“a powerful perception of virulent masculinity in a desolate society”
The parable underlying Phil Ormrod’s story of ‘Isaac Came Home From The Mountain’ spotlights the balance of love, acceptance, pride and rejection in male relationships, often clouded by expectations and rarely voiced. Bobby, out of school, needs to find work to appease and impress his father. When he succeeds and his father fails to show the recognition he hopes for, he looks for approval elsewhere and, in his desperation, makes a terrible mistake.
The four actors, perfectly cast, produce a powerful perception of virulent masculinity in a desolate society. Ormrod’s tightly-written script, with its touches of humour, give depth and intrigue to the characters; the rapports ebb and flow as they search for their places in each other’s lives. Charles Furness’ Bobby shields his sensitivity with vulnerable toughness. Keen to do the right thing, but crushed by a grim future, he is angry and dismissive. Only once does he let go in a piercing moment of realisation. His father, John (Guy Porritt), tries to get him to face his responsibilities and earn a living. Torn between his own duties at work and home, he finally yields, as Abraham saved Isaac from sacrifice, and stands by his son. Ian Burfield as Mike, prepared to take Bobby on, has a bullying turn of temper, frightening and imposing in size and sonority. In a game of intimidation and authority, he plays with the insecurities of Bobby and his own son, Chris, portrayed by Kenny Fullwood. He, in turn, defends his territory when Bobby comes looking for work and smoulders with jealousy when his father favours the newcomer.
The harsh sense of raw emotions is impacted by the wonderfully arresting set design by Eleanor Bull, from its forceful main structure to the carefully detailed dust and blades of grass. Ali Hunter’s stunning lighting illuminates the changes of time, place and atmosphere as well as creating dramatic special effects. The sound (Benjamin Grant) interacts with the lighting, marking the different scenes with subtle grittiness.
This is a simple narrative given weight by skilled writing. Carla Kingham shapes the play with varied moods and pace, using every possibility of the set to generate space, action and movement. On the small stage the tension builds and we feel a shadow of discomfort, reflecting the anguish experienced, in particular, by young men in a ruthless world. The evocative creativity of the art design and acutely passionate performances combine for a moving, bitter-sweet evening of theatre.
“The performance is beautiful, pitched perfectly to capture both naivety and knowing”
Fundamentalism and personal freedom are examined in Gracie at the Finborough Theatre. Growing up in the confines of a fundamentalist Mormon Community in Utah, Gracie is a lively happy little girl consciously unaware of the restrictions put upon her. Produced by Tanzanite Theatre, Joan Macleod’s play has a tangible relevance in light of current gender politics.
One-person shows are tough, both for performer and audience. But this is an accomplished and engaging production. Although a guest on the set of another production, Gemma Aked-Priestley’s direction is light and encompassing, making full use of the intimate space. At ninety minutes, there are moments that seem prolonged, but Carla Langley’s energetic delivery never lets the pace dwindle too long. The performance is beautiful, pitched perfectly to capture both naivety and knowing. Gracie is charming and winsome, loving and trusting of her Mamma. Equally there are flashes of understanding as the demands placed on her and those she loves become more unsavoury. Langley creates Gracie’s family with precision and care. It’s a fantastic job.
The only weakness is in the Mormons themselves. Their lifestyle still seems obscure. Shelby, Jamie and Stanley, the men who pose a direct threat to Gracie and her family, remain largely abstract. Shelby has a charismatic menace, but we see little more to justify Mamma’s trust in him or understand her choice to bring her children to a place where she is immediately separated from son Billy. Jamie and Stanley are simply bad husbands. The good Mormon Sister-wives, while sympathetic, also lack depth. This for me is problematic. While seeing this world through a child’s eye allows us to see how indoctrination can be normalised, the danger seems too severe. It feels like while this piece has a very strong argument, it’s missing a component to give a fully rounded picture.
However, this is a thought provoking show with a memorable performance at its core. Definitely worth a look.
