Copenhagen – Chichester Festival Theatre

Copenhagen by Michael Frayn at the Minerva is rich in possibilities

(5 / 5)

Click here for the YouTube review of Copenhagen in Chichester on One Minute Theatre Reviews

Production shot from michael Frayn's Copenhagen at Chichester Festival Theatre showing Paul Jesson, Patricia Hodge and Charles Edwards
Paul Jesson, Patricia Hodge and Charles Edwards in Copenhagen by Michael Frayn at Minerva Theatre. Photo: Conrad Blakemore

So what is Copenhagen about? Ostensibly it’s about what happened at a mysterious meeting that took place in the Danish capital during World War Two between two of the great quantum theorists- Heisenberg, he of the Uncertainty Principle, and Bohr, who united the two main theories of quantum mechanics. Yes, but what’s it really about?

On the face of it, the play is about three dead people, ghosts if you like- Heisenberg, Bohr and Bohr’s wife- trying to work out between them what happened back in 1942. They keep going over the same ground with different results, and reveal all sorts of interesting things along the way. Appropriately to a play involving Quantum Theory, there are possibilities, probabilities and, above all, uncertainty. In fact the fluid time and colliding dialogue of Michael Frayn‘s play and Michael Blakemore’s bare production which makes the characters seem like protons in the nucleu of an atom give us insights into Quantum Theory.

So here are my thoughts on the possibilities, probabilities and uncertainty of what I saw.

Looking at it one way, the play is about history and science and how the two interlink. Quantum Theory led to nuclear fission which led to the atomic bomb- and a race between Germany and the Allies to create it.

Looking at it another way, it’s about the moral dilemma felt by a theoretical scientist wanting to help win a war but working on a weapon of mass destruction to achieve that victory. Did the meeting affect the outcome of the war?

Then again, the play is about how time and memory work: what happened is always gone and replaced by an unreliable memory influenced by subsequent events. And the impossibility of seeing yourself and your life objectively because you are the centre of your universe.

 

 

Production shot from Copenhagen at CFT
Copenhagen by Michael Frayn at CFT’s Minerva Theatre. Photo: Conrad Blakemore

 

You could say the play is about how people and relationships affect history and science. How jealousy, rivalry, fear, ambition and personal tragedy play their part. Charles Edwards as Heisenberg gives us a moving account of a life under the Nazis. Patricia Hodge and Paul Jesson are his equal in acting power.

You might come out thinking mainly about how impressive it is that an intelligent well written drama can put across all the above.

To go back to quantum theory, Copenhagen could be about how the act of observation changes what’s being observed. My experience might have been different on a different night but when I observed it, I thought Copenhagen at the Minerva Theatre deserved five stars.

Copenhagen is at the Minerva Theatre until 22 September 2018

This is my review of Copenhagen on YouTube

Exit The King starring Rhys Ifans at National Theatre

Rhys Ifans is dying to be funny 

(5 / 5)

Click here to watch my review of Exit The King starring Rhys Ifans on the YouTube channel One Minute Theatre Reviews

Production shot of Rhys Ifans in Exit The King by Eugene Ionesco adapted by Patrick Marber at National Theatre London
Rhys Ifans in Exit The King. Photo: Simon Annand

Exit the King is about how we come to terms with the shocking fact that we’re all going to die. As a character says in the play, ‘everyone is the first person ever to die.’

Patrick Marber has done a brilliant job both as director and as the adapter of Eugene Ionesco’s original play. It sounds contemporary and there are funny lines galore and there remains Ionesco’s intention that theatre itself with its exits and entrances should be a metaphor for life. The characters speak in a theatrical way and the King is  told early on ‘you’re going to die at the end of the play.’

And as the King, Rhys Ifans is extraordinary. He goes through denial and anger and all the other emotions experienced by those who are dying. Physically he declines before our eyes. He sounds like one of those declamatory stage actors of old like Laurence Olivier and his physical comedy reminded me of Jerry Lewis.

Production shot of Rhys Ifans in Exit The King by Eugene Ionesco adapted by Patrick Marber at National Theatre London
Rhys Ifans in Exit The King. Photo: Simon Annand

He’s supported by Indira Varma as the cool first Queen, Amy Morgan as the not-so-dumb blonde second Queen and Debra Gillett hilarious as the irreverent servant. Adrian Scarborough and Derek Griffiths complete an all round superb cast.

My only disappointment was that the ending felt dragged out and momentum was lost.

Oh, and credit where it’s due to set designer Anthony Ward. So often designers are defeated by the size of the National Theatre’s Olivier stage but his solution is to have the small cast at the front for most of the play with a big crumbling palace wall behind them, then, in a gobsmacking ending, the set disappears and the whole grand canyon of the stage area opens up as the king dies and fades into eternity. It’s a theatrical moment of which one feels sure Ionesco would have approved.

Exit The King with Rhys Ifans is at the National Theatre until 6 October 2018

Watch my YouTube review of Rhys Ifans in Exit The King-

Alan Bennett’s Allelujah! at Bridge Theatre – review

Allelujah! written by Alan Bennett, directed by Nicholas Hytner at Bridge Theatre London.

(3 / 5)

Click here for the review of Allelujah! by Alan Bennett on the YouTube channel One Minute Theatre Reviews

Production shot of Allelujah by Alan Bennett at Bridge Theatre
Allelujah! at Bridge Theatre. Photo: Manuel Harlan

Much as I loved many of the Nicholas Hytner era productions at the National Theatre, not least his collaborations with Alan Bennett like The History Boys and The Madness of George III, I did find myself thinking that for all the criticism of his successor, Rufus Norris is at least trying to jolt us out of our comfort zone.

In Allelujah!, one National Treasure writes about another National Treasure- the NHS. What’s the diagnosis?

It’s like Alan Bennett is giving us a bed bath. He covers all the familiar places but there are no surprises. He does have some strong words to say about the care of the elderly and the creeping privatisation of the NHS but his play feels so old fashioned.

It’s set in a geriatric ward of a small general hospital threatened with closure. And straightway there’s a problem. if the play was a patient, the doctor would say it’s confused about where it is. This is more like a care home than a geriatric ward (which by the way are called Care Of The Elderly wards these days). I didn’t believe for a moment there would be time for a nurse to organise a choir among the patients. This play is living in a world of its own, a world we might call Alan Bennett Land.

Like the elderly patients in the play, Allelujah! is confused, unfocused and old fashioned 

Production shot of Allelujah! by Alan Bennett at Bridge Theatre
Allelujah! at Bridge Theatre. Photo: Manuel Harlan

The next symptom. Our patient can’t seem to concentrate on any one character. There are 25 and most are little more than clichés or ciphers. I just didn’t believe the kind, touchy-feely immigrant doctor (Sacha Dhawan) who ‘loves old people’, nor the neoliberal privatising consultant (Samuel Barnett) nor the yobbish work experience lad (David Moorst). The only one we get to know slightly better is the stiff ward sister, played by the excellent Deborah Findlay, who has a radical solution to the twin problems of incontinence and empty bed targets.

Repetition is another worrying symptom. The familiar Bennett humour is there but really it’s too familiar. There are some amusing lines but many more fall flat- I’ve gone beyond thinking the names of Yorkshire towns are funny in their own right, like the bathetic threat of Tadcaster.

Mood swings are another worrying sign of a patient who is no longer in control. There’s also an uncharacteristic burst of anger from the patient when the immigrant doctor berates us the audience for the way we have become as a country.

The best bits were when we went into the minds of the elderly patients and saw them as a chorus line performing singing and dancing of old songs. And that apparently was director Nicholas Hytner’s idea, not Alan Bennett’s.

I’m afraid this play felt very dated or, as the doctor in the play might say, the patient is suffering from old age.

So, I regret, it’s a Do Not Resuscitate from me.

Allelujah! by Alan Bennett is performing at Bridge Theatre London until 29 September 2018

Watch Paul Seven Lewis’ review on One Minute Theatre Reviews-

Aidan Turner in The Lieutenant Of Inishmore

Aidan Turner is hilarious in Martin McDonagh’s The Lieutenant Of Inishmore

Watch the review of The Lieutenant Of Inshore by One Minute Theatre reviews on YouTube
(5 / 5)

Production photo of Aidan Turner in The Lieutenant Of Inishmore by Martin McDonagh, directed by Michael Grandage
Aidan Turner in The Lieutenant Of Inishmore. Photo: Johan Persson

Mad Padraic is an Irish terrorist in the time of The Troubles, he’s too violent and unpredictable even for the IRA. But he loves his cat. When the only thing he loves is killed, Padraic wants vengeance. So begins Martin McDonagh’s The Lieutenant Of Inishmore at the Noel Coward theatre in London.

If you’ve only seen Aidan Turner in Poldark, you’ll be amazed at how hilarious as well as threatening he is as this man of extremes, flipping from anger to tears to a twinkling smile in the space of a few seconds.

Production photo of Chris Walley, Aidan Turner and Denis Conway in The Lieutenant Of Inishmore by Martin McDonagh, directed by Michael Grandage
Chris Walley, Aidan Turner and Denis Conway in The Lieutenant Of Inishmore. Photo: Johan Persson

He’s well supported by Denis Conway as his father Donny, Chris Walley straight out of RADA but hitting it out of the auditorium as the hangdog youth Davey, Charlie Murphy as Padraic’s equally crazy love interest and, in fact, all the cast. Every character is as thick as two slices of peat- but maybe we all are when it comes to understanding terrorism.

Martin McDonagh’s play is the blackest of black comedies. Written nearly 25 years ago but more relevant than ever, it satirises terrorists and how their distorted idealism, in which violence breeds violence, leads to a blind pursuit of their goals at the expense of morality or even decent human behaviour.

Michael Grandage’s comical production

The first act has some great funny lines. I particularly liked a description of cats as ‘full of themselves’ but it mainly serves to introduce us to the characters and set up all the fastmoving action of the second act. That’s when it really takes off with one violent incident leading to another in a series of twists so ingenious that that every so often they got a round of applause from the audience.

And what violence! Michael Grandage’s triumphant production is so exaggerated that everything becomes comical but even so, it’s still quite a shock to see someone’s brains splattered across a wall, live on stage.

It’s so totally over the top, it goes down the other side and over another top.

The Lieutenant Of Inishmore with Aidan Turner is at the Noel Coward Theatre London until 8 September 2018.

Here’s the YouTube review of The Lieutenant Of Inishmore with Aidan Turner on One Minute Theatre Reviews-

Fun Home – Young Vic – review

Fun Home is a perfect musical

(5 / 5)

Click here to see the YouTube review of Fun Home on One Minute Theatre Reviews

Production photo of Kaisa Hammarlund and cast in Fun Home at Young Vic
Kaisa Hammarlund and cast in Fun Home at Young Vic. Photo: Marc Brenner

Fun Home is a perfect musical- a joyous story driven by mystery and tragedy; songs with clever lyrics and catchy tunes that give an extra depth to the tale; characters you believe in and care about.

The musical is based on an autobiographical graphic novel by Alison Bechdel. We meet Alison as she’s in the process of creating her book. It’s an attempt to look back and understand how she tackled coming out and how her closet gay father came to commit suicide. As a song from early on says, ‘I want to know what’s true, dig deep into who and what and why and when, until now gives way to then.’

Although there is a central tragic event, this does not stop it being an uplifting evening.

Two younger versions of Alison take us through episodes of her life as today’s Alison narrates and comments. All the cast are tremendous singers and actors- Kaisa Hammarlund as the nervous narrator Alison, Eleanor Kane as the gauche teenage Alison and on the occasion  I saw it, Harriet Turnbull as the troubled small Alison, displaying a skill rare in an child actor.

Jenna Russell plays the suffering mother and Zubin Varla is tremendous as the complex father. There’s also great support from Ashley Samuels and Cherrelle Skeete.

Production photo of Fun Home at Young Vic London
Fun Home at Young Vic. Photo: Marc Brenner

The songs, composed by Jeanine Tesori with lyrics by Lisa Kron, are by turns  humorous, heartbreaking and, most importantly, totally integrated into the story. Perhaps it helps that Lisa Kron also wrote the book.

A quick word of praise for David Zinn’s clever set which is like an extension to the father’s character. It’s detailed when it needs to be, spins round as scenes change, and is bleak and blank at appropriate times. And there is a wow moment late on.

There’s a lightness and movement in director Sam Gold’s tender, funny production that give the still moments huge impact.

Fun Home is a touching look at the relationship between parent and child and a wonderful celebration of being true to yourself. It’s the kind of evening I always hope for when I go to the theatre.

Fun Home is performing at Young Vic until 1 September. Click here for the Young Vic website

Watch the One Minute Theatre Reviews YouTube review here-

SS Mendi: Dancing The Death Drill – Isango Ensemble – Nuffield Southampton Theatres

Isango Ensemble’s SS Mendi is Powerful Theatre

(4 / 5)

Watch the YouTube review on One Minute Theatre Reviews

Production photo of Isango Ensemble in SS Mendi Dancing The Death Drill at Nuffield Southampton Theatres
Isango Ensemble in SS Mendi Dancing The Death Drill at Nuffield Southampton Theatres

As shocking fact is laid upon shocking fact, it becomes hard to judge SS Mendi- Dancing The Drill Of Death as a piece of theatre, such is one’s outrage at how the British behaved towards black people from the Empire a hundred years ago. But Isango Ensemble have created a powerful musical to tell the human story behind the appalling facts .

Directed by Mark Darnford-May, SS Mendi is about the last voyage of a ship that transported black South African men to support British troops against the German army.

They see themselves as warriors going to fight but actually they will be digging trenches because one of the many appalling things we hear is that the black man is not allowed to raise his hand against the white man- even the German enemy.

The ship is sunk in an accident off the English coast and over 600 dead black South Africans become, as far as Britain is concerned, a footnote to the history of world war one. Until now.

The brilliant Isango Ensemble from South Africa bring to life what is actually an uplifting tale of the life of the people sailing to their doom. It’s a great piece of storytelling that could only happen in theatre.

This is physical theatre at its best, relying entirely on the performers. It’s a mixed gender company but it’s all about the acting so women take on male roles. On a bare stage with minimal props, they talk, sing, mime, play music. They tell individual stories with humour and compassion; they celebrate the men’s pride and humanity; they move fluidly together to provide a physical metaphor for their community as well as for the sea and the ultimate tragedy.

There were moments when some of the co-ordinated movement could have been tighter and some of the voices stronger but I don’t want to quibble in such an excellent production.

Production photo of Isango Ensemble in SS Mendi Dancing The Death Drill
Isango Ensemble in SS Mendi Dancing The Death Drill at Nuffield Theatre Southampton

The terrible patronising racism is there almost from the start when, as the men are recruited, they are given British names to replace their real names. Although the colonial white racism is appalling, SS Mendi does make clear that, there was class and racism among all of humanity as well as a specific British white racism a hundred years ago. The white officer in charge himself faces class prejudice. The black South Africans are prejudiced against each other’s tribes and some initially won’t have anything to do with mixed race person they call a ‘half breed’. So it is more nuanced than a simple attack on British racism.

Despite the horrors, there was humour. I liked the interspersing of traditional British songs into the South African music which was terrific by the way- at times joyous, at others haunting.

Not all the attempts at humour work. Just prior to the sinking, a performer comes on stage with a fog machine. It’s one thing to want us to stand back and understand this is a story being told but that intervention did strike a false note.

I would have liked the play to have been a little longer so that more time could have been spent looking at the lives of these individuals chosen to represent the 600 dead, to give us more chance to connect which would have made the tragic outcome even more poignant.

But it’s a story worth telling and Isango Ensemble use the full power of theatre to tell it. I congratulate Nuffield Theatres Southampton on them to Britain to mount this important production.

SS Mendi: Dancing The Death Drill is performing at NST City until 14 July

Watch the youTube review of  SS Mendi: Dancing The Death Drill on the channel One Minute Theatre Reviews-

Miss Littlewood – RSC Stratford – review

Royal Shakespeare Company’s Miss Littlewood does her proud

(4 / 5)

Click here to watch Miss Littlewood reviewed on the YouTube channel One Minute Theatre Reviews

Clare Burt in RSC's Miss Littlewood, Photo by Topher McGrillis
Clare Burt in RSC’s Miss Littlewood, Photo by Topher McGrillis

On the face of it Miss Littlewood at the Swan Theatre in Stratford-Upon-Avon is a celebration of the theatrical revolutionary Joan Littlewood. Actually Sam Kenyon‘s marvellous musical is a celebration of theatre, or at least of the kind of theatre that she pioneered with shows like Oh What A Lovely War and which is now long established.

Miss Littlewood imagines Joan putting on a production of her own life story. In her now well established theatre workshop style, there is no set, only a few props and an open stage.  The storytelling is episodic. There’s a narrator in the form of Joan. It’s always clear this a play, being directed- by Joan. The actors take on many parts in a very egalitarian way.

In a touch which I’m sure Joan would have loved and which is still a little revolutionary, the casting in Erica Whyman‘s production is colour blind and gender blind. So while the story is set in a past age dominated by white men, the cast reflect today’s society: which means women play some of the male parts and black people play what were historically white people.

I suspect some won’t like it but it works, because good stage actors seize your imagination and take you beyond the literal facts of appearance, as happened in Joan’s productions.

There are some vivid characters, although we don’t get to know many of them in depth. Even Miss Littlewood herself remains enigmatic, although the narrator Joan played by the splendid Clare Burt displays charm, humour, emotion and ruthlessness (she changes the person playing herself six times).

Central to her story is the grand love affair between herself and Gerry Raffles, the man who made a lot happen on the practical level. Unfortunately there seemed little spark between them, charming as Solomon Israel’s Gerry is.

Sophia Nomvete and company in Miss Littlewood at Swan Theatre. Photo by Topher McGrillis
Sophia Nomvete and company in Miss Littlewood at Swan Theatre. Photo by Topher McGrillis

It’s not a full stage musical in that there is very little dancing and the musical numbers advance the plot with witty lyrics rather than moving melodies. However there is one showstopper magnificently led by Sophia Nomvete.

If you love theatre, by which I mean the whole art of theatre, you really must see Miss Littlewood.

Miss Littlewood is at the Swan Theatre in Stratford-Upon-Avon until 4 August 2018. To book, click here.

Here’s Miss Littlewood reviewed on the YouTube channel One Minute Theatre Reviews

Vanessa Kirby in Julie at National Theatre

Vanessa Kirby is electric but Julie fails to shock

(3 / 5)

Click to watch the review of Vanessa Kirby in Julie on One Minute Theatre Reviews on YouTube

Production photo of Vanessa Kirby in Julie at the National Theatre
Vanessa Kirby in Julie at the National Theatre. Photo copyright: Richard H Smith

Polly Stenham said in an interview that she wanted her new play to show the ‘dark heart of liberalism’ and to ‘go for the jugular’. So did the audience leave the the National’s Lyttleton Theatre reeling with shock? I’m afraid not. If Ms Stenham wants to shock the white liberal middle class National Theatre audience, she’s going to have to try a lot harder.

Julie, played brilliantly by Vanessa Kirby, is a privileged white woman in her thirties who’s clearly been given everything she’s ever wanted except love. She’s used to ‘taking’, including taking from her servants whom she sees as possessions.

Production photo of Thalissa Teixeira and Eric Kofi Abrefa in Julie at the National Theatre, London, England
Thalissa Teixeira and Eric Kofi Abrefa in Julie at the National Theatre. Photo (c) Richard H Smith

She affects to talk to the servants as equals but doesn’t really see them that way. So the ‘help’, powerfully played by Thalissa Teixeira, thinks her mistress is her friend but gets a rude awakening.

Julie  wants the chauffeur Jean, a nicely judged performance from Eric Kofi Abrefa, for his body but he has his own agenda, looking to use her as a step up society’s ladder.

So how much of ‘the dark heart of liberalism’ is exposed? I suspect we know there is still a big gap between entitled rich and exploited poor, despite the fact that we’re all on first name terms. There is no real shock in a relationship between a powerful woman and her male servant or between the rich who take and the poor who are taken from. Making the two servants black immigrants provides echoes of the western empires’ treatment of their colonies but a liaison between a white woman and a black man is hardly shocking.

There’s a wild party going on in the background of the early part of the play that uses the Lyttleton space well, but it’s very tame, as is the sexual coupling.

Perhaps what is exposed is that we don’t really care about people. Certainly the audience seemed to find the terrible treatment of a pet bird, which appears in Strindberg’s original Miss Julie, much more shocking than anything that happens to the human beings.

Vanessa Kirby, Polly Stenham and director Carrie Cracknell have created a monstrous but at the same pathetic character

We’re left with a portrait of two self-centred cold hearted people for whom it’s hard to feel any compassion. Tom Scutt’s wide open set has an appropriately bright, sterile feel.

Maybe if the play had been longer (it lasts less than an hour and a half), we could have found out more about the two main characters and then maybe we would have felt more. Maybe it just needed more development in a smaller space.

Having said that,  Julie is worth seeing. In their portrayal of a privileged western woman whose blinkered life of drugs, drink and sex is on a downward trajectory, Vanessa KirbyPolly Stenham and director Carrie Cracknell have created a monstrous but at the same pathetic character that is actually shocking. Vanessa Kirby is able to behave like a wild child while still showing the underlying brittleness. When Julie starts to realise that she is not as in control of the people around her as she thought and that her actions have consequences, Ms Kirby’s portrayal of her collapse is powerful.

Other Reviews

There was a mixed response from the critics but no-one seemed overwhelmed by Julie.

Among a number of two star reviews, the Evening Standard said ‘there’s an impulse to provoke, but no real sense of danger’ and The Guardian said it ‘doesn’t make sense’.

Others gave it three stars but didn’t like the update. The Telegraph said the ‘vital sense of societal transgression piling in on top of psychological flaws is lacking’ and The Independent said, ‘the dramatic stakes are lowered.’

‘The play struggles to make the class transgression feel dangerous,’ said BroadwayWorld.

On the other hand there were some four star reviews. WhatsOnStage called it a ‘sleek, satirical update’  and The Stage described it as ‘brilliant’.

All eyes were on Vanessa Kirby in the title role. Radio Times said she gave a ‘virtuoso performance’. The Guardian praised her ‘genuine pathos’. ‘Kirby excels’ agreed The Independent.

The Observer’s three star review said, ‘as a brave and peculiar character study, this is extraordinary. Both witty and vicious. Vanessa Kirby’s Julie is panic and scorn.’

Julie continues at the National Theatre until 8 September 2018

Watch Julie reviewed on One Minute Theatre Reviews on YouTube

The Country Wife at Chichester Festival Theatre

Was it a mistake to modernise The Country Wife?

(3 / 5)

Click here to go to see The Country Wife reviewed at One Minute Theatre Reviews on YouTube 

Lex Shrapnel and other members of the cast in The Country Wife at Chichester Festival theatre. Photo- Manuel Harlan
Lex Shrapnel and other members of the cast in The Country Wife at Chichester Festival theatre. Photo- Manuel Harlan

Some of London’s high class women want sex but not with their unattractive, sometimes abusive husbands. A young man wants sex without commitment so targets married women. How to get the two together while keeping up the image of respectability? The answer: He pretends to be impotent.

The shock caused by the open and judgement-free discussion of sex, particularly by women, when it was first performed, is different to the shock The Country Wife causes today.

The play was first performed in 1675 but many of its elements could form the plot of a play for today, which may be why director Jonathan Munby has shifted the action to modern London.

However I can’t help feeling it would have been better to leave it in the context of its own time because the problem with updating the setting to modern London is not that people’s behaviour has changed- it’s that attitudes have changed. Men patronizing or abusing women doesn’t sit well today as a subject for a jolly romp.

Setting it in the time of the #metoo movement means it’s inevitable that we will question the sexist, controlling, even abusive, men more than we would if it was simply of its time. A production set in the modern day could still be funny but it would need to be darker than this in order to give us some acknowledgement that we are looking at these people through 21st century eyes. Instead, the production remains in Carry On mode, except for a hint that commitment-free sex may not be all it’s cracked up to be.

Also, the plot struggles to work in a mode setting. Today’s well off women, if they want to cuckold their husbands, are usually independent enough financially and in lifestyle to be able to do it. Men or women who want sex without commitment only have to visit Ashley Madison or swipe on Tinder.

Susannah Fielding in The Country Wife at Chichester Festival Theatre. Photo- Manuel Harlan
Susannah Fielding in The Country Wife. Photo- Manuel Harlan

A lot of the verbal humour hasn’t aged well either but the cast throw themselves into it, especially Scott Karim as Sparkish, a would-be one-of-the-lads who thinks he’s much wittier than he is, and Susannah Fielding, hilarious as the naïve wife of the title. All the cast are excellent but Lex Shrapnel in the central role of Horner and John Hodgkinson as the vicious but foolish cuckold Pinchwife deserve a special mention. The laughter quota is helped by a lot of French farce style going in and out of doors.

Although I’m dubious about modernising the setting, I did like Soutra Gilmour’s black-and-white set and costumes- the kind of exaggerated outfits that you wouldn’t normally see outside of a fashion designer’s catwalk contrast cleverly with the naive country woman’s colourful everyday clothes.

It’s worth saying that, lthough The Country Wife seems like a celebration of sexual liberation, two of the characters, Alithea played by a pitch perfect Jo Herbert and Harcourt played by a very amusing Ashley Zhangazha, are driven by romantic love, suggesting that Wycherley didn’t think all men and women were thinking only of sex.

It was an enjoyable enough evening but I can’t see this production lingering in my memory.

The Country Wife ends its run at the Chichester Festival Theatre on 7 July 2018

Watch the YouTube review of The Country Wife at Chichester below

Orlando Bloom in Killer Joe – review

Orlando Bloom triumphs in Killer Joe at Trafalgar Studio 1

(5 / 5)

Click here to watch review on One Minute Theatre reviews on YouTube

Photo of Orlando Bloom in Killer Joe at Trafalgar Studios. Photo by Marc Brenner
Orlando Bloom in Killer Joe at Trafalgar Studios. Photo: Marc Brenner

This is the sort of night at the theatre I live for. Killer Joe was written by Tracy Letts, an actor who understands how theatre works and how to create great roles.

Despite all the sex and violence in the play, it is a moral tale. It’s reminiscent of Jacobean revenge tragedy with a nod to the claustrophobic overheated southern dramas of Tennessee Williams. In this case the claustrophobic set by Grace Smart is a convincing, trashy mobile home in a Texan trailer park. The intimate ‘cockpit’ of Traflagar Studio One really helps the oppressive atmosphere.

The literal trailer trash is very detailed and adds to the play’s recreation of the trailer trash lifestyle with its automatic switching on of Prozac television and Fast food diet. (One use of a fried chicken leg may have a permanent effect on how you view a bucket meal.)

Photo of Orlando Bloom and Sohie Cookson in Killer Joe. Photo by Marc Brenner
Orlando Bloom and Sohie Cookson in Killer Joe. Photo: Marc Brenner

The Smith family who live there are poor and ignorant which adds a layer of welcome humour but they could be anyone led by greed and a total lack of morality. They want someone close to them killed so they hire a hitman. Inevitably things go wrong and there are plenty of twists along the way.

In a series of scenes of sexual abuse which are uncomfortable to watch and shocking violence which is extraordinarily well done, we see what can happen when people are not controlled by morality or law.

Orlando Bloom is a revelation as a the smooth talking cold eyed sociopathic Joe. His sinister alpha male dominates the evening but each character is far more subtle than stereotypical trailer trash and every member of the superb cast seizes the opportunity to show a wide range of emotion.

Sophie Cookson is brilliant at walking the tightrope between being frightened of Joe’s sexual advances and, because she is used to being controlled, willing.

Photo of Adam Gillen and Steffan Rhodri in Killer Joe. Photo by Marc Brenner
Adam Gillen and Steffan Rhodri in Killer Joe. Photo: Marc Brenner

Steffan Rhodri as her father Ansel is a subtle mixture of bravado, cowardice, fear and excitement.

Her frantic, gullible brother Chris is the kind of person who always has a plan and the plan is never thought through. He’s a person adrift in a world he doesn’t really understand and that seems to be against him. He recognises feelings of love and regret but doesn’t know how to handle them. Adam Gillen conveys this with jerky body movements and looks of wide-eyed wonder as he realises what’s going on.

When we first meet her, she is confident, sassy which makes her downfall is all the more shocking.

Killer Joe is a unique theatrical experience. For example, there is no substitute for seeing someone hit in the face actually in front of you. The graphic fights directed by Jonathan Holby are incredibly well done.

Director Simon Evans keeps what could easily be an over the top grand guignol production under control right up to a beautifully choreographed violent finish.

Warning at Traflagar Studios

The warnings about this production are many and it certainly is not for the faint hearted. On the matter of nudity, there are three instances. At the beginning, in one of the many humorous moments  in the play, Sharla answers the door to her stepson Chris wearing only a top. Her pubic hair is clearly visible. When Chris complains, she responds by saying ‘I didn’t know who it was’.

Another occasion is a glimpse of Orlando Bloom’s bottom. By far the most shocking is a moment when Dottie is told to undress by Joe. He has his back to her but she is facing us the audience. It’s an unnerving moment which makes us feel complicit in this abuse,  just as the Smiths have become responsible for much more than they bargained for in hiring this monster.

Finally a word about the excellent use of music by Edward Lewis, both his own unobstrusive mood creating music and his sinister use of known pop songs.

Spoiler alert!

Killer Joe is a kind of pact with the devil and involves a sort of virgin sacrifice: the devil being Joe and the virgin being Dottie.

Killer Joe is another great show from producer Emily Dobbs. It is at Trafalgar Studio 1 until 18th August 2018.

Watch Killer Joe review on YouTube channel One Minute Theatre Reviews