Tag Archives: Eamonn O’Dwyer

Brief Encounter

Brief Encounter

★★★

Watermill Theatre

Brief Encounter

Brief Encounter

 The Watermill Theatre

Reviewed – 18th October 2021

★★★

 

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

 

“That’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 ‘brief’, passionate affair. They also embark on the rocky road of love, guilt, and self-examination.

Officially titled ‘Noël 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 “Still 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 ‘Kneehigh’ combo. I say ‘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, Noël Coward and original music from composer and Musical Director, Eamonn O’Dwyer. O’Dwyer’s closing number ‘Always’ is a haunting moment. These are the moments that linger after we leave the auditorium. This staging of ‘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

 The Watermill Theatre until 13th November

 

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

 

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Lipstick: A Fairytale of Iran
★★★

Omnibus Theatre

Lipstick: A Fairytale of Iran

Lipstick: A Fairytale of Iran

Omnibus Theatre

Reviewed – 28th February 2019

★★★

 

“doesn’t shy away from tough politics but tries to fit too much in”

 

Lipstick: A Fairytale of Iran is part-theatre, part-cabaret show which hopes to balance heavy foreign affairs and human rights criticism against some, often more light-hearted, sexual politics. It makes the case that you cannot divorce art from politics, that the mere act of telling a story is in itself a political act.

It’s 2010 and narrator Orla, played by Siobhan O’Kelly, is struggling to come to terms with her recent six week, Government sponsored, trip to Tehran. Orla and best-friend and drag artist Mark, played by Nathan Kiley aka Topsie Redfern, are about to open their own drag night in Soho but far from being excited for their dream to finally come true, they’ve had an argument and need reconciliation. The story unfolds exploring Orla’s time in Iran, how it changed her, and how Mark coped behind in London without his munchkin.

Lipstick is unflinchingly critical of the Iranian state, referring to it’s indecency laws and the brutal retribution in kind or literal ‘eye for an eye’ law exemplified in the case of Ameneh Bahrami and Majid Movahedi. This is, however, in contrast to the people she meets in Tehran. The students in her classes, the receptionist at the hotel and, most touchingly, a carpet shop owner, are all complex characters portrayed with warmth and fondness.

Writer and director Sarah Chew draws clever parallels between Orla’s Northern Irish upbringing and the contemporary situation in Iran. One of Orla’s students notes that the British Embassy in Tehran is on Bobby Sands street, the only street with a British name in the city. There’s also a satisfying circularity when, early in the piece, Orla describes the paramilitary explosive of choice, Semtex, as smelling like marzipan. Later, she is comforted by a kindly offer of traditional Iranian rosewater sweets – made from marzipan.

Whilst all this is happening, Mark stays in touch from London on the phone and through music he’s preloaded onto an MP3 player for Orla’s trip. Mark’s character and journey don’t feel as deeply explored or neatly structured. This disconnect was then magnified by the use of pre-recorded voice, with Mark lip syncing often to his own voice. Whilst the tinny, distant sound of the pre-record was likely meant to evoke the 5,000 miles between Tehran and London, it instead limited the connection with his character. Although responsible for many of the biggest laughs and impressive vocal performances, it was a shame his arc wasn’t as critically explored as Orla’s, leaving him to fulfil the “Gay Best Friend” trope.

The stage featured a long catwalk with the audience sat either side, as if in the Soho club. Mark’s many costumes were effective in motion, although the props and tech experienced a few glitches which, although handled well, did not go unnoticed.

Lipstick doesn’t shy away from tough politics but tries to fit too much in, leaving the plot feeling lopsided, limping along behind. However, despite this, its ending is feel-good and will leave you smiling on your way out of the theatre.

 

Reviewed by Amber Woodward

Photography by Flavia Fraser-Cannon

 


Lipstick: A Fairytale of Iran

Omnibus Theatre until 24th March

 

Last ten shows reviewed at this venue:
My Dad the Magician | ★★★★ | March 2018
The North! The North! | ★★★ | March 2018
Gauhar Jaan – The Datia Incident | ★★★★ | April 2018
The Yellow Wallpaper | ★★★★ | June 2018
Blood Wedding | ★★★ | September 2018
Quietly | ★★★ | October 2018
To Have to Shoot Irishmen | ★★★★ | October 2018
The Selfish Giant | ★★★★ | December 2018
Hearing Things | ★★★★ | January 2019
The Orchestra | ★★★ | January 2019

 

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