Tag Archives: David Robinson

THE RIVER

★★★

Greenwich Theatre

THE RIVER at the Greenwich Theatre

★★★

“each actor was incredibly committed and the chemistry between them was fantastic”

Jez Butterworth’s The River returns to London at the Greenwich Theatre. A play about a man who takes his girlfriends to a lovely country cabin by a river. Yet he is seemingly haunted by … something?

The show begins with a scene featuring The Man (Paul McGann) and The Woman (Amanda Ryan). They share romantic exchanges before he convinces her to go out fishing with her. After which The Man returns with The Other Woman (Kerri McLean), and their relationship and conversations appear no different. This partner swapping occurs throughout the play, suggesting that The Other Woman is one of potentially many previous partners The Man has taken to the lodge.

It has to be said that the cast, under the strong direction of James Haddrell, were brilliant. I was consistently engrossed in their characters as each actor was incredibly committed and the chemistry between them was fantastic. I could not, however, tell you what the moral or meaning of this story is though – which left me unsatisfied. Throughout the whole show, various mirroring scenes between The Man and the two women occur. In all of them I felt like I was just waiting for them to get to the point. As if we were searching through The Man’s psyche (of which the women are just tools to help do so) via the medium of his dating life, but never actually getting anywhere. He never opens up to his partners and never tells them the truth. He’s searching for something in these women, but we don’t know what. Perhaps that is the point that I am just missing. Maybe the point is he doesn’t know what he’s looking for and he is unsatisfied. That is why we don’t get answers.

McGann’s naturalistic performance of the man is subtle yet nuanced. He wonderfully shifts from loving to anxious to investigative in a matter of moments, and he was key in holding my attention throughout the show. The atmosphere of the theatre was also incredibly accurate. Julian Starr’s sound design is lovely in the way that the subtle noises of the natural world are played constantly – from the occasional cricket to the melody of the river moving. Emily Bestow has designed an incredibly detailed set that fits with the naturalistic style: a fishing cabin (where at one stage, a fish gets gutted) full to the brim of life and the world of The Man.

The best part of The River is the incredibly strong and dedicated performances throughout. It’s unfortunate that they are let down by what I would describe as a repetitive and unsubstantial plot line.


THE RIVER at the Greenwich Theatre

Reviewed on 3rd October 2024

by David Robinson

Photography by Danny With A Camera

 

 

 

 

 

 

Previously reviewed at this venue:

VINCENT RIVER | ★★★ | June 2023
AN INTERVENTION | ★★★½ | July 2022
BAD DAYS AND ODD NIGHTS | ★★★★★ | June 2021

THE RIVER

THE RIVER

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KIM’S CONVENIENCE

★★★

Riverside Studios

KIM’S CONVENIENCE at Riverside Studios

★★★

“The performances were a pleasure to watch; each actor showing great nuance and detail in their characterisation”

Ins Choi’s ‘Kim’s Convenience’ returns to London this month at Riverside Studios, with Choi reprising his lead role of Appa. A play that has seen vast success over the years, including a five season television series, following its original performance at Toronto Fringe Festival in 2011. The sitcom feel to the show is strong in this iteration, however, I fear it lets the material itself down.

Appa runs his store ‘Kim’s Convenience’ under seemingly peaceful circumstances, until one day a local corporate businessman offers to buy it – following the announcement of a new Walmart to be built in the area. This man inspires him to come to the decision he wants to retire. The play then follows Appa’s quest to convince one of his unsatisfied children to take over the store.

One of the greatest highlights of this show is the design. Mona Camille provides the audience with an incredibly realistic set of a convenience store – including bright and colourful details of various products on sale including many Korean and Canadian snacks. The lighting (Jonathan Chan) also reflects the just a little bit too bright environment very familiar among retail establishments. The performances were a pleasure to watch; each actor showing great nuance and detail in their characterisation. Miles Mitchell deserves particular praise for his excellence in multi-roling (Rich, Mr Lee, Mike, Alex), with an eclectic mix of accents and personas on display. Choi has a clear and colourful understanding of the character he has written and welcomes the audience beautifully into Appa’s world throughout.

Where the play falls flat is in its lack of character development and the deus ex machina conclusion. The audience is told that Appa’s son Jung (Edward Wu) is basically estranged from the family, except from occasionally seeing his mother Umma (Namju Go) at Church. Their lack of relationship is said to be due to previous abuse. When given this context I was quite shocked, as all previous examples of physical manhandling (arguably assault) are played off as a joke. Suddenly, the show darkened for me at that point. Jung and Appa do rekindle their relationship – yet this is done in the space of about five minutes, and Appa doesn’t really do any work to apologise to, or heal with his son.

Appa also displays a lot of mistreatment towards his underappreciated daughter Janet (Jennifer Kim). This being a combination of patronising her, dismissing her career and her relationship status and throwing props at her. All is resolved, however, when Janet gets a boyfriend! I understand that Appa is meant to be a flawed character and the story isn’t trying to be groundbreaking in it’s dysfunctional family narrative, but it just feels like too many flaws to overlook as just the loving father who we love in spite of everything. Because his love is seemingly dependent on his children submitting to his will. The comedy that comes from this is continuous throughout the show yet I must say not particularly to my taste.

The show ‘Kevin Can F*** Himself’ comes to mind with this play. The classic loveable rogue father leads the plot, yet at the expense of the other characters playing along with his narrative. Overall making the play feel rather dated and out of touch.

 


KIM’S CONVENIENCE at Riverside Studios

Reviewed on 11th September 2024

by David Robinson

Photography by Danny Kaan

 

 


 

 

 

 

Previously reviewed at this venue:

THE WEYARD SISTERS | ★★ | August 2024
MADWOMEN OF THE WEST | ★★ | August 2024
MOFFIE | ★★★ | June 2024
KING LEAR | ★★★★ | May 2024
THIS IS MEMORIAL DEVICE | ★★★★ | April 2024
ARTIFICIALLY YOURS | ★★★ | April 2024
ALAN TURING – A MUSICAL BIOGRAPHY | ★★ | January 2024
ULSTER AMERICAN | ★★★★★ | December 2023
OTHELLO | ★★★★ | October 2023
FLOWERS FOR MRS HARRIS | ★★★★ | October 2023
RUN TO THE NUNS – THE MUSICAL | ★★★★ | July 2023
THE SUN WILL RISE | ★★★ | July 2023

Kim’s Convenience

Kim’s Convenience

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