★★★½

“a riveting, exciting watch”

Port City Signature by Nathaniel Brimmer-Beller is a Noir-styled suspense story centred around the arrival of the naïve Newcomer into the local public house after having missed her train home. The mistrustful Regular and his sex-working partner-in-crime, Lady (Katherine Lea), coax Newcomer into executing a shady deed for them, to help alleviate the targeted extortion they have been subject to from Sheriff, the local, corrupt law enforcer. Will she be able to follow through? Will things get out of hand? Only one way to find out.

The opening of the piece was given space and significance, with the space not always being as alive as it could have been. Set designer Hannah Williams did a marvellous job of creating a dark, dingy boozer that breathed dank ambience into the audience. Although they took their time, the actors initiated some interest in, and raised questions about the characters; somewhat, grabbing the attention of the audience, although not locking them into engagement, even though the story was being told clearly.

This could have been aided by more elaborate and interesting lighting and sound choices, helping the actors truly lean into the Noir style. It would’ve served the actors well to find the lightness and humour in the language and to have fully trusted the well written script of Brimmer-Beller to create the suspense for them.

However, with the pressures of the train arriving and the need for its loud, disguising rattle along the line, the suspense of the piece began to ignite. The given circumstances being expressed well by the trio on stage. The well-found and unshakeable nonchalance of Regular (Paddy Echlin) beginning to slip under the anxiety of the situation.

The capturing entrance of the callous and sinister Sheriff (David Carter) boosted and served the urgency of the scene and, in the first act’s climax, light, sound and performance blended together brilliantly in a crescendo of action. There was some good directorial craftwork and choices from Brimmer-Beller and Phoebe Rowell John, particularly with their choice for regular shootout style triangles, that gave the characters chance to fire their suspicions at each other, while revealing their inner life to the audience. The payoff from the slow build was good and the stakes of the piece were now being truly felt as the power shifted seamlessly into the hands of the unassuming Newcomer (Meg Clarke) who relished the opportunity and led the play ruthlessly to its ending. An unforeseen final twist made the audience feel abashed at having assumed all was what it seemed.

Everyone is a suspect in Port City Signature, with no loyalty between the untrustworthy characters and all ties between them being transactional. After an overly-measured start, the play built and built and built, finding its feet and made for a riveting, exciting watch.

FOREVERLAND at Southwark Playhouse Borough

★★★★

“a gorgeously heartfelt and intimate story”

Most of us have a gut reaction to the question ‘Would you like to live forever?’ But once it subsides, we discover that it is impossible to answer. The quandary is as old as life itself: nobody wants to die, but nobody wants to live forever either.

The recent progress in genetic research has allowed scientists to discover ways of slowing down the ageing process. Without trying to go into detail (and thereby revealing the extent of my ignorance) it has something to do with cellular reprogramming and altering molecules that turn DNA on and off. A bit like restarting a computer. It works on worms. And mice. This is science fact. Enabling humans to live forever may still be science fiction, but only for about another decade, according to Emma Hemingford’s stylish and imaginative new play “Foreverland”.

There is the danger that tackling such a subject can lead to a rather dull essay involving the characters discussing abstract concepts. But Hemingford avoids all the potential clichés and truisms, and instead weaves the complexities and conundrums into a gorgeously heartfelt and intimate story. One that centres on a romantic relationship that is instantly recognisable and relatable.

Jay (Christopher York) and Alice (Emma McDonald) are a couple in their thirties, about to embark on treatment to prolong their lives – perhaps indefinitely. It is a fairly risk-free surgical procedure, but pre-op nerves are kicking in. The treatment is irreversible. But there is a ‘get out’ clause later down the line. Both York and McDonald capture this essence perfectly in the opening scene, with humour and poignancy. Aided by Valerie Antwi’s deliciously cool and mockingly sympathetic Doctor Lane, we get a clear insight into the bonds, and the cracks, in their marriage; along with subtle, almost invisible, hints as to how the drama might unfold.

Director Frederick Wienand guides the play’s characters through specific leaps in time with effortless artistry. We fast forward a few years in a matter of seconds; scene changes flashing before us indicated by the performers’ evolving mannerisms and inflections, like the rapidly moving hands of the clock. Except in Jay and Alice’s world, the pressure of the clock has gone. The performances are captivating as the couple navigate their journey towards immortality. Is it idyllic or terrifying? In their own way, York and McDonald explore what having unlimited time does to them psychologically. Jay and Alice soon have a daughter (the wonderfully natural and dynamic Emily Butler), who soon grows up into the radical adult who questions her parent’s choices (Una Byrne). What does the promise of unlimited time mean for the world; socially, ethically, and politically? Byrne’s fiery influence not only shakes up the onstage characters, but it urges us all to take stock and consider our own views.

“Foreverland” can be seen as a parable for our time. One that goes far deeper than the ‘be-careful-what-you-wish-for’ résumé. We suddenly find ourselves in uncomfortable territory. Immortality, it seems, is only for the privileged. Progress only happens when people die. Big topics, but the writing condenses them into human emotions and domestic quibbles that resonate on a personal level. Not every emotion rings true, and there are a couple of moments when we are not sure what informs their decisions, but the performances remain powerful – right through to the heart-wrenching final scene. The silence that hovers above the audience reflects the stillness of the closing dialogue. Like the pause before the next heartbeat. There is one final choice to make.

Part fairy-tale, part docudrama, part sci-fi, part kitchen-sink, part love story, part comedy, part dystopia; but fully engaging, gripping, intelligent and funny. A fresh and intriguing take on one of mankind’s oldest obsessions. You might think you have all the time in the world, but don’t leave it too long to see this show.

Category Archives: Reviews

PORT CITY SIGNATURE

★★★½

Hope Theatre

PORT CITY SIGNATURE at the Hope Theatre

★★★½

“a riveting, exciting watch”

PORT CITY SIGNATURE at the Hope Theatre

Reviewed on 4th October 2024

by Curtis Dean

Photography by Nathaniel Brimmer-Beller

Previously reviewed at this venue:

THE LEAST WE COULD DO | ★★★★★ | October 2023

MIND FULL | ★★★ | March 2023

HEN | ★★★ | June 2022

100 PAINTINGS | ★★ | May 2022

FEVER PITCH | ★★★★ | September 2021

PORT CITY SIGNATURE

PORT CITY SIGNATURE

Click here to see our Recommended Shows page

FOREVERLAND

★★★★

Southwark Playhouse Borough

FOREVERLAND at Southwark Playhouse Borough

★★★★

“a gorgeously heartfelt and intimate story”