Tag Archives: Eva-Jane Willis

The Rubenstein Kiss

The Rubenstein Kiss
★★★★★

Southwark Playhouse

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The Rubenstein Kiss

The Rubenstein Kiss

Southwark Playhouse

Reviewed – 18th March 2019

★★★★★

 

“The urgency of the writing is matched by an outstanding cast across the board”

 

Just before sundown on Friday 19th June 1953, Julius and Ethel Rosenberg were sent to the electric chair in New York’s Sing Sing prison, accused of passing atomic secrets to the Soviet Union. Proclaiming themselves innocent, to the point of martyrdom, right up to their deaths, the couple were the first American citizens to be executed for espionage. That they were sacrificial lambs to McCarthyism is generally undisputed, but a further twist to the case was that it rested on the testimony of Ethel’s brother, who decades later told reporters that he lied to protect his own family.

With name changes for dramatic licence, their haunting true story is the basis of James Phillips’ “The Rubenstein Kiss”, which takes its title from the famous photograph of the Rosenberg’s kiss in the back of the prison van before their execution. The fictionalised version of the photograph hangs in an art gallery in the mid-seventies; where young law student Matthew (Dario Coates) meets, seemingly by chance, history teacher, Anna (Katie Eldred). From this, again seemingly, light-hearted vignette of the courting couple we are suddenly swept back to Esther and Jakob Rubenstein’s starkly furnished New York apartment in 1942.

What follows is an utterly compelling and thought provoking two hours of theatre. The essential beauty of Phillips’ play is that it perfectly combines the brutal political and social impact of the historical facts with a profound and deeply moving study of two connected families across two generations. The dialogue shoots straight to the heart of the characters’ innermost concerns, showering us with the impossible questions about morality, loyalty, betrayal, truth and patriotism at such a divisive time in America’s history.

The urgency of the writing is matched by an outstanding cast across the board. Henry Proffit and Ruby Bentall, as Jakob and Esther Rubenstein, both capture the unwavering passion and blind resolve of the doomed ideological couple; Bentall quite simply riveting in her final scenes under interrogation by Stephen Billington’s cool, chilling yet ambivalently sympathetic FBI agent, Paul Cranmer. Sean Rigby’s sensitive portrayal of the traitorous brother saves him from villainy and, like his fiancé, Rachel Lieberman (Eva-Jane Willis) shows that the choices we are forced to make are never clear cut. In fact, collectively the entire cast allow the audience the freedom to make their own conclusions.

Under Joe Harmston’s vital direction, the interlocking strands of the narrative, aided by Matthew Bugg’s swooping sound design, seamlessly cut between the forties and the seventies. Dario Coates and Katie Eldred as the young lovers brilliantly depict their struggle to find their own identity, frantically looking for a truth that can help explain the past.

This production grips throughout, and while being a truly enthralling history lesson, it is essentially a haunting, poignant, sublimely crafted and superbly acted piece of theatre.

 

Reviewed by Jonathan Evans

Photography by Scott Rylander

 


The Rubenstein Kiss

Southwark Playhouse until 13th April

 

Previously reviewed at this venue:

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Tiny Dynamite – 4 Stars

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Dynamite

Tiny Dynamite

Old Red Lion Theatre

Reviewed – 12th January 2018

★★★★

“moments of light, sound and movement punctuate the changes of scene, mesmerising the audience”

 

In its first revival since 2003, Abi Morgan’s play ‘Tiny Dynamite’ is an echo of the original production but with a twist. Ten years after a traumatic event, which sends two childhood friends down very different paths, their annual summer holiday together is the scenario for confronting what has left them incapable of moving on and the secret of their dependency.

In this production, David Loumgair, who shows himself to be an exciting and innovative director, changes the gender of Lucien to a woman, Luce. This works well with Luce showing platonic concern and responsibility for her life-long friend Anthony. Both Eva-Jane Willis and Niall Bishop hold the audience’s attention as the layers of their story are peeled away by the appearance of Madeleine, played by Tanya Fear, the catalyst who sparks their buried feelings. However, the stated contrast between the two friends is belied by the character writing. The overly talkative nature of Anthony comes across well but the quietness of Luce is undermined by, quite simply, the number of lines she has, as well as the similarly placid Madeleine. But Luce’s ordered, conventional shell finally cracks in the most moving scene of the play, revealing the relationship’s true balance. Anthony, hit by lightning at the age of six, struggles with the internal static of his emotions and this creates his own hidden turmoil, cleverly enhanced by special effects.

The set by Anna Reid resembles that of the 2003 staging at the Lyric, Hammersmith – wooden decking surrounded by a moat of water, marooning the characters in their triangular relationship. Added to the beautifully economical handling of props, the use of water on stage is refreshing, although the moat could be used to more advantage. The minimalist music (Dan Jeffries) is in keeping with the set and subtly dresses the scenes, only once or twice becoming a distraction. Bare lightbulbs hang above the stage as an aesthetic presence and integral effect (lighting by Zoe Spurr). Coordinated moments of light, sound and movement (Natasha Harrison, Movement Director) punctuate the changes of scene, mesmerising the audience.

Since writing ‘Tiny Dynamite’ Abi Morgan has gone on to have a successful career writing for film and television, genres she says she feels more comfortable with. Here she infuses an underlying discomfort rather than the tension needed to capture an audience from the start. The concept of the title – tiny things sparking off huge reactions – is not altogether coherent and in the end the play is about knowing when to take responsibility for our actions and when to leave things to fate.

Despite some thematic inconsistency ‘Tiny Dynamite’ Is brilliantly executed with fine performances and artistic flair.

Reviewed by Joanna Hetherington 

Photography by Richard Davenport

 


Tiny Dynamite

Old Red Lion Theatre until 3rd February

 

 

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