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Time and Tide

Park Theatre

Reviewed – 7th February 2020

★★★

“There are a lot of good things going on, but it feels a little too focussed on getting several points across”

Relish Theatre’s new play by James McDermott is set in Cromer in Norfolk, a town that is going through an influx of chain stores and cafes and, maybe, losing its soul. May, played by Wendy Nottingham, in in her fifties and runs a good old fashioned caff at the end of the pier, which may become a Pret a Manger if she sells it. Should she stay or sell up? Ken delivers bread around the town, as he has every day for forty years. What will happen to him if the traditional places close down? Nemo is about to leave and follow his dream, becoming a drama student in London. Daz is staying put, can’t see what’s wrong with Cromer, can’t see what’s right about going to college. Nobody acknowledges their feelings, but Nemo is gay and thinks he is in love with Daz, his best mate. Daz is straight, or is he?

Time and Tide got off to a rather slow start as May and Nemo prepared the cafe for opening. Their relationship was nicely established, with May’s love of old films and Nemo’s doubts creating a believable friendship between this unlikely pair. The first odd directorial decision was when the lights dimmed, and the tables were cleaned for a second time. It’s little things like this that can throw an audience off from the world of the play. ‘But Nemo just cleaned the tables with the squirty bottle and kitchen towel, and arranged the salt and pepper. Why are they doing it again?’ Sadly it wasn’t the only time more aware direction would have been advisable. Ken came in with his bread and gave an enjoyable comic focus to the scene, adding an obvious attraction to May into the mix, Paul Easom managed not to turn Ken into a stock comic character, giving him a vulnerability underneath the comedy that was likeable and sweet. It was all rather charming, but the underlying litany of chain stores taking over the high street felt a bit artificial; more a point to be made than an integral part of the story. it is an important theme in the tale, but the lack of subtlety was wearing.

The central relationship is that of Nemo and Daz, played by Josh Barrow and Elliot Liburd. Barrow’s Nemo was delightful in his insecurity, likeable, wavering and sad. Liburd was the polar opposite, bringing a much needed energy; a loud, sweary cheeky lad down the pub. The two friends had a lot going on beneath the surface, and it had to come out. I don’t want to give away what happens, but at one point Nemo ended up on the floor, at the feet of the audience, and stayed there for quite a while. This made him invisible to at least half the room at a key point in the play. It’s a mistake often made in small theatres, and I wish directors would sit in the back row during rehearsals, with people in front of them and think about positioning.

James McDermott has written a sort of love story to old English seaside towns, as well as a story of different kinds of love between people. There are a lot of good things going on, but it feels a little too focussed on getting several points across. Director Rob Ellis almost succeeded in making it work, but someone needs to tell him that when something is thrown through a window from inside the broken glass is going to be mostly outside, not all over the floor.

Reviewed by Katre

Photography by Gail Harland

Time and Tide

Park Theatre until 29th February

Last ten shows reviewed at this venue:

The Weatherman | ★★★ | August 2019

Black Chiffon | ★★★★ | September 2019

Mother Of Him | ★★★★★ | September 2019

Stray Dogs | ★ | November 2019

Sydney & The Old Girl | ★★★★ | November 2019

Martha, Josie And The Chinese Elvis | ★★★★★ | December 2019

The Snow Queen | ★★★★ | December 2019

Shackleton And His Stowaway | ★★★ | January 2020

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★★★

“the rip-roaring finale in the church brought the audience to its feet in an explosion of cheers and applause”

This is Iris Theatre’s 10th season in the gardens of St. Paul’s Church in Covent Garden. They produce two shows over the course of the summer – a Shakespeare and a family show – and this year’s swashbuckling adventure from 17th century France is a perfect confection for a family night out in London on a summer’s evening. The action takes place in three different playing arenas in the gardens themselves, and also moves into the church. Although moving between locations couldn’t help but slow things down a bit, the delight of the different mise-en-scènes more than made up for it, and the rip-roaring finale in the church brought the audience to its feet in an explosion of cheers and applause.

Dumas’ original novel is a behemoth of a book, and credit must go to Daniel Winder, Iris Theatre’s Artistic Director, for distilling it into a largely comprehensible two hour play. The younger children in the audience would certainly have found elements of the story confusing, in particular differentiating between the the national conflict – England vs France – and the French religious conflict – Catholic vs Huguenot – but the pursuit of the Queen’s diamonds was a good thread for them to follow, with excellent visual cues to help them through the more labyrinthine plot developments. Paul-Ryan Carberry’s sure-handed direction steered a steady course throughout, using elements of slapstick and pantomime with a deft touch to balance the darker themes and more baroque plot twists. In addition, Winder’s decision to turn d’Artagnan into a woman worked brilliantly, and the young female musketeer was a fantastic counterpoint to the magnificently malevolent Milady, played with immense hauteur and brio by Ailsa Joy.

Working in the open air in the middle of Central London is immensely challenging for an actor, and the predominantly young cast attacked the task with relish, and they were aided too by Adam Welsh’s excellent sound design. Inevitably, many of the performances were painted with pretty broad strokes – open air theatre is rarely the place to go for subtlety and nuance – but there was a terrific ensemble spirit, and some excellent multi-role work too, particularly from the charismatic Stephan Boyce (Planchet/Treville/Rochefort/Lord Winter) and the splendidly entertaining Elliot Liburd (Porthos/King of France).

Finally, special mention must go to Roger Bartlett, the production’s fight director. No evening spent in the company of the musketeers would be complete without some serious sword play, and Iris Theatre did not disappoint in this regard. There is something rather wonderful about hearing the church clock striking and seeing the garden’s white roses glowing in the dusk, whilst watching a mighty clash of swords, and knowing that 21st century London nightlife continues all around. A unique treat; there to be savoured.

Reviewed by Rebecca Crankshaw

Photography by Nick Rutter

Tag Archives: Elliot Liburd

Time and Tide

★★★

Park Theatre