★★★

“For the audience, there are goosebumps aplenty but no cause for nightmares”

With its previous West End successes fresh in the mind and the production now on national tour, this play by Danny Robins has all the signs of becoming a cult classic. As the house lights go down, the audience whoops and even screams in anticipation.

Lauren (Vera Chok) and her new boyfriend Ben (Jay McGuinness) are invited around to the home of Sam (George Rainsford) and Jenny (Fiona Wade) for food, drinks and a friendly catch-up. It’s a classic comedy set-up that builds on past rivalries, marital bickering, and one-upmanship between the couples. And there’s a lot of humour at play here – particularly in the ribbing between the two men – but the clue is in the title. This is not primarily a comedy but a ghost story and each of the characters has their own story to tell. The main story is that of Lauren who has witnessed and heard strange goings on at precisely 2.22am over the last few mornings and the four friends agree to wait up to witness it all for themselves. Two digital clocks are constantly on show and whilst we enjoy the shenanigans of the dinner party throughout the evening our eyes are on the clocks as the minutes move closer to the moment of truth.

The ensemble doesn’t quite gel at first. A lot of dialogue is lost in the vast Derngate auditorium as characters speak over each other. Fiona Wade excels as the exhausted mother of a new baby, exasperated that her husband can’t accept that what she has seen is real. George Rainsford is the star of the show, his bouncy enthusiasm driving everything forward. Acting newbie Jay McGuinness does well as cockney-chappie-builder, dressed in a blue suit and no socks (Cindy Lin costumes). Vera Chok gets better as Lauren gets drunker.

Sparing use of eerie soundscape heightens the mood (Ian Dickinson sound) and in a story of this type there simply has to be a scene with fog rolling in and lightning strikes (Lucy Carter lights). The set (Anna Fleischle set design) looks somewhat cramped making movement around the household furniture awkward (Directors Matthew Dunster and Isabel Marr).

Signs of the ongoing redecoration allow discussion about neighbourhood gentrification and the trend for a new generation to do away with the past. This then connects with the possibility of resident ghosts objecting to the new change. Part serious, part absurd.

It’s up to us to decide how ludicrous any of this party talk might be. Jenny, after all, is genuinely scared. For the audience, there are goosebumps aplenty but no cause for nightmares. And plenty to think on once the clock reaches 2:22.

THE GARDEN OF WORDS at the Park Theatre

★★★

“There are fine moments of humour amidst the stylisation in director Alexandra Rutter’s production”

It is a brave undertaking to lure London audiences into the theatre this summer with the promise of a show that features an awful lot of rain. It is also a brave undertaking to adapt a Makoto Shinkai film. Shinkai – animator, filmmaker, author and graphic artist – is responsible for some of the highest-grossing Japanese films of all time with his idiosyncratic and recognisable animations. But both are challenges that ‘Whole Hog Theatre’, specialists in Anglo-Japanese theatre, are not shying away from with the premier of “The Garden of Words”.

It focuses on Takao Akizuki (Hiroki Berrecloth), an aspiring teenage shoemaker and Yukari Yukino (Aki Nakagawa), a mysterious older woman he keeps meeting in the public gardens of Shinjuku City. It is the rainy season, beautifully evoked by the video projections, lighting, sound and stylised movement of the actors. There are echoes of Jacques Demy (it could almost be dubbed ‘The Umbrellas of Tokyo’), and traces of David Lean’s ‘Brief Encounter’ when the couple meet – courtesy of Mark Choi’s soaring piano soundtrack. But the overall sensation is of being drawn into a Japanese ‘anime’ art film. The merging of styles creates a profoundly hypnotic atmosphere, but one that clouds the emotional connection we would have liked to have had with these characters.

It is a simple, soft love story that subtly touches on the taboo. Takao is still a teenager while Yukari is a teacher from his school. Although their meetings are accidental and innocent. At least initially. They only meet when it rains. A literal and metaphoric ingredient for the blossoming of their friendship. They are both isolated in their own way. Back home, Takao’s divorced mother (a bubbling and eccentric Susan Momoko Hingley) is more concerned with her love life than her family, while his brother (James Bradwell) is fleeing the nest in pursuit of actress girlfriend Rika (Iniki Mariano). Like Takao, Yukari is also skipping school, having been hounded by false accusations from her students, the prime culprit being Shoko (a very watchable Shoko Aizawa). Trying to appease all parties is gym teacher Soichiro (Mark Takeshi Ota).

There are fine moments of humour amidst the stylisation in director Alexandra Rutter’s production (who co-adapted with Susan Momoko Hingley). But also, some superfluous moments of repeated movement that, although eye-catching, could be pruned. In the first act it occasionally loses its balance, like riding a bicycle too slowly. In contrast, the second act rushes to its epilogue as if an afterthought, and the interval was an unscheduled mistake. The enchantment would have kept its flavour better if concentrated in a one act performance. Otherwise, the essence of the anime art form remains as true as it can be. It recognises its limitations, and doesn’t try to overstep the small-scale setting with its vivid, slightly surreal and delicate combination of creative expertise.

KENNY’s video graphic projections work hand in hand with Cindy Lin’s set. The Japanese Garden almost origami like, comprising fringes of paper that depict both the city’s skyline and the weeping leaves of the trees. In turn they become the rain, then the tears of these lost souls who “feel they may die from the agony of love”: one of many quotations projected overhead. Passages from ‘The Man’yōshū’, a compilation of Classical Japanese poetry from the eighth century, are a recurring motif that informs the narrative, and assists the audience. Like the rain.

In fact, the rain is quite relentless. A leitmotif that adopts many shades and meanings. In the world that these characters inhabit, rain is something that people who suffer from social isolation can prefer more than the sun. “The Garden of Words” exposes the fragility of emotions born of loneliness and longing, yet just falls short of gripping the heart. The other senses are left basking in the downpour though. It is a treat to watch, even if we don’t quite connect. It is an apt synchronicity that while the characters onstage are ‘praying for the rain’, we most certainly aren’t. Especially this summer.

2:22 A GHOST STORY at the Royal & Derngate Theatre

★★★

“For the audience, there are goosebumps aplenty but no cause for nightmares”

2:22 A GHOST STORY at the Royal & Derngate Theatre (as part of UK tour)

Reviewed on 10th January 2024

by Phillip Money

Photography by Johan Persson

Previously reviewed at this venue:

2:22 A GHOST STORY

2:22 A GHOST STORY

THE GARDEN OF WORDS at the Park Theatre

★★★

“There are fine moments of humour amidst the stylisation in director Alexandra Rutter’s production”

THE GARDEN OF WORDS at the Park Theatre

Reviewed on 15th August 2023

by Jonathan Evans

Photography by Piers Foley

Previously reviewed at this venue:

The Garden of Words

The Garden of Words