Tag Archives: Geoffrey Lumb

THE HOMECOMING

The Homecoming

★★★★★

Cambridge Arts Theatre

THE HOMECOMING

The Homecoming

Cambridge Arts Theatre

Reviewed – 11th April 2022

★★★★★

 

“this work remains a classic of the twentieth century and this superb revival is much welcomed”

 

Many people claim this to be Pinter’s finest play and this excellent production, superbly directed by Jamie Glover, certainly provides evidence for that argument. The strong ensemble doesn’t put a foot or sideways glance wrong, each character drawing our attention in turn.

An astonishing set (Liz Ashcroft) of huge height provides a surreal touch to the proceedings, comprising an impressive backdrop of dark green flocked wallpaper and the most unlikely of tallest staircases that makes each entrance and exit take an age. We wait in anticipation as Max, painfully, stick in hand, clambers down each step. Ruth, however, milks every moment of her regal descent towards the downstairs room of eager men.
Subdued lighting (Joanna Town) from a high ceiling lamp and corner standard lamps creates a brooding atmosphere: light falling onto the wallpaper from the offstage landing windows and from the opening front door, and alarming shadows created through the side window. Dramatic silhouetted freeze-frames between scenes enhance the sinister nature of the goings-on and heighten the tension.

Max (Keith Allen), permanently wearing a flat cap, is the cantankerous and misogynistic head of the household played with a touch of Alf Garnett but with the humour far darker than in any sitcom. He is vulnerable too as the weakness of his impending old age begins to be exploited by the middle son Lenny (Matthew Horne). With brilliantined hair and dapper blue suit, Lenny casually boasts of his needless violence. Joey (Geoffrey Lumb) is the youngest son, a wannabe boxer with little hope of success. The homecoming of the title is that of eldest son Teddy (Sam Alexander), a well-spoken university teacher who has been away for six years and arrives home unannounced with his wife Ruth (Shanaya Rafaat). Max’s brother Sam (Ian Bartholomew) makes up the household, an unassuming chauffeur bullied by his brother, weak and possibly impotent, but who knows the hidden stories of the family.

The central chair is the position of power. Mostly occupied by Max – even Teddy knows that it is his father’s favourite seat – both Lenny and Ruth get their turns to sit in it. The production’s tour image puts Ruth in this armchair held up by four men – she is literally put on a pedestal – and this implied, but uncertain, outcome to the story is one of the enigmas of the play.

All six members of the cast are outstanding, and it is the combined strength of the ensemble – an angry stare, a disapproving pout, a suggestive smirk across the stage – that marks this production as exceptional. But first among equals is the alluring performance by Shanaya Rafaat. No wonder Max cannot take his eyes off her as she draws the men closer with a gentle movement of a leg, her passive demeanour and softly spoken syllables contrasting with the brutality and estuary vowels of the household.

Whether any contemporary playwright would countenance using such casual misogynistic attitudes as a source of humour in a new play must be doubtful, this work remains a classic of the twentieth century and this superb revival is much welcomed.

 

Reviewed by Phillip Money

Photography by Manuel Harlan

 


The Homecoming

Cambridge Arts Theatre until 16th April then UK tour continues

 

Recently reviewed at this venue:
Dial M For Murder | ★★★ | October 2021
Tell me on a Sunday | ★★★ | September 2021
The Good Life | ★★ | November 2021
Animal Farm | ★★★★ | February 2022

 

Click here to see our most recent reviews

 

Much Ado About Nothing

★★★★

Wilton’s Music Hall

Much Ado About Nothing

Much Ado About Nothing

Wilton’s Music Hall

Reviewed – 13th November 2019

★★★★

 

“Reaching inventive new heights without pretension, this production feels fresh, striving to relate to its audience”

 

Love is a fickle old thing that can make a person crazy. It can drive wedges between friendships and cause chaos all around it. In an exciting new adaptation of Much Ado About Nothing, presented by Shakespeare at the Tobacco Factory, such effects of love are all on display. Razor-sharp in delivery, this intelligent retelling is as joyously entertaining as it is thought-provoking.

A group of soldiers are on leave from war, and accept the invite of staying with Leonato, the Governor of Messina, and his family, for a few days. What ensues is a gush of mixed emotions as the heady concoction of civilian life, falling in and out of love, and trickery befalls on the party.

Director Elizabeth Freestone has done a tremendous job in finding some original ways of reimagining Much Ado, giving it fresh meaning. The use of filming from phones is an ingenious take on the original text. It firmly places the story in 2019, giving the play a chance to explore current issues such as fake news, online trolling and abuse through social media, which completely works. It makes the premise seem far more plausible for a 21st century audience, and proves that a 400-year old text still has relevance. The hilarious use of fancy dress (I won’t give away the costume theme) during the integral masked ball, is another moment of modernisation that Freestone has so brilliantly encompassed. Despite perhaps being used in other recent Shakespeare adaptations, the fancy dress concept is still clever and highly jubilant.

There’s an electric energy between Dorothea Myer-Bennett and Geoffrey Lumb as the conflicting lovers Beatrice and Benedick, both actors making the witty put downs towards one another fizz and crackle. Myer-Bennett in particular is on plucky form, doing complete justice to arguably Shakespeare’s best written female role. The whole cast should be applauded for really making the text their own, never shying away from originality or the unconventional, yet always making sure it is rooted in truth.

Freestone reveals that she aims for a 50/50 gender balance in her productions meaning gender-blind casting for some of the roles. Here, the melancholy meddler and villain of the show Don Jon, and the jobs-worth constable Dogberry have been given to female actors (Georgia Frost and Louise Mai Newberry) which fits naturally. As women are holding higher positions within the workplace and many more joining military forces, Freestone’s decision reflects this justly. Both actors revel in their parts, Frost bringing a jealous capriciousness, and Newberry an irresistible sass.

Music, as always with Shakespeare, plays a big part. Not only is it used in this production for transitions or decorative embellishment, but entwined within the story, utilised for comic effect and the like. Bethan Mary-James as likeable Margaret, the singer and waiting lady to Hero, is congenitally attached to a ukulele, who strums away to the annoyance or delight of the other characters.

Much Ado is heralded a comedy, but this recent offering from the Tobacco Factory really highlights the surprisingly darker, more tragic elements to the tale. Creating a much needed juxtaposition from the laughs and tomfoolery, the characters go on a believable roller coaster ride of emotions. Reaching inventive new heights without pretension, this production feels fresh, striving to relate to its audience.

 

Reviewed by Phoebe Cole

Photography by Mark Douet

 


Much Ado About Nothing

Wilton’s Music Hall until 23rd November

 

Previously reviewed at this venue:
The Box of Delights | ★★★★ | December 2018
Dad’s Army Radio Hour | ★★★★ | January 2019
The Good, The Bad And The Fifty | ★★★★ | February 2019
The Pirates Of Penzance | ★★★★ | February 2019
The Shape Of the Pain | ★★★★★ | March 2019
The Talented Mr Ripley | ★★★★ | May 2019
The Sweet Science Of Bruising | ★★★★ | June 2019
Old Stock: A Refugee Love Story | ★★★★★ | September 2019
This Is Not Right | ★★★★ | October 2019

 

Click here to see our most recent reviews