Tag Archives: Anna Reid

MOMENTS AND EMPTY BEDS

★★★★

The Hope Theatre

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MOMENTS AND EMPTY BEDS at The Hope Theatre

★★★★

Empty

“Moments … a touching work, full of sadness but also smattered with humour”

 

Although Pennyworth Production’s objective to create ‘new work to challenge old ideas’ could be open to interpretation, this poignant and compelling double bill certainly reinforces the ‘kitchen sink’ philosophy that real-life is drama in itself. Drawing on subjects often buried but part of the make-up of modern society – loneliness, family tensions, mental health – the slow, tragic undercurrent of ‘Moments’ and the restless, tragic unravelling of ‘Empty Beds’ fit together beautifully. With sensitive writing by Julia Cranney and masterly direction by Kate Treadell, the production focuses on the impact of the unspoken and the force of the absent, leaving the characters on stage battling to move forward from lives they have left behind or missed.

‘Moments’ interlocks two unlikely people, with clever, spoken dialogue, binding them together for the audience before they find their own friendship. Simon Mattack and Julia Cranney (Daniel and Ava) give strong, sympathetic performances as they try to keep up appearances between awkward glances and growing familiarity and struggling to find the warmth of human contact in the coldness of a big city. The pace, perhaps, remains constant for slightly too long and the action is somewhat precipitated after Daniel’s personal revelation, which cuts short a very moving scene. Nevertheless, it is a touching work, full of sadness but also smattered with humour.

While ‘Moments’ works well, ‘Empty Beds’ is a flawless piece of drama, perfectly directed and interpreted. Debbie Brannan (Jo) and Carys Wright (Emily) join Julia Cranney (Catherine) as three sisters on a train journey to visit their brother on his birthday. Inevitably the emotional bond connecting them tightens and loosens, and resentments, truths and affections are stirred up. The changing pace and mood and the superb acting are completely absorbing as the sisters, confined to a train carriage, cannot escape the confrontations as they unpick their relationships with each other.

Anna Reid’s set is perfectly unassuming in its simplicity, uncluttered by props, and the lighting (Ali Hunter) is unobtrusive yet carefully enhancing. Even the sound, which plays a prominent part in sketching the background, similar to a radio drama, does not detract from the stage. In all three aspects less is unquestionably more, all brought neatly together by Georgia Tetlow (Stage Manager and Operator). Moreover, Pennyworth Productions advocacy to favour women on and off stage is remarkable here and most fitting in the current climate of equality.

It is often hard to dramatise the delicate social issues broached in these plays. They can become sentimental, over-simplified or too dark. The company gives an honest, articulate version of what lies behind families and friendships, admittance, acceptance and regret, in well-balanced tragi-comedies. It shows how the survival instinct of human nature shines through the pain of life’s conditions with humour and hope, conjuring up a myriad of emotions in a highly recommended evening at the Hope Theatre.

 

Reviewed by Joanna Hetherington

Reviewed – 1st February 2018

Photography by Nick Reed

 


Moments & Empty Beds

Hope Theatre until 17th February

 

 

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Tiny Dynamite – 4 Stars

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Dynamite

Tiny Dynamite

Old Red Lion Theatre

Reviewed – 12th January 2018

★★★★

“moments of light, sound and movement punctuate the changes of scene, mesmerising the audience”

 

In its first revival since 2003, Abi Morgan’s play ‘Tiny Dynamite’ is an echo of the original production but with a twist. Ten years after a traumatic event, which sends two childhood friends down very different paths, their annual summer holiday together is the scenario for confronting what has left them incapable of moving on and the secret of their dependency.

In this production, David Loumgair, who shows himself to be an exciting and innovative director, changes the gender of Lucien to a woman, Luce. This works well with Luce showing platonic concern and responsibility for her life-long friend Anthony. Both Eva-Jane Willis and Niall Bishop hold the audience’s attention as the layers of their story are peeled away by the appearance of Madeleine, played by Tanya Fear, the catalyst who sparks their buried feelings. However, the stated contrast between the two friends is belied by the character writing. The overly talkative nature of Anthony comes across well but the quietness of Luce is undermined by, quite simply, the number of lines she has, as well as the similarly placid Madeleine. But Luce’s ordered, conventional shell finally cracks in the most moving scene of the play, revealing the relationship’s true balance. Anthony, hit by lightning at the age of six, struggles with the internal static of his emotions and this creates his own hidden turmoil, cleverly enhanced by special effects.

The set by Anna Reid resembles that of the 2003 staging at the Lyric, Hammersmith – wooden decking surrounded by a moat of water, marooning the characters in their triangular relationship. Added to the beautifully economical handling of props, the use of water on stage is refreshing, although the moat could be used to more advantage. The minimalist music (Dan Jeffries) is in keeping with the set and subtly dresses the scenes, only once or twice becoming a distraction. Bare lightbulbs hang above the stage as an aesthetic presence and integral effect (lighting by Zoe Spurr). Coordinated moments of light, sound and movement (Natasha Harrison, Movement Director) punctuate the changes of scene, mesmerising the audience.

Since writing ‘Tiny Dynamite’ Abi Morgan has gone on to have a successful career writing for film and television, genres she says she feels more comfortable with. Here she infuses an underlying discomfort rather than the tension needed to capture an audience from the start. The concept of the title – tiny things sparking off huge reactions – is not altogether coherent and in the end the play is about knowing when to take responsibility for our actions and when to leave things to fate.

Despite some thematic inconsistency ‘Tiny Dynamite’ Is brilliantly executed with fine performances and artistic flair.

Reviewed by Joanna Hetherington 

Photography by Richard Davenport

 


Tiny Dynamite

Old Red Lion Theatre until 3rd February

 

 

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