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.