★★★

“Crim’s script is compelling”

23.5 Hours markets itself as a ‘drama about the price of staying together when everything falls apart’. Set in a generic town in North America, 23.5 Hours is an investigation into accusations of sexual misconduct and statutory rape, namely between Tom Hodges (David Sturzaker)– a beloved high school teacher – and his 15-year-old female student. But director, Katharine Farmer – with Carey Crim’s script – skips the tantalising details of the scandal, the trial, and Tom’s two-year prison sentence. Instead, we really begin with Leigh (Lisa Dwan) – Tom’s wife – as she navigates life with Tom after his release, having become a social pariah herself, whilst also trying to protect her teenage son, Nicholas (Jem Matthews).

Any show that welcomes audiences in with the music of Nick Cave practically guarantees a philosophical workout, and 23.5 Hours delivers. It’s a deft investigation into trust and love set against the backdrop of unending online vitriol and constant scrutiny.

But the play opens shakily: Leigh and Tom return with best friends and couple, Jayne (an excellent Allyson Ava-Brown) and Bruce (Jonathan Nyati). They’re jovially swigging wine, teasing and silly, having returned from watching Tom’s indulgent two hour and forty eight minute high school production of Romeo and Juliet. Such joviality dichotomises the emotional apocalypse that lies in wait, but it’s a messy joviality, somewhat saccharine, not helped by the mess of American accents, which range from passable to not passable.

Once the drama kicks off however, its non-stop turbulence is endlessly engaging. Crim’s script is compelling, situating itself within the fallout of the Me Too movement, but hyperaware of this. In 23.5 Hours, nobody has moral superiority; everyone is self-righteous and reprehensible, yet never villainous. It delicately straddles the tightrope of judgement: as soon as you think you’ve digested the situation, you’ll be ushered elsewhere. And at some point in the show, you will sympathise with every character. Dealing with material this fraught, that is a real achievement. The show scrutinises the grey bits in-between the ethical absolutes that ordinarily dominate: it is beautifully nuanced, and occasionally very funny.

The stage design (Carla Goodman) complements the piece and Leigh’s psyche excellently. All the action takes place in Leigh’s house, to great effect. This static quality reflects her internal implacability: her denial that she could be in any way shaken in her love for Tom by mistrust, despite growing evidence against him. But as Leigh’s trust and self-belief fragments, so too does her house. Nick Cave also pops up again in the room décor, which I appreciated.

Another shoutout goes to wine, which trails behind almost every character: a skilfully subtle observation of multi-generational addiction and hypocrisy.

The show is perhaps a little too shouty: it would’ve benefitted from fewer screaming matches – which would also have shaved a necessary half hour off. It’s difficult to sustain such high stakes, but the cast are all strong, and Dwan carries its weightiness with aplomb.

One enduring ontological knot, however, is the plausibility of the enduring love between Tom and Leigh. Tom’s character has few redeeming features – despite his obvious intelligence – and it is hard to understand his appeal, or Leigh’s determination to stick by him (certain plot points complicate and elucidate this, but it does remain a concern). Fewer emotional climaxes would’ve made room for threat and tension, allowing the insidious seeds of doubt to fester more.

23.5 Hours is not perfect, but it’s truly a gripping show, which cannot but hook you in. And the cliffhanger will give you plenty to talk about on the tube home.

MUCH ADO ABOUT NOTHING at The Red Lion, SW13

★★★★

“Nicky Diss directs but it feels collaborative and all encompassing”

Coming away from one of Open Bar Theatre’s shows, you can’t suppress the feel-good spring in your step. Nor can the English drizzle dampen your spirits. Clouds, heavy with the first hints of autumn, hang in the air. But so do festoons and lanterns, and the feeling of a summer festival clings to us like the pac-o-macs given out on entry. The audience resembles an end-of-pier coach party, except for the facial expressions. Creased frowns of stoical determination to have a good time are replaced by lines of laughter and joy.

The idea is deceptively simple, and over four hundred years old: Shakespeare can be enjoyed by everyone. ‘Open Bar Theatre’ founders, Nicky Diss and Vicky Gaskin, grasped this concept nearly a decade ago by taking the plays around pub gardens. Their reputation and audiences have been steadily growing until this year they received an Offie’s Special Producing Award. They present theatre how it was originally performed. How Shakespeare should be performed. I’m sure Will would be raising a flagon of ale in celebration of their take on “Much Ado About Nothing”.

It’s a gruelling summer schedule and the six performers work hard, but even at the tail end of this season it doesn’t show. They are having as good a time as us. Playing multiple roles (and a lot of ukuleles) they remain ever faithful to the text but with wonderfully crafted contemporary gestures and ad libs thrown in. References are changed and modernised. Even, at one point, Benedick (Thomas Judd) chastises Shakespeare for not anticipating that his language may feel a touch antiquated four centuries into the future. I mean – come on Will… think ahead!

Set in Messina, the play centres on two couples: Claudio and Hero, and Benedick and Beatrice. An early forerunner to the will-they-won’t-they scenario the play’s comedy stems from secrets and lies and trickery and deception. Benedick and Beatrice are tricked into confessing their love for each other while Claudio is tricked into believing Hero is untrue, two-faced and two-timing. Subplots and wordplay add to the farce, fleshing out the intrigue and the action. Of course, it is all resolved by curtain call, but in the meantime the actors push the comedy to the fore with an ease that keeps our attention throughout, even when wandering to the bar for a top up.

Thomas Judd and Elizabeth Peace, as Benedick and Beatrice, spar mischievously as the bickering pair. From the off, their sharp and cutting dialogue manages to betray the masked affection they have for each other. Peace pitches the delivery just right, empowering herself while still keeping a sense of irony. Doubling up as the villainous Don John, she convincingly switches mood as swiftly as her costume. Judd is a natural performer; quick-witted and with a touch of the MC about him, treating the audience like another member of the cast. On which note, beware! You may be press ganged into becoming a temporary member of the company.

Laura Harling shares Judd’s instinctive, easy rapport with a crowd. A chameleon, she switches from the vibrant and fun-loving Leonato to the suggestive and subversive Margaret, sharing all the jokes with us like we’re old-time drinking partners. Laura Cooper-Jones has a similar, commanding, bon-viveur attitude as Don Pedro. Paula Gilmour’s Hero comes with a subtle touch of shyness. One of the more difficult roles to play, Gilmour manages to give real personality to a woman too often defined by the men that surround her. All the while, Micah Loubon is having fun as her suitor, the fickle and gullible Claudio.

Nicky Diss directs but it feels collaborative and all encompassing. Shakespeare virgins will enjoy this as much as Shakespeare aficionados. Open Bar’s gift is that they brush away any preconceptions some people may have. And what better way to experience it than in a pub garden with a pint of real ale. Just as it should be. Cheers!

23.5 HOURS at Park Theatre

★★★

“Crim’s script is compelling”

23.5 HOURS at Park Theatre

Reviewed on 9th September 2024

by Violet Howson

Photography by Charles Flint

Previously reviewed at this venue:

23.5 HOURS

23.5 HOURS

MUCH ADO ABOUT NOTHING at The Red Lion, SW13

★★★★

“Nicky Diss directs but it feels collaborative and all encompassing”

MUCH ADO ABOUT NOTHING at The Red Lion, SW13 – then tour continues

Reviewed on 5th September 2024

by Jonathan Evans

Photography by Nicky Newman

More reviews from this month:

MUCH ADO ABOUT NOTHING

MUCH ADO ABOUT NOTHING

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