Amelia Brown Archives - Page 7 of 23

★★½

“the energy peters out as the story, which is somewhat predictable, unfolds”

‘Afterglow’ first appeared at the Davenport Theater in New York and boasted the longest run the theatre had seen. Its UK premiere was at Southwark Playhouse, and now it is being reborn, here at the Waterloo East Theatre. It is a play about the possibilities of consensual non-monogamy, and the complication of love that stretches in too many directions.

The central characters are three men, but it avoids gay stereotypes – a purposeful decision by the writer not to talk about the AIDS crisis, coming out, homophobia and so on. In this way the story is a very universal one, a married couple, a younger lover, a decision to be made. We know this narrative well.

S. Asher Gelman certainly has a lovely knack for creating conversational dialogue, that feels based in reality. There is certainly a fascinating discussion to be had here, and the stage is a wonderful place for it, about the possibilities and challenges of non-monogamy. This play offers the beginnings of that, it just doesn’t quite get there. The play begins with an explosive start, in the midst of our characters’ first threesome together, but the energy peters out as the story, which is somewhat predictable, unfolds.

Peter McPherson plays Alex, the accommodating and then jealous husband left out of this new love. He is the strongest and most believable of a cast that is overall too weak to carry the production. In defence of the actors, the characters are predominantly one dimensional, but with the exception of McPherson’s performance, there is little to emotionally engage with onstage. The relationship between Darius (Benjamin Aluwihare) and Josh (Adi Chugh) lacks chemistry, and the accents of both these actors are off which is a constant distraction.

The versatile set (Libby Todd) which moves from bed to massage parlour to roof garden is clever in its possibility. The onstage shower is the jewel in its crown, a fantastic visual, filling the space with steam and water. Overlaying this is light (designed by David Howe) pouring through the shape of blinds or window panes, heavily evocative of so much cinema set in New York and so immediately transportive. As the set is changed, heavy beats punctuate, something that initially works really well but as the scene changes gets longer becomes a monotonous thud.

This is a subject matter that could create a really engaging drama onstage, but the production and its script, fail to meet this latent potential.

Reviewed by Amelia Brown

Photography by Darren Bell

Dogfight

Southwark Playhouse

Reviewed – 21st August 2019

★★★★

“a brilliant and nuanced musical“

It’s 1963 and Eddie Birdlace has one more night before him and his fellow marine buddies (Bernstein and Boland – the three bees) ship out to the Vietnam war. Full of the certainty of their invincibility and the promise of a hero’s return, the marines spend their night partaking in a long honoured tradition: the dogfight. A simple premise. Each marine puts in fifty bucks. They throw a party. The marine who can bring the ugliest date wins the leftover money. When Eddie meets Rose he is sure he has found the perfect girl for the dogfight, but he doesn’t bargain for what comes next.

At its heart this is a love story but it is also investigates toxic masculinity. The marines have only had thirteen weeks training, and can’t be more than nineteen years old. They are vessels of a violent and ugly misogyny, but at the same time they are no more than boys, naive and vulnerable, in no way ready to face war. In heartbreaking juxtaposition, Rose is a breath of fresh air to the stage, intelligent, interesting and ultimately kind.

The performers are all members of the British Theatre Academy, which offers accessible training and performance opportunities to young people under the age of twenty three. And what a cast they are. Across the board they are full of energy and conviction, and there isn’t a weak link onstage. Our leading pair played by Stephen Lewis-Johnson and Claire Keenan in this performance – two casts alternate – are brilliant. Keenan is particularly compelling, funny and genuine, immediately likeable. She is utterly engaging to watch. Her and Lewis-Johnson are in turn lovely together, and both vocally really strong. Lewis-Johnson’s lonely return from Vietnam is an undeniably powerful end to the show which he delivers with the full emotional punch it deserves.

The band are faultless. It’s a fantastic score by Benj Pasek and Justin Paul (both music and lyrics) that they handle with accomplishment and ease.

The set by Dean Johnson and Andrew Exeter is simple but effective. The band, lit by warm lamps are at the back of the stage and the different settings are created by wooden crates. A particularly lovely moment sees light bulbs suspended by cast members to create street lamps around Eddie and Rose on their first date.

Waterloo East Theatre

Reviewed – 22nd October 2019

★★½

“the energy peters out as the story, which is somewhat predictable, unfolds”

This is a subject matter that could create a really engaging drama onstage, but the production and its script, fail to meet this latent potential.

Reviewed by Amelia Brown

Photography by Darren Bell

Afterglow

Waterloo East Theatre until 24th November

Previously reviewed at this venue:

Southwark Playhouse

Reviewed – 21st August 2019

★★★★

“a brilliant and nuanced musical“

The band are faultless. It’s a fantastic score by Benj Pasek and Justin Paul (both music and lyrics) that they handle with accomplishment and ease.

This a brilliant and nuanced musical that is delivered by an incredibly talented cast and band.

Reviewed by Amelia Brown

Photography by Eliza Wilmot

Dogfight

Southwark Playhouse until 31st August

Last ten shows reviewed at this venue: