Tag Archives: Ali Hunter

Brief Encounter

Brief Encounter

★★★

Watermill Theatre

Brief Encounter

Brief Encounter

 The Watermill Theatre

Reviewed – 18th October 2021

★★★

 

“The music and Anjali Mehra’s choreography are indeed highlights”

 

“That’s how it all began. Just by me getting a little piece of grit in me eye”. So often in life it is one of these small, simple twists of fate that change the course of a life. Laura, a respectable middle-class woman in an affectionate but rather dull marriage takes a shopping trip to a nearby town by train every Thursday. On the same day, Alec Harvey, a general practitioner works at the local hospital. They become acquainted in the refreshment room of the railway station after Alec removes a piece of dust that Laura has in her eye. Although both are quite content in their marriages, they fall in love and embark on a ‘brief’, passionate affair. They also embark on the rocky road of love, guilt, and self-examination.

Officially titled ‘Noël Coward’s Brief Encounter’, Emma Rice’s name is featured in as large a font as Coward’s on the programme. It is perfectly justified as her stage adaptation is now almost as recognisable as Coward’s film adaptation in 1945 (based on his original one act play “Still Life”). Here, Robert Kirby’s quirky and intimate production has all the Riceisms dutifully bouncing around the stage, showering magic onto a fairly dated love story. All competent musicians and singers, the cast almost give the impression that they have wandered in from the wild shores of Cornwall and an early ‘Kneehigh’ combo. I say ‘almost’. With a couple of exceptions, this troupe sometimes appear to be a bit out of their depth with the demands of the material and they need a couple more weeks to grow into the roles. For now, though, we are too aware of their concentration on getting the words, actions, and the stylistic staging right. Once they relax into the skins of the characters, the emotional impact will have the space to break through.

Laura Lake Adebisi, as Laura, is probably the guiltiest of this and therefore doesn’t quite grab the sympathy of the audience. Callum McIntyre’s more layered Alec gives her plenty to play with, but we don’t really witness the chemistry needed that would make these seemingly above-board characters decide to delve into the depths of deception. It is the peripheral characters that come across more fully formed. They burst with energy, circling the central pair, and filling the tea bar with colour. Kate Milner-Evans as Myrtle, holds forth with a commanding performance, occasionally breaking into song with a quite outstanding voice. Hanna Khogali is a bubble of quirky energy juggling her multiple roles while deftly handling her violin and guitar. Max Gallagher gives a standout performance, again switching between roles and providing the most real and memorable moments of the show; particularly as the camp Stephen, whose flat the lovers borrow one afternoon. Gallagher captures some of the hidden tones of Coward’s original text in just a few short moments of nuanced delivery.

The music and Anjali Mehra’s choreography are indeed highlights. The two are intertwined as the actor musicians dance to the tunes, relaying their instruments back and forth. We bask in a gorgeous mix of Rachmaninoff, Noël Coward and original music from composer and Musical Director, Eamonn O’Dwyer. O’Dwyer’s closing number ‘Always’ is a haunting moment. These are the moments that linger after we leave the auditorium. This staging of ‘Brief Encounter’ is stylistic, atmospheric and a feast for the senses, but there is a detachment, and the emotional encounters are all too brief.

 

 

Reviewed by Jonathan Evans

Photography by Pamela Raith

 

Brief Encounter

 The Watermill Theatre until 13th November

 

Other shows reviewed this month:
Back To The Future | ★★★★ | Adelphi Theatre | October 2021
Roots | ★★★★★ | Wilton’s Music Hall | October 2021
The Witchfinder’s Sister | ★★★ | Queen’s Theatre Hornchurch | October 2021
Rice | ★★★★ | Orange Tree Theatre | October 2021
The Cherry Orchard | ★★★★ | Theatre Royal Windsor | October 2021
Love And Other Acts Of Violence | ★★★★ | Donmar Warehouse | October 2021
Yellowfin | ★★★★ | Southwark Playhouse | October 2021

 

Click here to see our most recent reviews

 

Lava

★★★★

Bush Theatre

Lava

Bush Theatre

Reviewed – 15th July 2021

★★★★

 

“an important story, and judging by the racially charged goings-on of last week, couldn’t be timelier”

 

I know what the embodiment of true joy and self-assuredness looks like: It looks like Ronkẹ Adékoluẹjo in a sunshine yellow jumpsuit dancing hard all over a lava-encrusted multi-level set to a double-time remix of Aretha’s ‘Think’; dancing so hard she leaves the audience to three rounds of applause whilst she gets her breath back. And thus, we are introduced to “Her”.

“Her”- as Her Majesty’s Passport office keeps referring to her- is trying to renew her British passport with no luck. A dual citizen, her first name is missing from her South African passport, and she needs to fix this before they’ll renew her British one. But why is her name missing in the first place? This mystery sparks the beginning of a journey back, bridging decades and continents, beginning in a colonised Congo, and ending in modern day London, all in search of a sense of belonging. Though Adékoluẹjo begins with a joyous dance, the story itself is one of struggle and fury.

Though later in the story the name of “Her” is confirmed as writer Benedict Lombe, Lombe having employed an actor to play the role might easily have given the performance a fictional detachment. But Adékoluẹjo undertakes the story as though it were her own, with so much love and care that the separation between writer and performer is invisible to the audience’s eye. Slipping between prose and colloquialism, both the script and Adékoluẹjo are completely charming.

The premise is strong and compelling: The reason behind her missing first name is fascinating and perfectly symbolic of the messy nuances of identity and history. But there’s a disconnect between the resolution of this first dilemma and the rest of the story, which is still rich in character and content but without a central element to keep it on track. The ending too feels messy, as though Lombe couldn’t quite decide how to finish, so she picked all the options.

This is really all much of a muchness though because it hardly dampens the effects of Lombe’s passionate and remonstrative script and Adékoluẹjo’s effervescent performance. This is an important story, and judging by the racially charged goings-on of last week, couldn’t be timelier.

 

 

Reviewed by Miriam Sallon

Photography by Helen Murray

 


Lava

Bush Theatre until 7th August

 

Recently reviewed by Miriam:
Tarantula | ★★★★ | Online | April 2021
Reunion | ★★★★★ | Sadler’s Wells Theatre | May 2021
My Son’s A Queer But What Can You Do | ★★★½ | The Turbine Theatre | June 2021
The Narcissist | ★★★ | Arcola Theatre | July 2021

 

Click here to see our most recent reviews