PERFORMANCE REVIEW: Waiting For Godot

Waiting for Godot

Theatre Royal Newcastle, Theatre Royal Haymarket from April 30th

I will freely admit that I went to see Waiting for Godot purely because of the cast list. The opportunity to see Ian McKellen, Patrick Stewart, Simon Callow and Ronald Pickup on the same stage does not come around very often, especially up here in the north. Previous encounters of mine with Beckett’s play had led to total confusion, a headache and on one occasion, a two hour snooze. However, as might have been expected, Sean Mathias’ production leaves me feeling energised and enthusiastic after watching an entertaining display of some of the best acting I have ever seen.

The double act of Ian McKellen and Patrick Stewart, or as most of the packed auditorium probably think of them, Gandalf and Capt Picard, is as spectacular as expected. Taking centre stage on a set built as though a rundown theatre complete with crumbling boxes and wooden floorboards ripped apart by the symbolic tree, they create the perfect pairing for the two tramps. The reputation of these two theatre giants is gently played with, echoed both through the set and the idea that ‘Didi’ and ‘Gogo’ had at one time been a music hall partnership. McKellen’s down to earth and weary Gogo is perfectly matched by Stewart’s more philosophical and optimistic Didi. From the moment McKellen and Stewart crawl onto the stage, the audience is with them. But, as the first half progresses, it is noticeable that the initial sense of awe has turned into a warmer partnership between actors and audience.

Simon Callow is on form as the aristocratic buffoon Pozzo, and Ronald Pickup receives spontaneous applause for his mesmerizing rendition of Lucky’s difficult, baffling and only speech. The beautifully rundown set, designed by Stephen Brimson Lewis, provides the perfect backdrop with a naturalistic lighting design that fulfils it’s purpose brilliantly: you never notice it is there. The only note that jars is the seemingly superfluous soundtrack, that isn’t so much an accompaniment, but rather a series of distracting noises that crops up intermittently, serving no apparent purpose.

Waiting for Godot is a must-see play, not least because of the cast, but due to them arguably making the unwatchable watchable. I must also applaud the decision to tour it. The packed auditorium and enthusiastic audience response proves that although it may not be a great financial move, it does allow many more people to encounter truly excellent theatre.

Jane Williamson

PERFORMANCE REVIEW: Penny Dreadful Presents The Missionary Position

Penny Dreadful Presents The Missionary's Position
Hoxton Hall, Hoxton

Going to see The Missionary Position, presented by Penny Dreadful and soon to be returning for a second run at Hoxton Hall, you may not know what to expect. Hearing that it is, in fact, inspired by the Music Hall shows of a bygone era, you may become even more suspicious.

The Missionary’s Position tells the true story of vicar Harold Davidson, played by Greg Haiste, who is also referred to as Prostitute’s Padre. The story goes that Davidson helped over a thousand ladies of the night, only to find himself prosecuted and defrocked by the Church, ridiculed by the press and eventually abandoned by his wife. As we are led on the journey of his life, we meet Barbara Harris (Marie Lawrence) , the underage girl who testifies against Davidson, Fred & Fanny (Sarah Ratheram and Mira Dovreni) , a performing double act who open the show with a blast of ‘I Do Like to Be Beside the Seaside’, and the all-important MC (Matt Devereaux) who narrates the tale from the safety of his piano.

But these are just a few of the wonderfully colourful characters you can expect to meet - Soho prostitutes, Derbyshire debutants, a retired major with a funny walk also appear alongside numerous other unique, funny and sinister sorts. As they infiltrate the stage they collectively manage to tell a story that is engaging, entertaining and moving. Adding on the obligatory songs, dancing, a bit of magic and a lot of audience interaction results in a fine evening at the theatre!

All five performers excel at this kind of theatre and clearly relish the opportunity to showcase their talents. It's hard to believe that this is not the first time they have performed this piece such is the enthusiasm making it both fresh and entertaining. The choice of subject is clever and a piece has been developed that is interesting and fun! Most impressive is the lack of a neatly tied up and contained 'happy ending' with a truly touching moment standing in its place.

A thoroughly enjoyable show which soon puts any initial feelings of suspicion or trepidation to bed. I left feeling entertained and elated. So I say "LET’S ALL GO TO THE MUSIC HALL!"

Eva Vlassopoulos

PERFORMANCE REVIEW: The Woodsman

The Woodsman

Old Red Lion Theatre, London

Famed more for its Hollywood treatment in the 2004 film version starring Kevin Bacon, Steven Fechter’s play about an ex-paedophile’s reintegration into society makes a revival in its European premiere at the Old Red Lion Theatre.

Walter, played by Richard Ings, has just been released from a 12 year prison sentence for molesting young girls and finds himself coping with a new job, therapist and even a new girlfriend. The question is: will he be able to create a new life for himself and completely move on from his past? With great eloquence and composure, Ings executes a sterling performance as a man battling against his former self, to 'normalise' his mindset and resist temptation.

Maybe some will consider that Ings performance lacks the necessary conviction to make us believe he has been capable of committing such a monstrous crime. Nonetheless, the production by no means attempts to humanise the perpetrator: his tears and regret are genuine and palpable but this does not change his past. His close analysis of Candy, the man who lurks outside the school gates, reveals an innate understanding of this type from one who knows. Evident from the continual flashbacks of a young girl, Walter’s quest to become 'normal' may never be truly realised, for the remnants of this paedophilic instinct remain with him, even if he does not commit the crime again on this occasion.

Bar some meandering accents amongst the other cast members, the highlights are clear in the form of John Samuel Worsey whose character Lucas succeeds in bringing a lot of humour to the production, and Lisa Came, who really shines here as Walter’s feisty and yet compassionate girlfriend Nikki.

Paedophilia is becoming a popular topic in theatre, largely, and sadly, due to its topicality in present day life. So although Fechter’s play is not so unusual in its content, Stuart Watson’s production manages not to fall into the trap of sensationalising this taboo subject, but delivers a thoughtful approach which questions the feasibility of a happy ever after.

Ruth Collins

PERFORMANCE REVIEW: The Man Who Planted Trees

The Man Who Planted Trees - Puppet State Theatre
The Unicorn, London Bridge

Based on a book by Jean Giono

The current stream of children's entertainment often seems to consist of high-budget, computer-enhanced and rapidly moving spectaculars. The fact that a well-constructed, convincingly told moral tale is just as much, if not more able, to hold a child's attention appears to have been bypassed by many. This is not the case with The Man Who Planted Trees. A simple set and a simple structure enable a simple story to be told, with captivating results.

Richard Medrington plays Jean, the quintessentially self-effacing but enchanting childrens' narrator. Jean meets Elzeard Bouffier - the man who plants the trees - along with the true star of the show: Elzeard's dog. Operated by Rick Conte, the dog provides the show's laughter and joie de vivre, even when he has aged to 280 in dog years and possesses huge grey eyebrows. Endlessly entertaining, he reveals that he was once an unsuccessful auditionee for Cats.

Despite what at first appears to be a fairly rudimentary set of canvas tree shapes, the audience is provided with a fully multi-sensory experience. Scents of woodland and lavender are wafted around, as well as a mist of rain water. Birds flying overhead and a miniature working fountain are enchanting yet far from bewilderingly high-tech centrepieces.

What is fantastic about this production is that every aspect, down to the last detail, extols the humility quietly advocated by the selfless act of Elzeard Bouffier's ecological feat. There is no pretence and no bravado; the final bow even goes to the dog. This makes The Man Who Planted Trees completely successful in what it sets out to do: to show the virtues of working for the greater good, and to entertain an audience of very disparate ages and tastes.

Helena S. Rampley

PERFORMANCE REVIEW: Cat's Cradle

Cat's Cradle
Courtyard Theatre, Hoxton

Cat's Cradle, written by Slaughterhouse-Five author Kurt Vonnegut, presents a tricky challenge for a stage play, but Miracle Theatre accomplish it in a series of short sporadic scenes of mild humor interlocked with video projections. The action follows English journalist John MacGuiness, whose sardonically witty nature, played by Ben Dyson, is the highlight of the show, as he attempts to gather research to write a book about what Americans were doing on the day the nuclear bomb fell on Hiroshima.

MacGuiness is sent on a trip to the Caribbean island of San Lorenzo to interview multi-millionaire Julian Castle, performed by Dominic Power. MacGuiness soon finds himself embroiled in the lives of the family of Felix Hoenikker, a fictional physicist involved in both the atomic bomb project and a substance called 'Ice-nine' which can alter the structure of water giving it a solid form at room temperature. A number of the acting performances competently drive the action forward - in his multiple roles Power shows his versatility and is particularly enjoyable as Mr. Minton, the newly appointed U.S. Ambassador to the island. Also noteworthy is Jason Squibb who does a decent job as Frank Hoenikker, Felix's hapless son who becomes the Major General of San Lorenzo. Sadly, some of the production's more poignant scenes fall short of their true potential and a fluctuation between intentionally comic accents and those played straight, proves troublesome.

The show's many projected interludes, some of which contained Calypso style music, offer the audience a multimedia experience which is most effective when representing a flashback, or as one of the several amusing encyclopedic style videos explaining the mysterious faith of Bokonon, a religion which has gripped the people of San Lorenzo. Unfortunately the projections at times seem a little awkward when combined as part of the live action; Miracle Theatre, however, must certainly be given credit for trying something different.

The show might have benefited from a bit more invention in the lighting, although this may have been deliberately kept simple to avoid causing disruption to the projections. Whilst I was not a particular fan of the puppet representation of the aging and crippled Papa Monzano, president of San Lorenzo, it did seem to offer delight to some members of the audience. Perhaps not laugh a minute but enjoyable enough, and the provokingly obscure faith of Bokonon gives us all something to think about.

Ollie Fielding

PERFORMANCE REVIEW: Void Story

Void Story - Forced Entertainment

Soho Theatre, London

What makes a live performance? Blending together cinema, animation, illustration and radio recordings with an exposed backstage you may concoct a black art that leaves the audience with an alchemic reaction wondering what has just happened. But, under Forced Entertainment's skilled craftsmanship, the result is something both extraordinary and heartily entertaining.

It is a Forced Entertainment trademark to push the boundary of theatre-making, and they have the guts and confidence to pull it off. Having continually created such work for the last twenty five years, Forced Entertainment are currently one of Britain's most experimental devising theatre companies, last seen in London at Riverside studios presenting The World in Pictures.

In Void Story the company use projected imagery, recorded sounds and live voice-over by actors on stage that take the audience on a journey to a bleak, collaged world where the two protagonists go through impossible scenarios. The images are manipulated to create a sense of hybrid reality - photographic yet nonsensical. Each image is a piece of artwork, with imaginative play of contrast, composition, and texture.

The sound effects are equally stimulating. Eerie silences in the background and distorted noises activated by the characters create a unique soundscape that goes hand in hand with the visuals, juxtaposed by the familiar and 'logical' voices of the characters.

But one quickly forgets that this is a live performance rather than a film, due largely to the dominating projected imagery, which seemingly works on auto-pilot. The actors only appear on stage to show that at least some of the voices and sounds are live. The images in the centre stage are too intoxicating, meaning that all action taking place on the periphery fails to divert your attention from it. If they had chosen to resist using microphones when sound distortion was unnecessary, then perhaps the naked voice could add another acoustic element whilst giving the actors the reason to stay on stage.

Nonetheless, this does not take away the sheer excitement of seeing something so bold and new. And, if anyone ever approaches you again with that cynical question whether you think theatre is at its last breath because of the prevalence of cinema, televsion, and internet, you know what the answer would be: no - quite the contrary - theatre is getting richer, day by day.

Ingrid Hu

PERFORMANCE REVIEW: Nocturnal

Nocturnal
The Gate, Notting Hill

The Gate brings a gem of Spain’s modern playwright scene to the stage for its UK premiere.

In a play that deliberately keeps you guessing, Nocturnal capably manages to establish the initial dynamic between the two male protagonists and immediately draws the audience into their convoluted dilemma. Paul Hunter plays ‘Short Man’ superbly, unnervingly interrogating ‘Tall Man’ played by Justin Salinger. This scene alone exemplifies the strength of Mayorga’s writing– the essence of which David Johnston has undoubtedly recaptured in translation– inferring the play’s principal themes concerning anonymity, envy, discrimination and the capacity for people from different backgrounds to co-exist in a single society.

All credit must be given to the collaborative efforts of director Lyndsey Turner and set designer Hannah Clark for presenting a production, which maximises the intimacy of the venue as well as the characters’ conscious and unconscious integration. This is rendered to great effect in the scenes where the stage is split into a view of the two apartments, with the characters obliviously moving in and out of each other’s personal spaces. Is this simply a symbolic device mirroring the unconscious interaction of one person’s life with another, or an attempt to reflect the dialectic relationship between distinct parts of society? Either way, visually it proves extremely effective and adds a further shade of humour and irony to the protagonists’ portrayal.

Another rather innovative visual aspect is the production’s use of animation and film. Matt Walker succeeds primarily in skilfully incorporating realistic animation, which adds to the production, rather than detracting from the dialogue itself. At first, the quirky film shorts that appear between each scene may seem slightly bizarre and after the show, Mayorga commented to me that he had not originally conceived the film as short intervals between each scene. Yet both he, and I, feel that Turner’s idea really works on stage: not only does it provide some light relief for the audience, but it also helps maintain the fluidity of this satire which presents an insightful observation of the human psyche and human relationships.

Ruth Collins

PERFORMANCE REVIEW: Stop Messing About

Stop Messing About
Leicester Square Theatre, prior to West End transfer

Taking its material and characters from the popular BBC radio show, it would seem a stage adaptation of Stop Messing About spells a recipe for success. While watching the show, however, it soon becomes apparent that there are many good reasons why what works on radio, does not work on the stage.

Playing home to the production before it transfers to the West End, the Leicester Square Theatre effectively evokes the ‘70s BBC Radio studio, complete with working recording signs. Unfortunately, this is not the only way they try to evoke an authentic ‘radio’ experience. The actors have scripts from which they are, for much of the time, reading. The actors move only slightly, in fact the greatest movement is probably when they switch microphones. They are also prone to slip out of character whilst not speaking, especially noticeable with Robin Sebastian playing Kenneth Williams. Although at times a very accurate portrayal of Williams - his laugh is particularly effective - he somewhat underplays the eccentricity and vivacity necessary to convincingly evince Williams’ true character.

The approximations we are given of these ebullient personas leave us slightly disappointed. Emma Atkins, as Joan Sims, seems to have based herself both vocally and physically on alternative Carry On queen Barbara Windsor, rather than Sims herself. There is an awareness that there is very little acting going on, and more half-baked impersonations. Robin Sebastian obviously has a lot to live up to given Michael Sheen’s near flawless rendering of Williams in the BBC’s Fantabulosa, but Sebastian often appears to be simply ‘adding’ on aspects of Williams’ character, rather than exuding them.

The biggest shame about this production is the large number of missed opportunities to reveal the tantalising biography of these public figures. I was fully expectant that after Act One, an episode of the radio show, we would be given some depth behind the caricatures presented. Instead, we are given another, incredibly similar episode of the same show. There is absolutely no perception of the dark yet compelling underside of this world, and of Williams’ life in particular, which would have provided some much needed context to all the artificiality and innuendo.

Helena S. Rampley

PERFORMANCE REVIEW: Hang On

Hang On - Ockham's Razor and Theatre-Rites
York Theatre Royal then Lyric Hammersmith

Aerial company Ockham’s Razor base their work on the principle devised by the medieval philosopher William Ockham: that when faced with two theories, you should always go with the simpler option producing work that is both cogent, and easily grasped. This is brilliantly demonstrated in Hang On, their collaboration with Theatre-Rites, an innovative and mesmerizing family show about the precariousness of relationships and the balancing act of everyday life.

The three members of Ockham’s Razor clamber in and around the metal triangular mobile suspended from the roof, while the three other performers - a juggler, an instrumentalist and an actor - keeping their feet firmly on the ground attempting to join and interact with the dazzling, fearless trio. And that is the essential basis of the show. Yes, there’s a lot of symbolic exploration of relationships (paralleling friendships, playground, work) but basically its six people doing very clever things with bits of metal and little red juggling balls. And it works.

The undoubted strength of the show is its lack of dialogue. Five of the characters interact solely through gesture, a very moving and effective approach to exploring the balance of everyday life which director Sue Buckmaster should be applauded for. The only character who regularly speaks is the nervous, safety conscious Eric (Eric Maclennan, the improviser). He, although providing mild comic relief, is a character for the adults, his patter about isosceles triangles flies straight over the heads of most children in the theatre.

It is intrusive when the three aerial artists finally speak at the play's end. Having performed their beautiful contortions in expressive and moving silences, their few unnecessary words are intrusive and break the spell that holds the audience for the entirety of the hour long show. The show could have been performed in total silence. The accompanying percussive soundtrack, a mixture of recorded and live music, and the subtle lighting design by Michael Mannion is enough to help convey the nuances of meaning.

Hang On is designed as a family show, but the engaging simplicity is equally enthralling for adults. As Ailsa Ilott points out in her article below, to hold the attention of young children for any length of time, shows and performers need to be innovative. However, the lack of a strong plot does mean that at times your attention wanders and you become strangely blasé about three people climbing and swinging to their potential deaths before you. But the innocence of the show is refreshing, an antidote to the complex plots and deep symbolism of other plays.

Jane Williamson

FEATURE: Children's Theatre - Who says it ain't cool?

By Ailsa Ilott

It is simply astounding how, with all the quality work being performed and produced under the umbrella title of ‘children’s theatres’ today, it is still regarded as a lesser art form by many from the theatre world. A mere mention of the word ‘children’s theatre’ conjures up images of over-acted stories about the Little Mermaid and rainy Wednesday afternoons spent in school theatres learning that getting pregnant and doing drugs is a bad thing. But this prejudice could not be further from the truth. For many years now quality drama has been written, directed and performed by professional theatre companies specifically for younger audience. I therefore ask the question: why is this still unknown to the wider community? And why, in a supposedly liberal field such as performance, is there still a stigma and disregard for this area of theatre?

This notion of a bias against children’s theatre is continually reinforced throughout the theatrical press, such as website What’s On Stage

‘It is not usual form to feature plays aimed at children aged three and over on these pages, but just occasionally, a production in this field will transcend its generic limitations to become a truly exceptional piece of work’ Philip Holyman

How can something so misinformed and clichéd be written by someone so obviously knowledgeable about theatre? Why can’t all theatre be reviewed in terms of its quality without presupposing certain limitations due to the generic field it happens to find itself placed in? Surely that is the point of a review. Shakespeare has its own limitations, so does Noel Coward or Sarah Kane but would that stop someone publishing their thoughts on it? I think not.

This statement is a fine example of the general feeling and consensus held by members of the industry. This opinion seems to perpetuate the ideology that children’s theatre is something to be looked down upon due to it apparently being artistically empty and ‘simple’. Unfortunately, those quick to sneer and scorn don’t seem to understand that to keep the attention of children and young people for 2 hours exceptional acting skills are required. The actors have to negotiate their performance depending on the change of dynamics a different audience brings. A child or young person will behave and respond differently depending whether they are in a school party of friends or watching the show with their family. This is no mean feat. It has to be a deeply artistic piece of work that is capable of not only grabbing the attention and imagination of the children, but also their parents. Yes, those adults who would otherwise not step foot inside a theatre need to be impressed. After all, who else is going to pay for the children to come back?

On the continent, this genre of performance is considered both exciting and different and it is taken seriously by those in the arts. So why is this not true for Britain? Could it be the case that it is our media that perpetuates the idea of theatre for young people being less impressive or vital? In the celebrity obsessed society, are gossip magazines teaching that you haven’t made it as an actor if you’re not the next Tom Hardy or Emily Blunt?

Or is this a line of thought that has trickled down from those higher up in the business? Many high profile actors and writers are incredibly supportive of this field giving not only their time but also their money acknowledging its importance to carry on its work. But would we see these same actors performing a 4/6 week run in a show aimed for younger audiences solely for the artistic exploration and joy of it? Apart from an Ian McKellen panto stint at the Old Vic, there has yet to be an example of this. At least not to create serious drama anyway.

Surely the reason we create theatre is to affect people’s consciences, to react against the actions and consequences of societies actions and to make people think about, and touch upon human emotion, be it old or young. We have a duty to teach and learn from the next generation of actors/directors/stage managers and designers. Not to seek the fame and glory of it all. Why then, when our society tells us that without a Bafta nomination or 5 stars from the Guardian we are failures, do we believe them?In young peoples theatre it is the theatre that comes first. If they are already bored, I don’t think the young audience will care so much which ex-RSC actor is heading the all star cast. They are the hardest audience any actor/director is ever going to try and impress and yet the rewards when the hard work is appreciated are the greatest.

So here is where I say thank you to those whose dedicated work has touched and changed so many young peoples lives. The tide is slowly changing on those generically limited opinions. And to those who believe that theatre of this kind is easy or less worthy artistically, then I would say to them: Come and have a go if you think you’re hard enough!

If you can't beat them....try harder.

Its tough admitting to being a follower of theatre. When you aren't fighting off people's anecdotes of that brilliant time they went to see Saturday Night Fever with the girls, or asking whether you want to be in Eastenders, you find yourself at the end of rants about how modern performance is pretentious twaddle with a load of people running around in black spandex and white faces.

Its hard. For the everyday Bob on the street all theatre and performance seems to fit in one of the two aforementioned categories i.e West End glitz, or arty shit. But for those who haven't seen some truly innovative work, or haven't had the pleasure of experiencing ground-breaking productions, a certain cynicism is understandable. But, for those who are seemingly part of the industry itself and who should be not only supporting artistic experiments, but encouraging and spreading awareness of them, it really is not cricket.

Skip to Clare Allfree's preview of this year's Spill Festival of Performance featured in Wednesday's Metro. Not only does she acknowledge the prejudices suffered by anyone striving for to create something different, she openly supports them. Clare love, using terms like 'God Help Us' to describe Mime work really doesn't help anyone. Maybe if you were a bit more specific and described particular awful examples of this art form it would be understandable, but to try and write off years and years of boundary-breaking work with three words is petty, childish and totally nonconstructive.

Rather than trying to get a cheap laugh from philistine tube riders do what you're job is and show make people aware of the fact that rather than being pretentious and concept driven, work featured as part of this festival actually could just open their eyes and alter all perceptions. It may be a harder task, but who said that life was easy?

PERFORMANCE REVIEW: Dan Leno - The King's Jester

Dan Leno - The King’s Jester
Georgian Theatre Royal Richmond, North Yorkshire, then touring

Getting up having watched a two hour show about 'The Funniest Man on Earth', you will struggle to hold back the tears. And herein lies the beauty of the Georgian Theatre Royal’s Dan Leno – The King’s Jester. It's a fascinating and poignant exploration of the very fine line between comedy and tragedy.

Written and performed by Tony Lidington, this primarily one man show examines the career of Dan Leno, the most famous music hall artist of his age and creator of both the pantomime dame and the concept of ‘stand up’ comedy. The retrospective look at his life's work takes place in the mental asylum where Leno spent his last months. As part of his treatment Leno asks his doctor, played by Malcolm Boyle, if he may perform some of his old routines before an audience. And so the trip down memory lane begins.

Unfortunately, but perhaps predictably, in order to keep up an older memory is required. For a 19 year old, the music hall patter and routines are largely unfunny, and though they are certainly of interest, they don't justify more than a polite giggle. As a whole, the audience is largely unsure in their reaction. Performed in an original Georgian Theatre,with a maximum seating capacity of 200 and the audience less than a metre from the stage, a highly energised atmosphere is created. The audience begins by interacting warmly and openly with Lidington as he presents some of Leno’s most well known routines. But as the play goes on, and Leno’s struggle for recognition by the theatre world becomes both obsessive and aggressive, the audience falters. However, while the quieter responses may at first appear as though the audience are becoming despondent, it may be more that this appearance of Leno's darker side has shaken their preconceptions and left them deeply moved.

Lidington, as Leno, gives a very strong performance in a demanding role. He successfully engages the audience’s attention with this playful, deeply insecure but mesmerizing comedian. Boyle's doctor is wooden and stoic, representing the strait laced Edwardian world determined to clamp down upon the ‘funny little man’. Unfortunately, his presence is, at times, irritating and intrusive.

As the show leaves Richmond, and begins its tour, it will be interesting to see how this intense play adapts to larger venues and whether it will be able to retain its strong audience connection. Regardless of venue size, it is a show that requires you to consider what we laugh at and why. It also allows a funny little man with sad eyes to at last get the theatrical recognition he has so longed for.

Jane Williamson

PERFORMANCE REVIEW: Wrecks

Wrecks
Bush Theatre, Shepherd's Bush

Entering a small room resembling a funeral parlour, you are immediately accosted by the sight of a coffin. This may seem rather unsettling to some but those familiar with Neil LaBute’s plays are not so surprised. They simply give a wry smile and eagerly take their seats at this replica wake. For they know that with LaBute, the absurdity has only just begun.

Robert Glenister plays the unassuming Edward Carr, who wanders on stage using the same route audience members themselves have just taken. This instantly establishes a sense of proximity between Glenister and ourselves, and we feel compelled to listen attentively. For as he himself sardonically intimates, no one ever dares question a widower. Engrossed in his own thoughts, he grazes his fingers lightly across the shiny varnished wood of the coffin which contains his late wife Jojo, 15 years his senior. Amidst musings of love, sex, cars and cigarettes, Glenister delivers an alternative eulogy to the one he knows is expected of him, one which is both refreshing in its simplicity and engaging in its sincerity.

Single-handedly captivating an audience’s attention for over an hour is by no means an easy task. Although there are occasional lulls in the monologue, Glenister makes the most of LaBute’s token pauses to relight yet another cigarette, take a drag and continue his train of thought, only to then nonchalantly stub it out in the pot plant by his side. It is exactly these small actions and gestures, coupled with the occasional quip and flashes of sarcasm, which make this production so incredibly watchable.

The judicious direction of Josie Rourke combines beautifully with the authentic softness of Lucy Osborne’s plush peach carpet and billowing cream curtains—together they create an atmosphere which capitalises on the intimacy of the venue and helps draw the play to its final catharsis. The twist in the tale— which is so characteristic of LaBute’s plays —arrives with all the mighty impact of a car wreck. As always, LaBute’s subtle clues and hints slowly drop into place to create a disturbing picture, all the more disconcerting because Glenister deliberately makes Carr seem such an instantly likeable and ordinary character.

Although the final penny drops when he reveals his late wife’s deathbed confession, perhaps this time LaBute waits a little too long for Carr to affirm his own dark secret.

Ruth Collins