Review of 'The Maddening Rain'

'The Maddening Rain'

Written by Nicholas Pierpan

Directed by Matthew Dunster

Old Red Lion Theatre

31/08/2010 - 18/09/2010

*A darkly comedic look at the City’s final, pre-recession glory days.

Money is a game in Nicholas Pierpan’s new one man show ‘The Maddening Rain’, which tells the story of the economic crisis from the perspective of an unlikely ‘City boy’. Following its protagonist’s rise from disgruntled bank teller to financier on a £400,000 per year bonus, actor Felix Scott quips that the result of the recession was that ‘no one would lend us money to play with’. ‘It’s a big storm. It’s going to fuck things up for awhile. You’ve just got to ride it out and try to make some money while you do,’ are the sage words of his boss. Meanwhile, Felix Scott’s character does ride it out, he does make money, and in the process he readily betrays everyone in his path. The only distraction from accumulating wealth and status is an unlikely encounter with his teenage girlfriend, and what ensues as a result is the spark of his professional and personal ruin.

Felix Scott is engaging and likeable in his role, and he tackles head on the challenge of supporting the weight of the play squarely on his shoulders. Particularly in moments when he portrays his boss, Andy, he displays raw emotional intensity and vulnerability. Likewise, the tenderest moments come when his character is discussing feelings of isolation, and exploring the magnetic pull he feels to his former life and love. Humour is also well utilized, and Felix Scott has excellent timing where this is concerned.

The two main drawbacks for the production are its length and set design. With a runtime of just under 90 minutes, and without an interval, the piece struggles to maintain attention throughout. Although Nicholas Pierpan’s script is engaging, some consolidation would be appreciated in order to cut down on the duration. Secondly, Alison McDowall’s set is very appealing, but it does not serve Felix Scott well and is not practical for the Old Red Lion Theatre. The majority of the space is occupied with a replica of an office, which is accurate and useful in creating the environment, but which renders the large portion of the stage unusable. Felix Scott is left with only a very small amount of bare stage to play. Further complicating this problem is Matthew Dunster’s direction, which finds his actor standing centre stage for the bulk of the time, with his hands firmly in his pockets, while an unused set looms behind him. A set which is more interactive would add variation and visual interest and would allow Felix Scott an opportunity to explore more emotional levels. More importantly, it would give the piece some greatly needed variation.



As a side note, Nicholas Pierpan’s ending to ‘A Maddening Rain’ is well constructed and interesting, but it doesn’t fit with the progression of the rest of the text. The conclusion of the play, although well acted, left more questions than answers. Ultimately, this is a well acted piece with promise, and a few minor changes would go a long way towards improving it further.

Playing August 31st through September 18th at the Old Red Lion Theatre, London.  Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk/.  3 Stars.

Review of 'He's Not Black'

'He's Not Black'
Written and Directed by: Chima Nsoedo
London Festival Fringe
The White Bear Theatre Club, Kennington
23/08/2010 & 29/08/2010


London Festival Fringe – The White Bear Theatre Club – 23 & 29 Aug – 19:30 (1:45)


It’s New Years Eve 2008, Barack Obama is about to be sworn in as the first black president of the United States, and four friends are out celebrating the holiday in style at a local night club. For Jeremy (James Hamilton), a notorious drug dealer, it’s a chance for one more night of freedom. In forty-eight hours, he will stand trial for possession of drugs with intent to sell, after having been handed in to the police by his best friend Leon (Wayne Joseph). It’s also Jeremy’s opportunity to keep an eye on Leon’s movements. Leon owes Jeremy a favour for his role in a previous crime, and Jeremy has convinced him to lie under oath on his behalf. For Jennifer (Catherine Ashton) and Olivia (Teraiś Latore), wealth management advisors from the City, it’s a chance to drown their sorrows on the brink of financial and professional disaster. As the evening wears on and the drugs and alcohol flow freely, the group discuss the effect that their race, gender, and class have had on their lives. If a black man can become President of the United States, reasons Leon, then anything is possible. ‘He’s not even black’, muse the others in turn, sparking a debate on what it is that defines race in modern Britain.


Set and costume design are appropriate for the piece. Olivia’s red mini dress, gold shoes and belt, together with Jennifer’s black jumpsuit and accessories lend to the party atmosphere, as does the addition of the roped-off VIP area. However, sound design detracts from the action.
Although ‘He’s Not Black’ is set in a night club, it is not necessary for dance music to be played continuously as a reinforcement of this setting. Instead, it makes it difficult to concentrate on the script. Likewise, the sound is used too often to stress the mood, when the acting and script should be sufficient. Employing the use of fade in and out would have been better.


The cast of ‘He’s Not Black’ work well together as a company and are fully committed to their roles. Wayne Joseph, in particular, turns in an emotional performance which captures well his character’s inner turmoil. But the script and direction by Chima Nsoedo need more work. At an hour and forty-five minutes in length without an interval, the play is too long with repetitive themes, and it fails to hold attention until the end. Although a great deal is being said about race, the majority of it is clichéd without new insight. There’s a mixed race woman struggling with her identity, a black woman trying to find her place in a predominantly white industry, a black man dealing drugs because he can’t find a better way to get himself out of poverty, and a young black man trying to better his situation at any cost. These are familiar character types, and despite numerous plot twists and turns, their actions are highly predictable. The characters presented are also not written as sympathetic, and because of this it’s difficult to maintain interest in their predicaments.


Additionally, some of the humour borders on offensive and ‘He’s Not Black’ is therefore not recommended for the faint of heart. Jeremy states, at one point, that when he ‘fu*ks white women, he gives it to them hard to get back at them for slavery’. Lines like this are uncomfortable, but if they are necessary within the greater framework and message of the play, they can be justified. As written, they seem to serve no purpose other than shock value.


Cast Credits: Catherine Ashton – Jennifer. James Hamilton – Jeremy. Wayne Joseph – Leon. Teraiś Latore – Olivia.


Company Credits: Writer/ Director/ Producer – Chima Nsoedo. Production Designer – Laurence Webb. Lighting/ Stage Management – Ross Pomfret. Sound Engineer – Daniel Vieco. Producer – James Hamilton. Producer/ Assistant Director – Fiona Bines. Assistant Director – Diana Mumbi.


Playing August 23rd and 29th at the White Bear Theatre Club in Kennington. Review written by Megan Hunter for Fringe Report: http://www.fringereport.wordpress.com/. Reviewed on August 23rd, 2010. (c) Megan Hunter 2010.

Review of 'I am Woof'

I am Woof
Created and Performed by: Robert Taylor
Produced by: ScenePool
Edinburgh Fringe Festival
The Space at Surgeons Hall (V53)
06/08/2010 - 14/08/2010
*An emotional powerhouse. Not to be missed.



Robert Taylor's original piece 'I am Woof' is a moving and insightful look at the impact of war. Based on verbatim text taken from interviews with soldiers returning from Afghanistan, it explores the reasons why young men and women enlist, their fear in the face of battle, and their struggles to reacclimatize once they've returned home. Set on a bare black stage adorned only with one wooden chair, this is a simple, honest, and incredibly powerful exploration of a vital topic which doesn't receive enough attention.


'I am Woof' focuses on the individual stories of three soldiers, each at different points in their service. There is the experienced, disillusioned older man who has sacrificed his youth and relationships to fight for his country. Then, there is the soldier leaving for Afghanistan who is terrified of what he faces but proud of his place in a family line of servicemen. Finally, there is the young man returning home, scarred by what he has seen in battle, and facing mental health issues as he attempts to readjust to life in Britain.


The most impressive part of 'I am Woof' is that it doesn't take a biased stance on the current conflict. Instead, it allows the true words of its real life subjects to speak for themselves. This is not a political piece pushing an ulterior motive. Instead, it is a human piece which examines the high moral cost to our society of sending young men and women to risk their lives. It also asks a series of crucial questions. What are the reasons which motivate young people to join the military? How well do we prepare our troops for battle, and how well do we support them once they're there? Even more crucially, how do we support them once they return?


Robert Taylor turns in a brilliant performance while effortlessly transitioning through the truths of each character. He infuses life and vulnerability into other men's words, while allowing for subtlety and emotional variation. That he resisted the urge to make this controversial subject matter melodramatic is greatly appreciated, with the end result being that it is impossible to take your eyes off of him. The only disappointment with the performance is that it isn't longer, as you want to know more about these men and their stories. But for the thirty minutes that he is on the stage, Robert Taylor is delightful and totally captivating. Paul O'Brien has also supported the piece perfectly with his naturalistic, understated sound design. While setting the tone for the text, the sound lends atmosphere without competing for audience attention. The focus remains where it should be: on the words.


There is a recurring theme of 'youth' in 'I am Woof'. One of Robert Taylor's characters says of enlisting, simply: 'I was young; I don't think I knew what I was getting into'. If we at home were also unaware, we can no longer be after seeing 'I am Woof'. The performance is playing at the Edinburgh Fringe from August 6th through August 14th. If you are going to be in Edinburgh for the festival, I highly recommend seeing it. 5 Stars.


Playing August 6th through August 14th, 2010 at The Space at Surgeons Hall (V53) at the Edinburgh Fringe Festival. Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk/. Artwork by Ben Jarlett.

Review of "Shrunk"

Shrunk

By, Charlotte Eilenberg

Presented by: Good Night Out Presents

The Cock Tavern Theatre, Kilburn

18/05/2010-12/06/2010

*The tables are turned in this darkly-comic look at psychoanalysis and its effects on both therapist and patient.

Charlotte Eilenberg’s new play “Shrunk” explores the concept of modern psycho-analysis and the potentially negative power it can wield. It questions the impact of an analyst’s own struggles on the advice which they give to their patients, as well as the impact of that advice on their lives. Would we still value the opinion of our therapist if we knew how similar they were to us, flaws and all?

The credentials of “Shrunk” are certainly impressive. The Cock Tavern Theatre is a beacon on the London Fringe scene, producing consistently good material, a fine example of which is its long running “La Boheme” which is transferring to the SoHo Theatre in July. Under the Artistic Direction of Adam Spreadbury-Maher, The Cock Tavern has won awards and critical acclaim and built a reputation as a showcase for exciting new works. “Shrunk” playwright Charlotte Eilenberg also won both The Critic’s Circle Award and a Laurence Olivier Award for her first play, “The Lucky Ones”, which had an extended sell-out run at The Hampstead Theatre. Director Julian Birkett has built an impressive career as a producer and director for BBC TV. And actors Jack Klaff and Amanda Ryan have, between them, experience at the National Theatre, the Donmar Warehouse, the Royal Shakespeare Company and the West End.
Adding to these strengths, Kate Guinness has designed an intricate and intimate set which truly draws the audience in. The endless collection of books, dark wooden window shades, leather and oak furniture, and plush carpets create an extremely realistic analyst’s office. This attention to detail, combined with the close quarters of the Cock Tavern, produce an overwhelming feeling of actually being in the room with Max and Celia. Sound and lighting design compliment this experience perfectly.

 

Yet, despite all of this, and despite a committed performance turned out by both members of the cast, there are things about “Shrunk” which don’t work. The script has several darkly comical elements, however attempts at shock plot twists come across as too predictable. Further, the play relies heavily on melodrama, which makes it difficult to find pieces of the action believable. For example, the reality of a spouse leaving is undoubtedly traumatic, but Celia’s behaviour suggests a deeply disturbed woman with mental health issues beyond the pain of marital breakdown. Where the audience wants to see real emotional honesty and vulnerability from her, she is instead written as unsympathetic, psychotic, and violent. With this in mind, it is unlikely that Max would be so relaxed around her or, indeed, that he would freely reveal so much of himself given that she is pointing a gun at his head. Obviously, she is forcing him to speak, but Max’s forthcoming calmness feels out of place. By layering the character of Celia, allowing for her to express more emotional levels, and sharing more glimpses of her life with her husband, it would lend much needed sympathy to her character and, by extension, believability to the play as a whole.

The result of this lack of emotional variation is the impression of unnecessary exposition and posturing, which misses the numerous opportunities for real, honest connection between the characters. However, Jack Klaff and Amanda Ryan are both obviously skilled actors, turning out entirely watchable and entertaining performances. The set is sumptuous, the writing is generally witty (aside from the prevalence of excessive Freud impressions), and with work on the structure and characterisation within the script there is certainly room for improvement. Ultimately, there is a great deal of talent on display in this particular production, and “Shrunk” is worth seeing if for this reason alone.

Playing through June 12, 2010 at the Cock Tavern Theatre, Kilburn. Review written by Megan Hunter for Fringe Review: www.fringereview.co.uk.

Review of "The Libertine"

The Libertine
Presented by: Sedos
The Bridewell Theatre, Bride Lane, Fleet Street
02/03/2010 - 06/02/2010
*An Invitation into the Debauched World of the Second Earl of Rochester


Defiant, morally unrestrained, dissolute, and promiscuous, the second Earl of Rochester was as well known for his dalliances in Restoration England as he is today. Based on his life and poems, Stephen Jeffreys’ “The Libertine” explores some of Rochester’s more controversial years and, in particular, his affair with the actress Elizabeth Barry. Playing at the Bridwell Theatre through Saturday, March 6th, Sedos’ production takes an unorthodox approach to this story of a highly unorthodox man.


The thing that makes reviewing “The Libertine” so difficult is that it truly is a tale of two opposing acts. Act One, despite some issues, is an overall enjoyable experience. The acting, from Luke Trebilcock as Lord Rochester in particular, is very good, and the action moves ahead at a comfortable pace. The use of the Grotesque Chorus in demonstrating bits of back-story is clever, and unique choreography by Leigh Tredger and Angus Jacobs allows the chorus to transition effortlessly from individual entities into one concise unit. Still, the highlight is the playful, satirical humour that courses through the first half and is at its finest when Rochester, Sebastien Blanc as George Etheredge, and Mark Macey as Charles Sackville share the stage. Rebecca Weymouth’s fine portrayal of Jane is also of note. Add to this the palpable chemistry between Rochester and Brooke Peterson’s Elizabeth Barry, and it is possible to overlook the often too gratuitous and overt sexuality that permeates the piece.


Of course, this is a play about the second Earl of Rochester, England’s precursor to the Marquis de Sade, and one expects a certain level of debauchery. Stephen Jefferys has rightly filled his text with sexual references, and there should be little doubt when booking tickets of what is in store. However, where this production errs is by removing itself from the 17th century setting and attempting to use a combination of period-inspired text, New Romantics style costumes, and a heavy metal soundtrack to uncover modern-day taboos. The problem with all of this is that it is no longer 1672, and attitudes regarding sex have had a major shift. Instead of confronting the audience with its subject matter, the production tries too hard to shock them and in doing so it risks predictability. Meanwhile, with nearly every other character on staged equally or more debauched than him, Rochester ends up looking tame by comparison.


It is with the second act, though, that the play needs the most improvement. With all the energy and pacing of the first act forgotten, the second drags on endlessly. This seems to be partly a textual issue, as Act Two deals with heavier emotional material and thus loses some of the playful cynicism of the first. Rochester is also dying, something that the programme notes and historical accuracy have set us up for, but watching him struggle and wince for over an hour while his friends cry around him is exhausting. Tighter cues between lines and more greatly varied emotional levels would better serve to keep the audience’s attention. As it is, “The Libertine” is recommended for a handful of standout performances and some nice moments in the first half. 3 Stars.


Playing through March 6th at the Bridewell Theatre on Bride Lane, Fleet Street. Review written by Megan Hunter for Fringe Review: www.fringereview.co.uk.

Review of "Parade"

Parade

Presented by SEDOS

The Bridewell Theatre, Bride Lane, Fleet Street

25/11/2009 - 05/12/2009

* Beautiful, Thought Provoking, and Challenging Musical Theatre

SEDOS may be London’s premier amateur theatre company, but the work that it produces holds up to professional standards. This is a company that pushes boundaries and takes risks when selecting its performance material and that presents theatre well worth seeing. Certainly, this is the case with their newest production of “Parade”. A riveting production written by Alfred Uhry and composed by musical theatre prodigy Jason Robert Brown, this difficult piece confronts head on the issues of racism, violence, and legal injustice. Focusing on true events that occurred in Atlanta, Georgia at the turn of the 20th Century, “Parade” is at once dramatic, beautiful, controversial, and heartbreaking. And, although there are areas for growth in this particular restaging, the overall effort is an admirable one.

In 1913, Atlanta was still bitter over the loss of the Civil War, rife with race and class tensions, and seething with contempt for the North. When a young girl was found brutally murdered in the basement of the factory where she worked, it was the factory’s supervisor, Leo Frank, who was charged with the crime. Despite the lack of any clear evidence and his insistent pleas of innocence, Leo Frank was wrongly tried, convicted, and sentenced to death. That he happened to be a middle class, Jewish industrialist from New York did not go unnoticed and newspapers throughout the major cities of the North called for his life to be spared, but to no avail. This is the premise of “Parade”.


This is director Alan Pavis’ debut at the Bridewell Theatre, and he has cast and staged his production skillfully. Despite technical difficulties that delayed the opening night curtain, these issues were quickly resolved and the overall impression of the sound and lighting design was very good. Furthermore, Rachel Williams’ choreography utilized well both the available space and the performers’ varying abilities. Nevertheless, some dance sequences did seem out of place for the tone of the subject matter, particularly the chorus’ employment of “jazz hands” during the trial scene.


Perhaps the most important part of “Parade”, though, is its score. Often described as the Sondheim of his generation, composer Jason Robert Brown is famous for creating beautifully melodic, complex, modern musical theatre. To that end, Musical Director Matthew Gould has obviously worked a great deal with an already very gifted cast, and it has paid off. From Richard Ash’s opening lines to the last note of the piece, “Parade” is beautifully and emotionally sung. The only major issue, then, is the placement and volume of the band. Sitting upstage center, directly behind the area where most of the action takes place, the band frequently drowns out the singer’s voices and makes hearing and understanding the lyrics difficult. In a piece with so little dialogue and where the plot is driven forward by the music, missing even a single line can be disastrous.


As a cast, there are some notable performances and a few very good ones. Ben Fuiava, with his powerful and soulful voice, is exceptionally good as Jim Conley. Paul Wooller as Frankie Epps is fantastically charismatic, and Jason Thomas is excellent as the prosecuting attorney Hugh Dorsey. However, the crucial relationship of the piece is undoubtedly between James Franey and Pippa Lloyd as Leo and Lucille Frank. In the First Act, their relationship seems almost too hostile and restrained and it could benefit from a bit more tenderness and humanity. While the tragedy of their relationship comes from realizing too late how much they have taken their love for granted, there still needs to be some warmth between them from the start. When the warmth is found, however, Franey and Lloyd provide the production with its most resoundingly beautiful moment. The second act’s “All the Wasted Time” is breathtakingly good, and if there was no other merit to this production, it would be worth seeing for these few brilliant minutes alone. Thankfully, though, there is plenty of merit to “Parade”, and it promises an enjoyable, thought provoking evening. 3 Stars.


Playing through December 5th at the Bridewell Theatre on Bride Lane, Fleet Street. Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk.

Review of "Secrets"

Secrets

Presented by Flexible Productions

The Cock Tavern Theatre, Kilburn

17/11/2009 - 05/12/2009

*The nature of secrecy is explored in an original work that draws inspiration from its actors’ real lives.

We all have secrets that we keep from others: the romantic entanglements that we’d rather not admit to, the illnesses we hide, matters which seem better kept within families, abuse of one form or another, or events from our past of which we are ashamed. The degree to which we choose to reveal these secrets often goes a long way towards defining our relationships and can provide us with closure or with further confusion. However, it is these secrets that follow us through life and which affect us when we least expect them to that help to shape us and to define our actions. This is the concept of “Secrets”, a devised play created in collaboration with eight actors and director Danielle Coleman, and which weaves the real life secrets of its performers into its storyline. The result of weeks of creative work-shopping and improvisational work, “Secrets” promises a uniquely different theatre experience and it delivers, not least of all because its revelations are highly personal. However, where it succeeds in honesty, it fails in overall consistency.

At nearly two hours in length and with eight separate sets of back-story to develop and expound upon, much of the detail in “Secrets” gets lost in the mix. Some scenes are deeply emotional and well fleshed out, particularly those concerning actress Helen Briscoe, while others desperately need further exploration and explanation. Director Danielle Coleman says that this play is about secrets, although not necessarily the revelation of those secrets. As in real life, we never know the full truth behind what is revealed to us, and often we are left to form our own conclusions about what to believe. While this concept does work at times, at other times we are simply provided with too little information about what is happening to form any conclusion at all. This results in confusion, but little else. This may not be a play about revelations, as such, but it still needs some.

Danielle Coleman has undoubtedly provided her actors with a safe and creative environment in which to reveal themselves. Furthermore, this is an enigmatic and talented group, and watching them play off of each other and explore is very entertaining. At the heart of “Secrets” is the idea that all if its characters are connected in some way, and often this connection is through psychologist Andrew Cleaver. Andrew Cleaver is particularly good in his role, with subtle intensity and expressions which betray far more than his dialogue allows. A s a play about character relationships, “Secrets” has some solid, buildable points; the relationship between Helen Briscoe and James Dutton, for example, is appropriately humorous and distressing, and its intensity is fascinating to watch. Additionally, as a teacher who confronts her own past as a schoolyard bully, Ishbel Nicol is believable and sympathetic, particularly in flashback sequences. And Shireen Walton is lovely as a daughter hiding a family secret. Perhaps the biggest disappointment in “Secrets” is that Shireen Walton is not allowed a greater opportunity to build on her character.

Ultimately, “Secrets” has touching moments, some well structured scenes, and a notable cast. However, as a fully formed production, it falls short. There is still a distinct feeling of this being a “workshop”; there are many good moments, but no consistent through line. At the end, there are just too many unanswered questions and too many loose ends. And while the final scene was crucial to the development of Helen Briscoe’s character, it was an odd choice to end the production and only added to the lingering sense of confusion over the point of the play. As it currently is, “Secrets” is recommended for some exceptional acting and the beginnings of an original and entertaining concept. With a little more work and a concise script editor, “Secrets” has the potential to be very good. 3 Stars.

 

Playing through December 5th at the Cock Tavern Theatre in Kilburn. Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk.

Review of "The Faulty Towers Dining Experience"

The Faulty Towers Dining Experience

Presented by: Interactive Theatre Australia

Cafe des Amis, Covent Garden

31/10/2009 - 01/11/2009

*A lively and entertaining trip into the world of Fawlty Towers.

In the downstairs bar of Café des Amis in Covent Garden, a large party of diners is finishing their drinks and awaiting their seating arrangements. Suddenly, through the doors and to a round of laughter, bursts Manuel, a Spanish waiter with a big heart and a small grasp on the English language. He hands out single peanuts from a silver tray, pokes his head into the ladies’ restroom, and scurries around frantically. Following behind him and desperately trying to keep him under control are his employers, husband and wife team Basil and Sybil. When the seating plan has finally been located, the trio begins ushering their guests to their tables. This, of course, generates further confusion, as Basil directs patrons to the wrong places and Manuel unsuspectingly removes their chairs before they can sit down. However, the mayhem is met with further hysterics, signaling that this is no ordinary dining experience. This is the Faulty Towers dining experience.

Based on Fawlty Towers, the 1975 British sitcom by John Cleese of Monty Python fame, the Faulty Towers Dining Experience offers patrons a chance to step into the original series and participate in some of its better-known moments. Basil is as brow beaten by Sybil as ever, and Manuel causes an array of inadvertent, language-barriered chaos. Sybil’s alternating shrill cries and braying laughter permeate the room. Basil is appropriately snobbish and classist, abusive towards Manuel, and petrified of his wife. Moreover, Manuel is endearing and humorous, particularly during his frequent misunderstandings and innocent blunders. By the end of the evening, the chef’s false teeth will have turned up in one lucky diner’s soup, Manuel’s pet rat will have made an appearance, someone will have danced on the tables, and a fire extinguisher will have been dutifully employed. Undoubtedly, your laughter will have also brought you, gasping, to tears. This is predictable, slapstick, sketch comedy in the same vein as the television program, and it is utterly entertaining.


The Faulty Towers Dining Experience is performed by Interactive Theatre, an Australian theatre company based in Brisbane. The production is currently on tour and spent only two brief nights in London. With any luck, they will return for a longer run, as the cast and concept are terrific. Andy Foreman as Manuel, Michael Davoren as Basil, and Alison Pollard- Mansergh as Sybil are each superb impersonators. They do the utmost credit to their original subjects in the scripted moments, and they effortlessly play off each other during improvisation. In particular, Andy Foreman as Manuel is delightful. He crawls under the tables, tosses bread rolls, and escorts guests to the restrooms by hand, never flinching or breaking character for a moment. Indeed, the energy and commitment of the entire cast is infectious.


At £50 per person, this is perhaps a too expensive ticket. However, the price does include two solid hours of entertainment and a three-course meal. The logistics of performing in a restaurant dining room instead of in a theatre also mean that occasionally, some members of the audience miss bits of the action and the pace understandably slows. But this is inevitable, and the cast do their best to include everyone in the more pertinent jokes. Finally, as this is a dining experience, it is important to note that while the entertainment is excellent, the food is far from perfect. However, if you escape without thumbs or false teeth in your soup, consider yourself lucky. After all, you aren’t really there for the food, anyway. 4 Stars.

Playing October 31st and November 1st at Cafe de Amis in Covent Garden. Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk.

Review of "Chartists Rising"

Chartists Rising
Written By: Sam Dowling
Presented By: Praxis Theatre Laboratory
The Space, Isle of Dogs
14/10/2009-31/10/2009
and
The Rose Theatre, Bankside
17/10/2009-20/10/2009
*The ideals of equality and loyalty meet with the ultimate betrayal in Victorian London.




"Chartists Rising" is a tale of ordinary people, struggling against unthinkable poverty and oppression, who band together and rise up against a corrupt governmental system. This is a fight for equality, for fair working conditions, and for the right to vote. It is a passionate and intimate play set in the heart of Victorian London, performed by a skilled cast, and presented for part of its run at a truly historic venue.


Amidst the hustle and bustle of Bankside, down a quiet side street, sit the remains of the first Elizabethan theatre constructed along London’s Thames. The Rose Theatre was built in 1587 but was largely forgotten until contractors performing building works stumbled upon the site in 1989. A campaign to save the remains was launched by well-known public figures including Laurence Olivier, and The Rose finally reopened to the public in 1999 after a nearly four hundred year dormancy.


The performance space at The Rose is vibrant and highly intimate. Set on a balcony overlooking the original remains, there are less than fifty seats in total and the actors perform, at times, only a few feet from their audience. This intimacy lends itself perfectly to Sam Dowling’s new play "Chartists Rising", which tells the story of Nineteenth Century British revolutionaries as they prepared to wage war on their government for fair working conditions and an end to class induced poverty. As a resolution to their grievances, these men and women presented a six-point charter, later to be known as The People’s Charter, and launched one of the first mass working class labour movements of their time.


The limited space of The Rose harkens the feeling of the pub and coffee house meetings that ignited the spark of Victorian labour revolution. Amidst the plotting and militant rhetoric, the actors are able to engage the audience in their revolutionist plans and to include them as fellow militants. Rallying with placards and the distribution of chartist flyers help to convey the urgency and passion of the movement, as do vocal interludes. They boldly proclaim, “All we have is our own passion, our anger, and our belief in the charter”. Almost immediately, it is understood that this uprising is a matter of equality, and that the characters are willing to give their lives for this ideal. As the play progresses, paranoia and desperation infiltrate the group with tragic consequences.


As George Davis, Gareth Radcliffe portrays his subject’s contradictions and demons admirably. Maria Straw-Cinar’s Mary-Anne is unquestionably loyal to her husband, Bill, and moments with all four actors on stage discussing their commitment to the charter play particularly well. Ultimately, though, the relationship between Frey Le Maistre’s Paul and Tony Mcpherson’s Bill brings the performance its much-needed humanity and sensitivity.


Sam Dowling’s script is not lacking in passion, but where it does fall short is in the lack of back-story and personalization for its characters. We are in no doubt of their passion for the chartist movement, but clearer exposition and a greater sense of their personal attachments to it would be useful. Additionally, moments of characterization bordered on the caricaturesque, with some movement lacking clear motivation and personal relationships needing more warmth and depth. By infusing the text with more emotional layers, Dowling’s actors could build further on what is already a good and interesting start. This is undoubtedly a skilled cast with a clear dedication to their subject matter, and the production is a fascinating look at a pivotal moment in British history. 3 Stars.


Playing October 14th through October 31st at The Space, Isle of Dogs, and October 17th through October 20th at The Rose Theatre at Bankside. Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk.

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

Review of "Stories About People I Used to Know"

Stories About People I Used to Know
Written and Performed by: Adrian Poynton
The Camden Head
22/08/2009- 23/08/2009
*A funny, light-hearted, and entertaining hour of stand-up comedy.

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Adrian Poynton is a very funny man. Well known on the comedy circuit and an award-winning writer, he brings his newest creation “Stories About People I Used to Know” to this year’s Camden Fringe Festival. The premise of the show is this: having lost touch with all of his former classmates, save the few that have contacted him through Facebook, Adrian is curious to know what has become of them. Armed with nothing but his six-year-old school picture and his imagination, Adrian sets out to discover the fate of his childhood friends. His tales take a sometimes-fanciful route, telling of the young boy obsessed with boats that has now sailed to a private island and become King. Likewise, the girl that Adrian married in a daisy chain ceremony on the schoolyard when he was nine has remarried, but still pines for that first, simpler wedding. His troublemaking, foul mouthed, free spirited friend has become a nun, and the girl who broke his six-year-old heart has been horribly and ironically struck down. In the end, he invites his adult friends to re-invent his own future and imagine him as the others in that class picture might. The beauty of inventing the truth instead of taking the trouble to find it out, Poynton argues, is that in his mind people can be whatever he wants and needs them to be. Likewise, if no one knows what has become of him, his life can seem far more interesting and meaningful than it is.
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This is new material for Poynton, and he has structured it well. Some areas need a bit more work; for example, moments when he reads aloud to the audience from emails and pretend diary entries run the risk of dragging on. Overall, though, this is a cleverly thought out and skillfully executed piece of comedy. Adrian Poynton has excellent comic delivery and is adept at engaging his audience in his stories and wry observations. He has perfected the art of gentle self-deprecation, bringing himself to his audience’s level and rendering him extremely likable and charming.
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Contrary to what the title suggests, this is not a show entirely based around Adrian’s childhood stories. Half of the show looks to his past, while the other half finds the humor in his present. Commentary on his new marriage, his career, and his struggles with turning thirty strike a particularly amusing and familiar note. And certainly, the real beauty in Adrian’s creation is that it is so relatable. 4 Stars.
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Playing through August 23rd at the Camden Head in Camden as a part of the Camden Fringe Festival. Review written by Megan Hunter for Fringe Review.

Review of "Is This My Art?"

Is This My Art?

Written & Performed by: Zoe Lavelle

Etcetera Theatre
16/08/2009- 17/08/2009

*A delightful look at the role of personal historical accuracy in artistic expression.

Zoe is not the girl she used to be. Zoë is not the girl she used to be. Zoey is not the girl she used to be. She is also not who she appears to be; or is she? In Zoe Lavelle’s one-woman show, ‘Is This My Art’, themes of manipulation and exaggeration through art are explored with humor, wit, and intelligence. Through her fictional character, Zoe Dickens, Ms. Lavelle shares real snapshots of her childhood, adolescence, and adulthood. ‘You have to go back in order to go forward’, she claims, and in an attempt to discover her identity she revisits some of the more poignant moments of her life in a quest for self-realization. Instead of truth, however, she finds that she has unwittingly altered her memory of events. Where the reality has been too painful, she has created a more favorable one in its place. A part of ‘Is This My Art’ is biographical, Zoe promises, but neither she nor her audience will come to know which part that is.


Zoe Lavelle is endearing, a massively talented young actor with superb comic delivery and physicality. She has written a convincing script and she delivers it with conviction. This subject matter could have easily become dark and over-emotive. Thankfully, its creator has instead infused her work with a cheery playfulness. Set against a nearly empty stage, Lavelle cleverly integrates real photographs from her life, original video clips, and an easel in order to tell her story and to assist her audience in visualization. Lighting and sound are also appropriate for the piece, and the staging feels fresh and natural. The only real disappointment, then, is the run-time. At just over thirty minutes, ‘Is This My Art’ comes to its brief end just as its main character is at her most engaging. If the character of Zoe has set out to find answers, the playwright has stopped her and her audience from discovering them. Perhaps this is the point; perhaps no one ever really knows himself or herself fully. However, lengthening this piece a bit could only serve to make its impact more memorable. As it currently is, it is delightful and highly recommended. 4 Stars.


Playing through August 17th at the Etcetera Theatre in Camden as a part of the Camden Fringe Festival. Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk

Review of "We Go Wandering at Night"

We Go Wandering at NightWritten & Directed by: Paul Ham
Presented by: Define Choice
The Cock Tavern Theatre
10/08/2009- 15/08/2009

*Define Choice's first production blends high energy with a whole lot of heart.


What place, if any, does religion serve in a modern world? Does God exist, and if so, why would (s)he allow suffering to take place? Is there any meaning to life? Why are we here? What fuels our need to believe or prompts us to reject belief entirely? ‘We Go Wandering at Night’ puts these questions forward in an attempt to discover their truths. Intentionally, it does not always succeed in finding the answers. Neither does playwright Paul Ham claim to have them; he admits to knowing practically nothing at all about Faith. Nevertheless, in this piece, he and his fellow actors confront the more complicated questions head on and invite their audience to do the same. Perhaps the closest that they come to an answer, and to a moral for their story, is this: ‘It’s not important that you have faith in God or in religion, only that you have faith in something- starting with yourself”.

As the play opens, Adam is sitting in a nondescript waiting room, clearly agitated, and speaking to a voice that represents God. As Adam unravels the pieces of his troubled life, it becomes clear that his best intentions have been hindered repeatedly by the influence of previous trauma. Confronted with God’s forgiveness, he rejects it resolutely. He has never asked for forgiveness, Adam reasons, and he cannot justify apologizing to a God who would stand by while there is so much evil in the world. This struggle is at the very heart of the production, and Adam only achieves inner peace when he has learned to forgive himself and others, and to accept that there are questions for which no answer is sufficient.

This promising young cast is comprised entirely of recent ArtsEd graduates, and their passion for the theatre and their work is prodigious. As Adam, Brendan Murphy incorporates his natural ability for physical comedy, infusing the piece with a refreshing lightheartedness and humour when it is least expected. He is equally good in moments that call for emotional depth and sincerity. Daniel Doidge as The Voice (of God) and Paul Ham round out this talented cast nicely, with the latter being particularly memorable in the role of Mr. Deus. In addition to writing and acting in the piece, Paul Ham also directs. Challenges often arise when assuming so many roles but Mr. Ham appears to have succeeded, with the staging well considered and clear.

Despite its strengths, the production could still improve upon a few things. For example, some parts of the script need a bit of work. Pieces of well-conceived back-story could benefit from a more consistent connection with the rest of the plot. Moreover, the pace in the first thirty minutes felt rushed, meaning that the action was occasionally difficult to follow. However, these things can be overlooked when the stronger points of the piece are considered. Define Choice say in their program notes that ‘This is only the beginning, and we are looking to grow with each show’. This production is a solid beginning, then. Even more, this is a company to watch. 3 Stars.

Playing through August 15th at the Cock Tavern Theatre in Kilburn as a part of the London Fringe Festival. Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk/.

Review of "Lady in Bed"

Lady in Bed

Written & Performed by: Alison Goldie

Directed by: Laura Lloyd

Etcetera Theatre

12/082009- 15/08/2009

*An uncompromisingly honest, racy, and utterly exuberant piece of theatre.

What would you say to your teenage self, on the brink of discovering your sexuality, if you had the chance? In The Weird Sisters’ production of ‘Lady in Bed’, Alison Goldie takes this chance. Her advice: ‘Above all else, make it your mission in life to know yourself, value yourself, and love yourself’. ‘Lady in Bed’ promises to be very funny, and it is, but it is also touching, poignant, and honest. At the age of 48, Alison Goldie is feeling retrospective (‘When you get older, there’s always what-might-have-beens’), and in an attempt to discover exactly why she has turned out as she has, she takes a trip to the bedroom of her fourteen-year-old self. She advises her younger personality to be kinder to her mother, truer to her desires, and accepting of what lies ahead. She also dispels the notion that she will ever become ‘a famous actress’. She will not, she confesses; but she will meet some wonderful and interesting people. Over the course of an hour, she introduces these people through stories and impersonations, and they are undeniably interesting. There is a blonde American surfer, a poverty-stricken Greek artist, a pot-smoking comedian, a Turkish sailor, a posh older gentleman whom she admits is more of a ‘father-figure’ than anything else, and a long line of Scousers. However, none of these characters are more interesting than the storyteller, and her observations are at once witty and familiar.

It is impossible not to like Alison Goldie. She has written her script with warmth and honesty and delivers it with startling intimacy. This is ‘adult material’, to be sure, but it is never uncomfortable. Ms. Goldie has a long history in the stand-up comedy world, having toured with Eddie Izzard and Jack Dee, and she is also a terrific actor. As a one-woman performance, her spot-on portrayals of everyone from her former lovers to a cheery array of animals help to keep things interesting and fresh. Direction and staging by Laura Lloyd is also exceptional. The stage is completely bare aside from a single chair, but the physicality combined with colourful descriptions and an appropriate use of lighting creates the sensation of being transported to each location. Musical interludes ranging from David Bowie and Charlie Parker to Estelle add to the whimsical feel.

‘Lady in Bed’ is not groundbreaking theatre, but then it isn’t meant to be. It is frank and entertaining without taking itself too seriously. This is the narrative of one woman’s life of relationships and sex, but there is obviously a wider, universal appeal in these experiences. Indeed, it is in the relatability of both Alison Goldie and her stories where the piece truly succeeds. 4 Stars.

Playing through August 15th at the Etcetera Theatre in Camden as a part of the Camden Fringe Festival. Review written by Megan Hunter for Fringe Review: http://www.fringereview.co.uk.

Review of "The Mountaintop"

The Mountaintop

Written by: Katori Hall

Trafalgar Studios, London

16/07/2009 - 5/09/2009

On April 3rd, 1968, the Reverend Dr. Martin Luther King, Jr. gave what was to be his final speech to a crowd of 2,000 people in Memphis, Tennessee. The next day he would be dead, shot at 6:01 pm on a balcony outside of the Lorraine Motel. His last speech would come to be known as the "I've been to the mountaintop" address. His death would spark riots in more than 100 cities throughout America, but his life had ignited a movement for peace and equality that would far outlive its leader.

Few figures in modern history have inspired the raw emotion and passion of Dr. King, and even 40 years on from his death, those who were touched by the man and his message cannot help but feel a sense of personal ownership towards his legacy. King spoke to us of our dreams and fears, and he shone a compassionate light on the darkest parts of our nature. It is no wonder, then, that his imperfections and his very "human-ness" have been largely overlooked in the pages of history. We expect our leaders to tower God-like over us, not to be as tragically flawed as we are ourselves.

With this in mind, Katori Hall's "Mountaintop" runs the serious risk of ruffling a few feathers. From our first introduction, her King smokes, drinks, swears, lies, and cheats on his wife. His incredible charisma, charm, and compassion are also present, but it's the unapologetic way in which Hall allows her subject to be real that makes this piece so fascinating to watch. Hall's writing is moving, an unexpected blend of the real and surreal, influenced by a childhood spent only a stone's throw away from the Lorraine. With a wealth of information available about his public persona, Hall is more interested in showing us the man behind the myth. This is a man who takes off his shoes and tie, goes to the toilet, and then questions everything about himself and the movement for which he is fighting. This is not a story about MLK's life; "The Mountaintop" is an intimate and unflinching portrayal of the civil rights leader in the final hours before his death.

David Harewood is obviously taking a risk in the role of King, and it is a risk that largely pays off. Harewood is an exceptional actor with a larger than life presence, and he captures his subject's movements, inflection, and charisma well. As his counter, Lorraine Burroughs is also superb, grounding the piece with much-needed comic relief. It's apparent that the subject matter resonates deeply with them both, and their passion for the work is infectious. The production is staged entirely in one room, the motel room in which King spent the night before his death, but Libby Watson's use of faux windows and sources of off-stage lighting keep the set from feeling claustrophobic.

Of course, a few areas need improvement. Harewood, for example, has mastered King's oratorical skills, but it's difficult to imagine the man using the same intensity of speech during the more intimate moments of his private life. Telephone conversations with his wife and child run the risk of sounding like a prepared speech as opposed to revealing his softer and more fragile side. And at times, Harewood's impression of King, albeit extremely well studied, sacrificed a more honest portrayal of those final hours. In addition, Katori Hall's humorous lines, notably those hinting at future events, sometimes felt scripted and out of place. In the end, though, these shortcomings are a small price to pay for what is an enjoyable evening of theatre.

The most moving elements in "Mountaintop" come in the form of the audio and visual clips that open and close the play. Flashes of pictures and sound documenting the triumphs of African Americans over the past half century seem all the more poignant in the current political climate. Indeed, the words of President Obama close the show: "Yes, we can". The real Dr. King may not have lived to see his metaphorical "Mountaintop"; in Hall's version, she at least allows him a glimpse of it. 4 Stars.