Tag Archives: Carla Goodman

23.5 HOURS

★★★

Park Theatre

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23.5 HOURS at Park Theatre

★★★

“Crim’s script is compelling”

23.5 Hours markets itself as a ‘drama about the price of staying together when everything falls apart’. Set in a generic town in North America, 23.5 Hours is an investigation into accusations of sexual misconduct and statutory rape, namely between Tom Hodges (David Sturzaker)– a beloved high school teacher – and his 15-year-old female student. But director, Katharine Farmer – with Carey Crim’s script – skips the tantalising details of the scandal, the trial, and Tom’s two-year prison sentence. Instead, we really begin with Leigh (Lisa Dwan) – Tom’s wife – as she navigates life with Tom after his release, having become a social pariah herself, whilst also trying to protect her teenage son, Nicholas (Jem Matthews).

Any show that welcomes audiences in with the music of Nick Cave practically guarantees a philosophical workout, and 23.5 Hours delivers. It’s a deft investigation into trust and love set against the backdrop of unending online vitriol and constant scrutiny.

But the play opens shakily: Leigh and Tom return with best friends and couple, Jayne (an excellent Allyson Ava-Brown) and Bruce (Jonathan Nyati). They’re jovially swigging wine, teasing and silly, having returned from watching Tom’s indulgent two hour and forty eight minute high school production of Romeo and Juliet. Such joviality dichotomises the emotional apocalypse that lies in wait, but it’s a messy joviality, somewhat saccharine, not helped by the mess of American accents, which range from passable to not passable.

Once the drama kicks off however, its non-stop turbulence is endlessly engaging. Crim’s script is compelling, situating itself within the fallout of the Me Too movement, but hyperaware of this. In 23.5 Hours, nobody has moral superiority; everyone is self-righteous and reprehensible, yet never villainous. It delicately straddles the tightrope of judgement: as soon as you think you’ve digested the situation, you’ll be ushered elsewhere. And at some point in the show, you will sympathise with every character. Dealing with material this fraught, that is a real achievement. The show scrutinises the grey bits in-between the ethical absolutes that ordinarily dominate: it is beautifully nuanced, and occasionally very funny.

The stage design (Carla Goodman) complements the piece and Leigh’s psyche excellently. All the action takes place in Leigh’s house, to great effect. This static quality reflects her internal implacability: her denial that she could be in any way shaken in her love for Tom by mistrust, despite growing evidence against him. But as Leigh’s trust and self-belief fragments, so too does her house. Nick Cave also pops up again in the room décor, which I appreciated.

Another shoutout goes to wine, which trails behind almost every character: a skilfully subtle observation of multi-generational addiction and hypocrisy.

The show is perhaps a little too shouty: it would’ve benefitted from fewer screaming matches – which would also have shaved a necessary half hour off. It’s difficult to sustain such high stakes, but the cast are all strong, and Dwan carries its weightiness with aplomb.

One enduring ontological knot, however, is the plausibility of the enduring love between Tom and Leigh. Tom’s character has few redeeming features – despite his obvious intelligence – and it is hard to understand his appeal, or Leigh’s determination to stick by him (certain plot points complicate and elucidate this, but it does remain a concern). Fewer emotional climaxes would’ve made room for threat and tension, allowing the insidious seeds of doubt to fester more.

23.5 Hours is not perfect, but it’s truly a gripping show, which cannot but hook you in. And the cliffhanger will give you plenty to talk about on the tube home.


23.5 HOURS at Park Theatre

Reviewed on 9th September 2024

by Violet Howson

Photography by Charles Flint

 

 

Previously reviewed at this venue:

BITTER LEMONS | ★★★½ | August 2024
WHEN IT HAPPENS TO YOU | ★★★★★ | August 2024
THE MARILYN CONSPIRACY | ★★★★ | June 2024
IVO GRAHAM: CAROUSEL | ★★★★ | June 2024
A SINGLE MAN | ★★★★ | May 2024
SUN BEAR | ★★★ | April 2024
HIDE AND SEEK | ★★★★ | March 2024
COWBOYS AND LESBIANS | ★★★★ | February 2024
HIR | ★★★★ | February 2024
LEAVES OF GLASS | ★★★★ | January 2024
KIM’S CONVENIENCE | ★★★★ | January 2024
21 ROUND FOR CHRISTMAS | ★★★★ | December 2023

23.5 HOURS

23.5 HOURS

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BLUE

★★★★

Seven Dials Playhouse

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BLUE at the Seven Dials Playhouse

★★★★

“The claustrophobic atmosphere is masterfully built and each new twist sheds new light on the truth”

In this searing and hard-hitting two hander, the personal and political are blurred to explore a very human take on the current American culture wars.

It’s a clever concept. A cop of 29 years is being interrogated about his shooting of an African American suspect. The senior officer who is interrogating him is black. She is also his former partner’s wife, and his former boss’ daughter. They’ve been on family holidays, fishing trips and to Disneyland together. There’s a shared fondness. But now they find themselves on opposite ends of an increasingly divided United States.

June Carryl’s script bubbles and seethes. The claustrophobic atmosphere is masterfully built and each new twist sheds new light on the truth. There are a few clunky plot moments, and while the premise is compelling, it does feel a little implausible. The senior officer’s tone changes a little suddenly at times, and she was a harder character to pin down. Interestingly, this character is played by writer June Carryl. However, it’s a very good idea, and there are some shocking moments.

“June Carryl is a marvel”

Michael Matthews’ direction sees the two characters verbally wrestling and sparring for his job, but also for the future of the United States. There are moments of light and shade, and surprisingly a few well-placed jokes.

June Carryl is a marvel. She wrestles with the professional and personal, as well as the broader political ramifications. This woman watches someone she knows well change before her eyes and Carryl shows it all on her face. One barb by him leaves her in shocked silence, face folding in, and is a subtle moment of pure talent. She doesn’t overshadow John Colella, though, who is also remarkable, even if the character is obviously less palatable. He brings to life a character a lot of people rightly struggle with, and manages to make him feel human and real.

Carla Goodman’s set design is bare and stark. Strip lighting evokes the integration room. I struggled a little with the mirrors on the walls, while it did echo the real room, having the play in the round, with mirrors, meant the risk of getting distracted by other audience members was high.

The shape or path of this production is not particularly surprising. However, that is why it is important, the sad truths it explores and exposes are vital to consider in theatre, and the performances bring to the stage a frightening reality of everyday police brutality.


BLUE at the Seven Dials Playhouse

Reviewed on 8th March 2024

by Auriol Reddaway

Photography by Michael Matthews

 

 

Previously reviewed at this venue:

SUNSETS | ★★ | September 2023
STEVE | ★★★★ | February 2022

BLUE

BLUE

Click here to see our Recommended Shows page