Category Archives: Reviews

OUTLYING ISLANDS

★★★★

Jermyn Street Theatre

OUTLYING ISLANDS

Jermyn Street Theatre

★★★★

OUTLYING ISLANDS cast members

“The subject matter never quite chills our bones, but the context is often unsettling”

The atmosphere hits you like a bracing offshore wind as you descend into the depths of the small basement on Jermyn Street. Anna Lewis’ set: a semi-submerged, semi-derelict stone chapel, creates the mood. Tragic and sepulchral, yet some sort of haven from the cruel elements that sweep the remote Hebridean shoreline outside. Its owner, Kirk, is just as rough-edged. Living alone with Ellen, his niece, they live in quiet captivity until two young, hapless ornithologists burst through the door – literally knocking it off its hinges. The impulsive, emotionally detached Robert, along with the more moral but anxious John have arrived to study the local bird life. It is the eve of World War II, so there is understandably a more sinister motive behind the survey that leaves them stranded on the isle for a month. Less understandable is the fact that the two young men seem somewhat unaware of the pretext. Whereas the isolated, cantankerous Kirk has all the gen. Fully aware that his outlying outcrop is scheduled to be the subject of a biological weapon experiment, he sees the dollar-signs stockpiling in his compensation package.

David Greig’s lyrical play draws you in to this small world. It is claustrophobic but the confines are torn, allowing us to see the wider issues. Little, though, is made of the encroaching anthrax experiment and instead we are watching the social and romantic entanglements as avidly as birdwatchers study our feathered friends’ behaviour. Humans are much more complicated. Greig knows this only too well and the poetry of his language teases out the characters’ serpentine layers with rich dialogue and haunting monologues. The standout performance is Whitney Kehinde’s Ellen. Timid and repressed she swiftly replaces her dour mantle with swathes of lust, as a new-found freedom from her uncle’s tyranny is tragically chanced upon. Kevin McMonagle is wonderfully charismatic as Kirk. Acerbic and unashamedly direct, he tries to keep Ellen like a caged bird but cannot control her mind. The stage lights up every time McMonagle fires his lines with a wry sense of humour and a Chekhovian dramatic irony.

OUTLYING ISLANDS cast member

Bruce Langley and Fred Woodley Evans, as Robert and John respectively, also manage to spin out the humour that runs alongside the poignancy. Deliberate echoes of Laurel and Hardy break the solemnity in a play that is difficult to categorise. The comedy is subtle, like the Mona Lisa smile. It disappears when you look directly at it. The ambiguity is sometimes overdone, though, and confusion starts to set in as the show coasts towards its climax in a tangle of charged eroticism. Despite the shifts in mood, Jessica Lazar’s assured direction evenly paces the action. Clever use of the intimate space sets clear indicators for the interior and exterior scenes, enhanced by David Doyle’s suggestive lighting which evokes the bleakness, and ignites warmth when needed. The subject matter never quite chills our bones, but the context is often unsettling.

Politically and philosophically the play throws up some interesting questions while rooting itself in a story about human relationships. Desire is a complex beast. The male characters are more at sea than Ellen. We wonder whether she is playing the two outsiders or whether her passions are genuine. We are certainly given time to contemplate – the play does stretch itself out. Not every character makes it to the end. But, thanks to the writing and the wonderful performances from the strong quartet of actors, the audience is kept in thrall right up to the closing moments.



OUTLYING ISLANDS

Jermyn Street Theatre

Reviewed on 11th February 2025

by Jonathan Evans

Photography by Alex Brenner

 

 


 

 

 

Previously reviewed at this venue:

THE MAIDS | ★★★ | January 2025
NAPOLEON: UN PETIT PANTOMIME | ★★★★ | November 2024
EURYDICE | ★★ | October 2024
LAUGHING BOY | ★★★ | May 2024
THE LONELY LONDONERS | ★★★★ | March 2024
TWO ROUNDS | ★★★ | February 2024
THE BEAUTIFUL FUTURE IS COMING | ★★★★ | January 2024
OWNERS | ★★★½ | October 2023
INFAMOUS | ★★★★ | September 2023
SPIRAL | ★★ | August 2023

OUTLYING ISLANDS

OUTLYING ISLANDS

OUTLYING ISLANDS

 

ROSIE’S BRAIN

★★★★

Hope Theatre

ROSIE’S BRAIN

Hope Theatre

★★★★

“The story of her journey makes for a tender and funny insight into life”

Rosie’s Brain is contained in the head of singer-actor Evelyn Rose – although not without spillage. The ill-disciplined grey matter causes its owner-operator no end of bother – from facial twitches and dark thoughts about crushing babies, to her dealings with men.

Ahh, men. Her Mount Everest.

The musical of Rosie’s Brain was born during Covid. American Evelyn Rose found herself alone, wrestling with her conditions and a recent heartbreak. She threw herself into all manner of distractions, from yoga to dance, but was struck with a plan to mix her experiences of anxiety and OCD with her ear for a melody and her undoubted talent as a singer-songwriter.

She reached for a book How Musicals Work, gathered some like-minded fellow graduates from the Royal Central School of Speech and Drama and created a show that yearns to give her an easier life, but which profits creatively from the excruciating torments and social awkwardness that afflict her at every turn.

We meet Rosie, her alter-ego, in a floral onesie and chirpy backpack at just such a moment of crisis. (Spoiler alert – every moment is a moment of crisis.) First day of college and some clueless lad glances over.

Within two minutes, her brain has played out her life – they’ve met, dated, she’s made a terrible decision and now she’s trapped in a loveless marriage with a child on her knee. Best take a different route to class and avoid the calamity.

From there, puckish Rosie relays the deluge of anxieties that have accompanied her throughout her life – obsessive bath submersion, her chronic need to confess to a litany of non-crimes and, of course, boys.

With her twitches and that thing she does with her hands, it’s going to be tough out there.

One of her three therapists suggests confronting her anxieties head-on, so she throws herself into the world of saying yes. Which brings her to George, her first true love, who also has OCD. That’s a recipe for mutual understanding or chaos depending on the mood or appetites of the condition she calls the “freakin’ monster upstairs”.

It goes well. Then it doesn’t.

The story of her journey makes for a tender and funny insight into life coming to terms with a self-sabotaging mind. Into the mix, Rose throws some flowery and delicate songs accompanied by guitar and keyboard.

This sweet and uplifting snippet reminds us that quirks come in all shapes and flavours, and we’re all afflicted in different ways which only goes to show, ironically, that we’re not so very different after all.

Great fretwork.



ROSIE’S BRAIN

Hope Theatre

Reviewed on 5th February 2025

by Giles Broadbent

 

 


 

 

 

Previously reviewed at this venue:

PORT CITY SIGNATURE | ★★★½ | October 2024
THE LEAST WE COULD DO | ★★★★★ | October 2023
MIND FULL | ★★★ | March 2023
HEN | ★★★ | June 2022
100 PAINTINGS | ★★ | May 2022
FEVER PITCH | ★★★★ | September 2021

ROSIE’S BRAIN

ROSIE’S BRAIN

ROSIE’S BRAIN