“this beautifully presented play exposes pertinent questions about societal responsibility, and prejudice“
Troupe presents a new adaptation by Simon Reade of Christopher Isherwood’s genre-defining novel. Set in California in 1962, the play follows a day in the life of college lecturer, George; a middle-aged, gay Englishman coming to terms with the isolation caused by the sudden death of his partner Jim.
The play opens with George (Theo Fraser Steele) sleeping – a single man in a single bed. Two Paramedics (Phoebe Pryce & Freddie Gaminara) appear spirit-like running through a checklist of George’s awakening, helping him to wash, get dressed and start his day. The dialogue runs as a narrative, a commentary. The ghost of Jim (Miles Molan) wanders through the apartment and kisses George good morning.
For the first part of the day, we see George driving to work, teaching his students, and shopping. But a meeting of the neighbours illustrates the daily prejudice George must face. His college class turns into a discussion of the minority versus the majority and making food choices becomes pointless when one is cooking for just one. George wallows in his isolation. Fraser Steele is perfect in this role: in a smart suit and tie, thick glasses and brilliantined hair, speaking in a rich sardonic baritone, he looks and sounds the part.
The first-rate ensemble comes and goes around George who is ever-present on stage, entering and exiting through the audience seated on three sides of the action. Minimal props are used and versatile trucks are slid or rotated to form the bed, a car, a dining table. (Set and Costume Designer Caitlin Abbot). The movement is slick, marred only be the occasional masking. One scene in the far corner of the stage, where George sits on the toilet, is totally lost, at least from my seat (Director Philip Wilson). The subtle use of sound effects is excellent (Beth Duke) – George urinating, honking his car horn, or in one delightful moment, George’s books talking to him: “One at a time” says George as the books all gibber away together.
The second half brings with it an unexpected change in style, and we hear more about characters other than just George. Life-long English friend Charley (Olivia Darnley), another lonely outsider, wants to get closer to George but he pushes her away. Darnley’s portrayal of a G.I. bride, abandoned by both husband and teenage son, is dynamic and moving.
The following scene in which George meets his student Kenny (Miles Molan) in a bar is the standout scene of the evening. Kenny is loud, brash, and wearing the tightest of t-shirts. The simmering conversation between the two brims with unspoken lust and sexual tension.
George returns to his single bed, drunk, and the Paramedics reappear in their hospital whites with their clip boards to see the day through to its conclusion.
Does this audience feel empathy for George? His situation is certainly tragic but much of his loneliness is self-inflicted. He doesn’t know how to move on from his past to find a new present. We can see George as a portrayal of Everyman. Or more correctly Every(gay)man. And through him, this beautifully presented play exposes pertinent questions about societal responsibility, and prejudice. And pleas for our understanding of people’s hidden loneliness, isolation and otherness.
“bubbling amusement that frequently fizzes into outright laughter”
After stunning snow, followed by Spring sunshine, London today resumed normal services and only ceased drizzling to tip it down at regular intervals! This meant arriving at the theatre with squelching wellies and dripping hat, and In need of cheering up!
This was the first time I’ve seen an actual ‘stage’ inside the Jermyn Street Theatre. The studio accommodated it well and it split the space interestingly. The set (designed by Rebecca Brower) gave little away about the continental escapade to come, as we waited for the lights to dim, it felt like we were assembled in a country church hall.
The story opens in a sleepy English village with a fairy tale style challenge and quest, which we embark on with our hero (played by Pete Ashmore) and his new companion (played by Cressida Bonas), a whisky drinking, card playing dog …
The journey that follows takes us through countries that do not exist, but which mirror Europe in the 1930s, with its monarchies and corruption and growing unrest. It is a madcap, fast paced trip to say the least!
The thought provoking satire of society and politics between the wars is a constant bubbling amusement that frequently fizzes into outright laughter. The story, although it twists and turns all sorts of corners, remains a basic chase. The script (by W. H. Auden and Christopher Isherwood) is more poetry than prose and changes pace throughout. The remaining cast (Edmund Digby Jones, Eva Feiler, Rujenne Green, James Marlowe, Suzann McLean and Adam Sopp) has multiple roles to play, each with a lot of lines to deliver, which they do beautifully, in song, in rhythm and with gusto.
They shift both scene and actual scenery fluidly, as props and backdrop alteration are woven cleverly into the action. The ever changing lighting (by Catherine Webb) sets the tone, pace, and atmosphere for each scene, and the quick-changing cast are masters at flitting in and out of character.
A lot is packed into this production. The tale gallops across countries, in and out of hotels, brothels, hospital and prison. It travels by train and boat, meets villains and comrades, and steers our hero towards home. The story offers echoes of 21st Century political and social division: Of derision of ‘experts’. Of countries divided. Of hope for a fairer future.
The show is very good; the action doesn’t lull, I laughed aloud, the cast is engaging and my fellow audience members were grinning throughout. And despite the familiarity of ‘the hero seeking the almost impossible task to win fair maiden’, there are many moments of unexpected sidetracking that are novel and entertaining.
