Review of "The York Realist"

The York Realist

Written By: Peter Gill

Presented By: Good Night Out Presents

Riverside Studios

22/09/2009 - 11/10/2009

*A tender look at sexual and class relations in 1960's England.

Eight years ago, “The York Realist” premiered at the Lowry under the direction of its playwright, Peter Gill. It then transferred to the Bristol Old Vic, the Royal Court Theatre, was nominated for an Olivier Award, and finally found its home at the Strand Theatre in the West End where it ran to commercial and critical acclaim. Good Night Out Present’s production of “The York Realist”, directed by Adam Spreadbury-Maher, is the play’s first UK revival as well as the first Peter Gill script performed at Riverside Studios where he is the Founder Director. It is easy to see why this piece of work has been consistently met with such high praise, and this excellent revival does both the script and its playwright justice.

“The York Realist” is set in rural, northern England in 1961. A theatre director, John, has come to York to direct the renowned, medieval “York Mystery Plays”. A tentative bond forms between John and George, a member of the cast and a local farm worker. The two embark on a sexual relationship, which questions John’s security with himself and George’s loyalty to his family and his ageing mother in particular. As their relationship grows, George must decide between the life he has always known and the potential of a future life in London with John. There is a deep class tension between the two, and despite their mutual affection, this barrier threatens their happiness and is central to their relationship.


The thing that is so remarkable about “The York Realist” is that it bucks preconceptions about exactly who is and is not comfortable with their sexuality. The rural northern farm laborer is unabashedly and unapologetically true to both himself and his desires, while the middle-class London theatre director is more withheld and uncertain. When John confronts George about whether or not his homosexuality has ever bothered him, he replies “No, but then I don’t look into things like you do”. Indeed, even George’s working-class, church going family are silently accepting of his lifestyle, if most notably through their encouragement and love. Despite their home, which smacks of tradition and is filled with traditional family wedding photographs, they are more concerned with George’s happiness than with his choice of partner. This family love is what is really at the heart of the piece. This is indeed a love story, but it does not focus exclusively on the sexual and romantic love between George and John. Some of the play’s most tender and moving moments come with the displays of affection between George and his mother, sister, nephew, and brother-in-law. This is a story about love in all its forms, including the love and acceptance of one’s self.


Peter Gill writes with a great warmth and tenderness, which pulls his audience into his character’s lives. There is also a great deal of humor in “The York Realist”, with some of the finest comedic moments coming from veteran actor Stephanie Fayerman as George’s mother. As George, Stephen Hagan is particularly excellent, as is Matthew Burton in the role of John. This revival owes its success, in large part, to its extremely talented cast, as well as Adam Spreadbury-Maher’s direction, which is nothing short of perfection. The lovely set designed by Kate Guinness is also of note. Playing through October 11, 2009, this is a truly outstanding production and yet another shining success for Good Night Out Presents Theatre Company. Proof in point: on press night, the cast was required to take three separate curtain calls, each to deafening applause. 5 Stars.


Playing through October 11th at Riverside Studios in Hammersmith. Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk .

Review of "Brooklyn"

Brooklyn
Written by Rose Martula
World Premiere, Presented by Good Night Out
The Cock Tavern Theatre
08/09/2009 - 26/09/2009
* Darkly funny, disturbing, and masterfully written.




Playwright Rose Martula has been called “the Chekhov of her generation”. She was selected by Dramatists Guild Magazine as “1 of 50 playwrights to watch”, and interest in her plays has been received by the likes of the Royal Court Theatre, the Manhattan Theatre Club, and the Yale School of Drama/Yale Repertory Theatre. She has been nominated for a LARK Pony-Fellowship in New York, and was chosen as a semi-finalist for the 2009 Princess Grace Awards. This is a playwright of undeniable skill and appeal, and her newest play, “Brooklyn”, is a continued display of her talent and creativity. Ms. Martula’s play is a rapid-fire dialogue, which builds in intensity over its hour run time to a harrowing and shocking conclusion.


This is a story of a family attempting to cope with unthinkable loss. Lindsay has become her father Saul’s keeper, as his drug induced rages and hallucinations spiral out of control and threaten to destroy the both of them. Saul snorts cocaine and drinks constantly, and his moods shift instantaneously from egomaniacal ramblings to fits of anger and depression. Their apartment, once cheery and full of life, is now hazardous: the heat and hot water have been disconnected, the electricity promises to follow, there isn’t a scrap of food in sight, and the scratching sounds of rats can be heard constantly. Even still, the only thought on Saul’s mind is where he’ll get his next fix, and he begs Lindsay to take their remaining cash and go out to replenish his drug supply. What Saul doesn’t know is that Lindsay has reached her breaking point. She has decided that their cycle of life must stop, and that it must stop today.


It may seem difficult or even impossible to imagine this story line being hysterically funny, but such is Rose Martula’s gift. She has also been blessed with an astoundingly capable cast, who bring her characters fragile lives to reality with passion and skill. As Saul, Jud Charlton is fascinating and entertaining to watch, having perfectly captured the actions and mannerisms of an addict. His pain, guilt, and enduring love for his family are apparent, but he believes himself powerless to fight his addictions. Jessica Ashworth’s portrayal of Lindsay is also excellent, rife with inner turmoil and strength. However, perhaps the best performance is by Michael Goldsmith as Saul’s son Brian, providing a capable sparring partner for his father and infusing the production with humor. Directed by Russ Hope, the staging in “Brooklyn” is nothing short of perfection. This is a thoroughly engaging and entertaining piece of theatre. See it while you can. 5 Stars.


Playing through September 26th at the Cock Tavern Theatre in Kilburn. Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk

Review of "One Flew Over the Cuckoo's Nest"

One Flew Over the Cuckoo's Nest

Presented by Sedos Theatre
Bridewell Theatre

08/09/2009 - 12/09/2009

*A high-energy power struggle that questions both the definition of sanity and the place of authority in society.

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Securing their reputation as London’s premier amateur theatre company, Sedos’ production of “One Flew Over the Cuckoo’s Nest” utilizes acting and production talents of an exceptional caliber. Although an amateur company, Sedos (formerly the Stock Exchange Dramatic and Operatic Society) have mounted a production that outshines those of many professional companies working in London. The passion and dedication of all involved are apparent, making this a highly enjoyable evening of theatre and one not to miss.
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Based on Ken Kesey’s 1962 novel of the same name, “One Flew Over the Cuckoo’s Nest” steps into the bizarre and occasionally terrifying world of a 1950’s American mental institution. In following the escapades of a band of patients, led by recent prison transfer RP MacMurphy, “Cuckoo’s Nest” questions concepts of sanity and authority and challenges the societal view of normality. This is a play about power struggles, as the patients attempt to adjust their personalities and paranoia under the watchful gaze of a cold and authoritarian hospital staff. Indeed, no power struggle is greater in this piece than the one between MacMurphy and the head nurse, Nurse Ratched. Ken Kesey, and later Dan Wasserman who adapted Kesey’s novel into the play, evoke sympathy for their characters by presenting personalities who are perfectly sane yet fail to fit neatly into acceptable society. However, the more MacMurphy and his followers assert their independence, the more the institution forces them back into submission with tragic results.
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This production is well directed and executed by director Rebecca Smith. The staging is interesting, with good use made of the entire space. Chief Bromden’s inner monologues, which separate the main action, are particularly well conceived, and appropriate lighting, sound and costuming are used throughout the piece. Tiffany Vanstone’s set is also visually stunning.
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Where “Cuckoo’s Nest” truly succeeds, however, is in the acting. With a cast of sixteen, all of the performances are impressive and engaging. This play truly requires a good supporting cast, and thankfully, it has found it, with each character doing justice to the original concept and script. Ben Hale’s Billy Bibbett is particularly moving, as is Mark Macey’s Harding and Darren Hannant’s Cheswick. It would be difficult, though, to single out any one actor as exceptional in such a talented cast. At the heart of this story is a shifting balance of power between MacMurphy and Nurse Ratched, and this production makes good use of its lead actors in discovering and developing this balance. As MacMurphy, Liam Byrne is sympathetic, engaging, and likable. Perhaps the only criticism, then, is that he is too likable. MacMurphy somehow loses a bit of his hardened criminal edge and unpredictable violet streak, rendering Nurse Ratched entirely unsympathetic and antagonistic in the extreme.
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Where the production falls short is in the timing. At just over 2 hours in length, including intermission, the second half of the play seems to lose its pacing and urgency just as it should be gaining it. Tighter cues between lines would easily solve this. Overall, this is a truly exceptional and entertaining production, and is a perfect example of amateur theatre at its finest. 4 Stars.
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Playing through September 12th at the Bridewell Theatre on Bride Lane, Fleet Street as a part of the London Fringe. Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk