Tag Archives: Charles Angiama

Brief Encounter

Brief Encounter

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Watermill Theatre

Brief Encounter

Brief Encounter

Β The Watermill Theatre

Reviewed – 18th October 2021

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“The music and Anjali Mehra’s choreography are indeed highlights”

 

β€œThat’s how it all began. Just by me getting a little piece of grit in me eye”. So often in life it is one of these small, simple twists of fate that change the course of a life. Laura, a respectable middle-class woman in an affectionate but rather dull marriage takes a shopping trip to a nearby town by train every Thursday. On the same day, Alec Harvey, a general practitioner works at the local hospital. They become acquainted in the refreshment room of the railway station after Alec removes a piece of dust that Laura has in her eye. Although both are quite content in their marriages, they fall in love and embark on a β€˜brief’, passionate affair. They also embark on the rocky road of love, guilt, and self-examination.

Officially titled β€˜NoΓ«l Coward’s Brief Encounter’, Emma Rice’s name is featured in as large a font as Coward’s on the programme. It is perfectly justified as her stage adaptation is now almost as recognisable as Coward’s film adaptation in 1945 (based on his original one act play β€œStill Life”). Here, Robert Kirby’s quirky and intimate production has all the Riceisms dutifully bouncing around the stage, showering magic onto a fairly dated love story. All competent musicians and singers, the cast almost give the impression that they have wandered in from the wild shores of Cornwall and an early β€˜Kneehigh’ combo. I say β€˜almost’. With a couple of exceptions, this troupe sometimes appear to be a bit out of their depth with the demands of the material and they need a couple more weeks to grow into the roles. For now, though, we are too aware of their concentration on getting the words, actions, and the stylistic staging right. Once they relax into the skins of the characters, the emotional impact will have the space to break through.

Laura Lake Adebisi, as Laura, is probably the guiltiest of this and therefore doesn’t quite grab the sympathy of the audience. Callum McIntyre’s more layered Alec gives her plenty to play with, but we don’t really witness the chemistry needed that would make these seemingly above-board characters decide to delve into the depths of deception. It is the peripheral characters that come across more fully formed. They burst with energy, circling the central pair, and filling the tea bar with colour. Kate Milner-Evans as Myrtle, holds forth with a commanding performance, occasionally breaking into song with a quite outstanding voice. Hanna Khogali is a bubble of quirky energy juggling her multiple roles while deftly handling her violin and guitar. Max Gallagher gives a standout performance, again switching between roles and providing the most real and memorable moments of the show; particularly as the camp Stephen, whose flat the lovers borrow one afternoon. Gallagher captures some of the hidden tones of Coward’s original text in just a few short moments of nuanced delivery.

The music and Anjali Mehra’s choreography are indeed highlights. The two are intertwined as the actor musicians dance to the tunes, relaying their instruments back and forth. We bask in a gorgeous mix of Rachmaninoff, NoΓ«l Coward and original music from composer and Musical Director, Eamonn O’Dwyer. O’Dwyer’s closing number β€˜Always’ is a haunting moment. These are the moments that linger after we leave the auditorium. This staging of β€˜Brief Encounter’ is stylistic, atmospheric and a feast for the senses, but there is a detachment, and the emotional encounters are all too brief.

 

 

Reviewed by Jonathan Evans

Photography by Pamela Raith

 

Brief Encounter

Β The Watermill Theatre until 13th November

 

Other shows reviewed this month:
Back To The Future | β˜…β˜…β˜…β˜… | Adelphi Theatre | October 2021
Roots | β˜…β˜…β˜…β˜…β˜… | Wilton’s Music Hall | October 2021
The Witchfinder’s Sister | β˜…β˜…β˜… | Queen’s Theatre Hornchurch | October 2021
Rice | β˜…β˜…β˜…β˜… | Orange Tree Theatre | October 2021
The Cherry Orchard | β˜…β˜…β˜…β˜… | Theatre Royal Windsor | October 2021
Love And Other Acts Of Violence | β˜…β˜…β˜…β˜… | Donmar Warehouse | October 2021
Yellowfin | β˜…β˜…β˜…β˜… | Southwark Playhouse | October 2021

 

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C-O-N-T-A-C-T

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Various London Locations

C-o-n-t-a-c-t

C-O-N-T-A-C-T

London – Central

(Various London locations are available)

Reviewed – 4th September 2020

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“feels creatively alive, tender and hopeful; it leaves a lasting artistic shimmer and sprinkles a touch of magic”

 

C-o-n-t-a-c-t is an outdoor immersive promenade production, that takes place on the edge of the river, five minutes from Monument tube (other locations are available). Plugged into headphones, through a previously downloaded app (all very simple, and efficiently handled by the facilitator, who we meet 10 minutes before the production begins), the audience hears the thoughts and conversation of the two characters, one of whom we are instructed to follow.

The concept is a simple one, and reminiscent of Wim Wenders’ masterwork Wings of Desire: a guardian angel is on earth in human form, and he has appeared in order to help a young, lost and grieving woman get over the death of her father. Written by Eric Chantelauze, it is a delicate 50 minute reflection on grief. In Quentin Bruno’s English adaptation, the writing is predominantly colloquial and straightforward, with occasional excursions into a slightly more meditative realm, and for the most part works well, though an unfortunate last minute detour into Latin does feel hackneyed and unnecessary. Max Gold, as the angel Raphael, fails to convince in this instance, and the grandeur of the language reduces, rather than enhances, his angelic aura.

This was a rare jarring moment however. Samuel SenΓ© (director and creator of the original production, along with Gabrielle Jourdain) has put some lovely subtle movement sequences in place within the characters’ walk together, and there are many moments of gentle beauty, particularly in Laura White’s performance as Sarah, which seamlessly embodies Aoife Kennan’s spoken narrative. The atmosphere is also hugely enhanced by Cyril Barbessol’s contemplative, melodic piano, which is a continuous musical thread throughout the piece, and works brilliantly under a London sky and against the grand, ceaseless flow of the Thames.

In these strange and pretty desperate times for live theatre, C-o-n-t-a-c-t feels creatively alive, tender and hopeful; it leaves a lasting artistic shimmer and sprinkles a touch of magic on a September evening. Highly recommended.

 

Reviewed by Rebecca Crankshaw

Photography by Pamela Raith

 


C-O-N-T-A-C-T

Various London locations until 4th October seeΒ www.contactshow.co.uk for full details

 

Previously reviewed this year by Rebecca:
Dadderrs | β˜…β˜…β˜… | The Yard Theatre | January 2020
In A Way So Brutal | β˜…β˜…β˜…β˜… | The Yard Theatre | January 2020
Santi & Naz | β˜…β˜…β˜… | The Vaults | January 2020
The Maids | β˜… | Hen & Chickens Theatre | January 2020
Tom Brown’s Schooldays | β˜…β˜… | Union Theatre | January 2020
Ghost Stories | β˜…β˜…β˜… | Theatre Royal Brighton | February 2020
Since U Been Gone | β˜…β˜…β˜…β˜… | The Vaults | February 2020
The Fourth Country | β˜…β˜…β˜…β˜…β˜… | The Vaults | February 2020
The Tin Drum | β˜…β˜…β˜…β˜… | The Coronet Theatre | February 2020
Henry V | β˜…β˜…β˜…β˜… | The Barn Theatre | March 2020
Superman | β˜…β˜…β˜…Β½ | The Vaults | March 2020
Fanny & Stella | β˜…β˜…β˜…β˜… | The Garden Theatre | August 2020

 

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