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The Understudy

Online via www.theunderstudyplay.com

Reviewed – 20th May 2020

★★★★

“Recorded in isolation, it is propelled by a cast that comprises the cream of the crop”

Of all his novels, David Nicholls has said that “The Understudy” is the one he most yearns to rewrite. Those familiar with the book would possibly balk at this show of modesty. It is true that it has been unfairly overlooked in the shadow of his better-known works, but it deserves more of the spotlight. The gentle, self-deprecating humour, laced with a sharp and cutting wit that can only come from experience, casts an astute eye over the ‘theatrical life’; taking us backstage and beyond.

For eight years Nicholls trod the boards himself. He was a failed actor, he admits, his career on a steep downward path. We somehow get the feeling he’s being too hard on himself, but his natural skills as a writer turned that failure into success and, with luck, his story can take centre stage now with its revival as a streamed, online radio play. Released in two parts, it is adapted by Henry Filloux-Bennett in response to Covid-19 thwarting the fully staged production. With director Giles Croft at the helm it is a wonderful homage to an industry under threat and reaffirmation that it has no alternative but to survive. (Consequently, all proceeds from the play go to theatre charities).

The story revolves around actor Stephen McQueen (no, not ‘that’ Steve McQueen); divorced, down on his luck and waiting in the wings for that big break. His ex-wife has given up waiting long ago, while his daughter wonders when he will get a proper job. McQueen’s luck looks set to change when he lands a job understudying the vane but talentless film star, Josh Harper, in the West End. He covets the leading man’s job, but unfortunately, he covets his wife too. When he sees an opportunity to steal both, things can only go horribly wrong.

Recorded in isolation, it is propelled by a cast that comprises the cream of the crop. You can almost ‘hear’ the twinkle in Stephen Fry’s eye as his affectionately sardonic narration weaves through the action; while Russell Tovey epitomises the hapless McQueen. Sarah Hadland, as ex-wife Alison, floors him with her sarcastic punches, but with her skilled shifts of tone can pick him up again with real affection. Josh Harper is suitably arrogant and wonderfully observed in Jake Ferretti’s portrayal. With Emily Atack as his love interest (on and off stage) and Sheila Atim as his intellectually and morally superior wife, they are all supplemented by a fine supporting cast.

The in jokes that litter the script will appeal beyond the theatre profession. Although those on the inside will be familiar with the mantra ‘Acting is Reacting’. It is hard to know whether the foreknowledge that each actor was recording their lines alone in their own homes affects our listening, but we are often all too aware of the isolation. There is a sense of detachment within the flow of dialogue and, inevitably, there will be a lack of chemistry. Nevertheless, with the editing skills and the addition of sound and music from Alexandra Faye Braithwaite, Annie May Fletcher and Sophie Galpin the show stands out as an excellent radio play in its own right. Even though it whets the appetite for the (hopefully) eventual fully staged production, it doesn’t seek to replace the live experience. This rendition of “The Understudy” succeeds in its own right and can, at least for now, step out to steal its own few moments in the spotlight.

Reviewed by Jonathan Evans

The Understudy

Part One available from 20th May Part Two from 27th May with both parts available for a month

Online via www.theunderstudyplay.com

Last ten shows reviewed by Jonathan:

Message In A Bottle | ★★★★ | Peacock Theatre | February 2020

Musik | ★★★★ | Leicester Square Theatre | February 2020

Nearly Human | ★★★ | The Vaults | February 2020

Tell It Slant | ★★★ | Hope Theatre | February 2020

The Importance Of Being Earnest | ★★★½ | The Turbine Theatre | February 2020

Closed Lands | ★★★ | The Vaults | March 2020

Max Raabe & Palast Orchester | ★★★★★ | Cadogan Hall | March 2020

The Kite Runner | ★★★★ | Richmond Theatre | March 2020

The Last Five Years | ★★★★ | Southwark Playhouse | March 2020

A Separate Peace | ★★★★ | Online | May 2020

Click here to see our most recent reviews

Meat

Theatre503

Reviewed – 25th February 2020

★★★★

“Without being too polemical Greer gives clarity to a very difficult discussion with plenty of humour and humanity”

Throughout discussions popularised by the #MeToo social media campaign, there seems to have been a disconnect within the idea that since pretty much all women have experienced sexual assault in one form or another, it stands to reason that a whole bunch of men, and not just a handful of evil predators, have been doing it.

Perhaps the difficulty in swallowing this pill is due to the shades of horror that fall within the sexual assault bracket: no, not every man is Harvey Weinstein, but that doesn’t mean that a crime hasn’t been committed and that a woman doesn’t have the right to speak up.

Gillian Greer’s Meat seeks to navigate this very tricky arena. Max (India Mullen) has arranged to meet up with her college boyfriend Ronan (Sean Fox) to let him know she’s written about the night he assaulted her and that it’s going to be published. But Ronan claims he remembers it very differently, or is it that he doesn’t remember it at all? He’s a bit hazy on the subject.

This isn’t about whether Ronan is a villain. Rather it’s about recognising that he is, as Max puts it, “a good guy who did a shit thing.”

A story like this requires a lot of personality and Greer delivers. Mullen and Fox have a well-worn patter that feels natural and affectionate even when they’re fighting. Much of the script is taken up with friendly banter, giving the audience plenty of space to place Ronan’s transgression within a wider picture.

Jo (Elinor Lawless), manager of Ronan’s restaurant and interested party, is an excellent addition to the script because whilst she doesn’t play a pivotal role, nonetheless her character is absolutely necessary, as witness and judge to the night’s events. We’re never led to the brink of disbelieving Max, but our loyalties waver throughout, and Lawless serves as an excellent barometer in this regard. Her comic delivery is also masterful, near-on stealing the show. Set in Ronan’s fancy new meat restaurant (designed by Rachel Stone), animal carcases provide a disturbing backdrop and a constant reminder that we are in Ronan’s domain, making Max’s position all the more uncomfortable as she tries to stand her ground.

Instead of clearing the table between courses, food is thrown on the floor and smeared on the walls, which makes sense when Ronan comes to flip the table in a rage, but not a minute sooner. It’s not terribly distracting, but there just doesn’t seem to be any reason, beside it being difficult to artfully splatter food all over the stage in one table flip without covering the front row in foie gras.

The narrative drags a little in the middle, leaving me to wonder if there’s any more to say on the matter once the premise is set out, but the story does pick up and develop, and whilst there are no real surprises, the plot is- forgive the pun- surprisingly meaty.

As directed by Lucy Jane Atkinson, Meat is very much a story for the current climate. Without being too polemical Greer gives clarity to a very difficult discussion with plenty of humour and humanity.

Online via www.theunderstudyplay.com

Reviewed – 20th May 2020

★★★★

“Recorded in isolation, it is propelled by a cast that comprises the cream of the crop”

Reviewed by Jonathan Evans

The Understudy

Part One available from 20th May Part Two from 27th May with both parts available for a month

Online via www.theunderstudyplay.com

Last ten shows reviewed by Jonathan:

Theatre503

Reviewed – 25th February 2020

★★★★

“Without being too polemical Greer gives clarity to a very difficult discussion with plenty of humour and humanity”

Perhaps the difficulty in swallowing this pill is due to the shades of horror that fall within the sexual assault bracket: no, not every man is Harvey Weinstein, but that doesn’t mean that a crime hasn’t been committed and that a woman doesn’t have the right to speak up.

This isn’t about whether Ronan is a villain. Rather it’s about recognising that he is, as Max puts it, “a good guy who did a shit thing.”

The narrative drags a little in the middle, leaving me to wonder if there’s any more to say on the matter once the premise is set out, but the story does pick up and develop, and whilst there are no real surprises, the plot is- forgive the pun- surprisingly meaty.

As directed by Lucy Jane Atkinson, Meat is very much a story for the current climate. Without being too polemical Greer gives clarity to a very difficult discussion with plenty of humour and humanity.

Reviewed by Miriam Sallon

Photography by Alex Brenner

Meat

Theatre503 until 14th March

Previously reviewed at this venue: