneath a supermarket, transforming it into a post-war landscape full of conflict and contrasts.

Written by former journalist Adam Brace and given a striking, fluid, promenade production by Michael Longhurst, this involving, tense and well-researched new play looks at the world of the mercenary, the ex-soldiers who, via private military companies, sell their services – and perhaps their lives – for $600 a day.

A succession of drapes is stripped away to reveal location after location – from smart ‘Rebuild Iraq’ conference hall to the airport run where Eddie (Niall MacGregor) and ex-para Alan (Shaun Dooley) see their mate burnt to a crisp in an armoured vehicle, and from the subdued calm of a Welsh chapel to the swanky Amman hotel where Eddie picks up a Russian prostitute before disappearing without trace.

Unobtrusively ushered from scene to scene, the audience serves sometimes as extras populating the stages of Alan's search for his missing friend, sometimes more conventionally as mere onlookers.

The remaining four actors (including Eleanor Matsuura as a ball-busting entrepreneur and Sargon Yelda, equally impressive as her Iraqi interpreter) seamlessly swap accents and costumes to play an international cast of characters and, although the structure occasionally confuses, the dialogue, staging, performances and atmospheremake this subterranean journey well worth catching.

West 12, The Broadway, Shepherds Bush until 26th April

ngsley

Wednesday, 1 April 2009

Berlin Hanover Express *** TNT

Wednesday 01 April 2009

Ian Kennedy Martin’s new play starts promisingly enough with a couple of officials closeted away in the office of the neutral Irish legation in Berlin in late 1942. Mallin has his nose buried deep in the files, hunting for evidence that one of their former colleagues was a spy, whilst the younger diplomat O’Kane is far more interested in trying to tell him yet another joke he really doesn’t want to hear.

The interaction between this ill-matched pair yields some entertainment, but the playwright has more serious issues to address. His main intention is to question Ireland’s neutrality at a time of war by putting the loyalties – as well as the integrity - of both men to the test when Nazi officer Kollvitz delves into the background of their German housekeeper Christe. It’s potentially fertile ground, but this pedestrian, predictable drama rarely rings true despite Kennedy Martin’s longstanding TV credentials.

Sean Campion is excellent as the resolutely blinkered Mallin, turning a blind eye to the reality of the death camps further down the railway line, and contrasts effectively with Owen McDonnell’s chipper O’Kane. But, despite the intensity of one deeply uncomfortable, voyeuristic scene which highlights the cruel authority exerted by the Nazis, these actors really deserve something meatier to work with.
Hampstead, Eton Avenue, NW3 (020 7722 9301) until 4th April £25-£15 (under 26’s £10)