Tag Archives: Florence Roberts

A Hero of our Time

★★★★

Stone Nest

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A Hero of

A Hero of our Time

Stone Nest

Reviewed – 18th September 2020

★★★★

 

“the performances burn with an energy that transfixes throughout”

 

Since March, and I’m far from alone here, the only theatre I have been able to witness has been either beamed through a computer screen or, more recently, outside under our unpredictable skies. Consequently, one is bound to carry a heightened sense of expectation when returning to an indoor space for the first time. Any concerns, though, that these expectations are not reached are swiftly thwarted by HUNCHTheatre’s impassioned and inspired adaptation of Mikhail Lermontov’s “A Hero of Our Time”.

Having enjoyed critical success in Edinburgh and at the Arcola Theatre in 2018, it now comes to the Stone Nest: a former, nineteenth century Welsh Chapel tucked away on the corner of Shaftesbury Avenue. From the eighties it was the home of the infamous Limelight Club until it became just a pub; but for the last decade has stood empty. Until now. With its Norman style gallery and grand dome, it seems an appropriate space for presenting the moody, melancholic thoughts of Mikhail Lermontov. “A Hero of Our Time”, Lermontov’s final prose work, focuses on the anti-hero Pechorin whose tragic demise foreshadowed the author’s own death during a duel.

The romanticism of the setting, however, is outweighed by the somewhat poor acoustics of the church. However, Oliver Bennett and Vladimir Shcherban’s adaptation is inventive enough to be able to dispense with the backdrop and rely purely on their dramatic achievement. The writing is skilfully modern, and the performances burn with an energy that transfixes throughout. Bennett, as Pechorin, embodies the nihilistic intensity mixed with the melancholic sensitivity of the Romantic hero. The rich tones of his voice frame the aphorisms that are sometimes unbearably cruel, but impeccably aimed to wound his intended target. It is often difficult to feel a real sympathy towards this kind of self-centred protagonist, but Bennett reels us in with his winning charisma.

James Marlowe as Grushnitsky, his long-suffering friend, gives as good as he gets as the two face each other off over the young Princess Mary. Initially the underdog, Marlowe’s stage presence gives a real stealth to the character that ultimately threatens to usurp the hero’s tragic status. The two actors create an electrifying bond; and caught in its crossfire is Florence Roberts who convincingly plays the two pivotal women: Princess Mary, the pawn in the game (but don’t underestimate the power of the pawn!) and Pechorin’s ailing ex-lover, Vera.

The lines are blurred between comedy and tragedy, between the past and the present; but it is clear that we are witnessing a vital piece of theatre here. It exposes the conflicting emotions of the characters as being universal. It is not always comfortable – like biting into a lemon. The bitterness is as immediate as the sharp language of the text. Marred only by a few moments of extraneous physicality, the offbeat and avant-garde permeates the production.

The irony, the insight, the fatalism, the humour, the violence and the love; all embedded in Lermontov’s original, have not been lost over time. This is a show that resonates today just as compellingly; and these actors are the heroes of our time.

 

Reviewed by Jonathan Evans

 


A Hero of our Time

Stone Nest until 19th September

 

 

Click here to read our November 2018 review from the Arcola Theatre

 

Last ten shows reviewed by Jonathan:
The Importance Of Being Earnest | ★★★½ | The Turbine Theatre | February 2020
Closed Lands | ★★★ | The Vaults | March 2020
Max Raabe & Palast Orchester | ★★★★★ | Cadogan Hall | March 2020
The Kite Runner | ★★★★ | Richmond Theatre | March 2020
The Last Five Years | ★★★★ | Southwark Playhouse | March 2020
A Separate Peace | ★★★★ | Online | May 2020
The Understudy | ★★★★ | Online | May 2020
Godspell Online in Concert | ★★★★★ | Online | August 2020
Henry V | ★★★★ | The Maltings | August 2020
St Anne Comes Home | ★★★★ | St Paul’s Church Covent Garden | August 2020

 

Click here to see our most recent reviews

 

Booby’s Bay – 4 Stars

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Bay

Booby’s Bay

Finborough Theatre

Reviewed – 1st February 2018

★★★★

“strong production, with the cast doing a solid job at bringing Darke’s work to life”

 

The sound of seagulls, piles of deadwood, and the genuine smell of fish, help to turn a London pub theatre into a scene of our British coastline. The Cornish coastline to be precise. Booby’s Bay is the first full-length play by playwright Henry Darke and it’s all set within his home county. Darke uses a world that he clearly knows and cares about to create an impassioned, wistful, yet comic tale that efficiently shifts between laughter and tears.

The holiday season is imminent, and so the residents of Booby’s Bay are preparing themselves for the tidal wave of tourists that are coming. Most residents are accepting and appreciative for the influx of people making their way to the remote, picturesque cove, but Huck isn’t having it. He is taking a political stand. Huck, a local former fisherman, is squatting in the empty second home of a city slicker who uses it for only a few weeks of the year. Holiday homes such as this scatter the coast of Booby’s Bay, contributing, Huck believes, to a housing crisis for Cornish natives. As his mother, friends and ex-girlfriend slowly get exasperated with him, it becomes apparent it could be the torment of certain traumatic events from the past that is spurring Huck’s headstrong behaviour. With a world-famous surfing competition taking place along the beach, bringing in hoards of people, it looks like Huck is fighting a losing battle.

Oliver Bennett gives a confident performance as Huck, shifting between his infuriating stubbornness and emotional fragility with ease. Joseph Chance and Florence Roberts show versatility and prowess with their acting chops, having to multi-role a couple of characters each. Esther Coles provides lighter relief as Huck’s kooky, fun-loving mother, Liz, however, it is Bradley Taylor as Huck’s macho mate Daz that really is the shining light in this production. Starting as the jocular jock, full of bravado, we see these outer layers of armour gradually stripped back to discover a much rawer soul, coming to the forefront when Daz and Huck are embroiled in a heated altercation at the climax of the play.

Booby’s Bay is a generous ensemble piece; giving time to unfold the stories of each resident we meet from the seaside town. Director Chris White chose to include abstract transitions between scenes, where the cast skilfully sing broken parts of sea shanties and pop songs, initially proving a compelling shift from the naturalistic style of the bulk of the play. However, the transitions soon turn into strange and awkward to watch movement pieces that linger on longer than necessary. Nevertheless, this is a strong production, with the cast doing a solid job at bringing Darke’s work to life. It is refreshing to theatrically hear about the lives from a corner of the country that does not get noted enough.

 

Reviewed by Phoebe Cole

Photography by Blerim Racaj

 

Bay

Booby’s Bay

Finborough Theatre until 24th February

 

 

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