Tag Archives: Giles Terera

Blue / Orange

★★★★

Royal and Derngate Theatre

Blue / Orange

Blue / Orange

Royal and Derngate Theatre

Reviewed – 23rd November 2021

★★★★

 

“Blue/Orange remains a thought-provoking and relevant play, well-worthy of this new revised production”

 

This award-winning play by Joe Penhall is set in a London NHS psychiatric hospital where two doctors discuss a possible diagnosis for their patient – schizophrenia, psychosis, neurosis, borderline personality disorder – but we don’t need to fully understand these terms. The crux of the matter is that these two psychiatrists control the freedom of the third man.

The set (Designer Simon Kenny) is a closed black box, no windows, one concealed door. A square on the floor is marked out by a bright white light. Two institutional plastic chairs face each other confrontationally, between them a low table and on it a fruit bowl containing some oranges. Above the stage is suspended a large black block on which a digital clock face is projected showing us the time at the start of each act. The action of the play takes place over a period of one day – the final twenty-four hours before the patient is either free to leave the hospital or he is re-sectioned and detained for a further period.

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This is an excellent production. The direction of the players around the space is first-rate (Director James Dacre) and it is hard to find fault in the performances of the three actors. The patient Christopher (Michael Balogun), in grey hoodie, tracky bottoms and trainers, prowls around the space, a caged bear. His moods swing from high spirits to near depression, his movements range from bouncing across the stage to sinking deep in a chair. Balogun convinces us entirely. This man is disturbed, volatile and unpredictable. For him, the oranges in the bowl look blue and, when cut into, the flesh of the orange is blue too. But is he a danger either to himself or others?

Registrar Bruce (Ralph Davis), dressed in grey casual work attire (no men in white coats here), ID lanyard around his neck, suspects that Chris is sicker than he appears and wants to keep him in hospital before his condition deteriorates. But to instruct so means going against the wishes of the Authority and Bruce has his own career ambitions to think about.

Consultant Robert (Giles Terera), in a crisp shirt and smart grey suit and tie, wants Chris released within the day. But Robert also has his own agenda, research to do and a book to write, so how far can he be trusted? Terera shows the self-importance of this man from his first appearance, dominating the space and exuding the character’s class and privilege through perfect posture and enunciation.

The square of the consulting room begins to resemble a sporting arena as both doctors attempt to score points off each other, playing off their patient between them, until just one of them remains standing.

Twenty years since its first production, Blue/Orange remains a thought-provoking and relevant play, well-worthy of this new revised production. And the sincere and honest performances of this cast make a memorable piece of theatre.

 

 

Reviewed by Phillip Money

Photography by Marc Brenner

 


Blue / Orange

Royal and Derngate Theatre until 4th December

 

Previously reviewed at this venue in 2021:
Animal Farm | ★★★★ | May 2021
Gin Craze | ★★★★ | July 2021

 

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Rosmersholm
★★★★

Duke of York’s Theatre

Rosmersholm

Rosmersholm

Duke of York’s Theatre

Reviewed – 28th May 2019

★★★★

 

“Terera has a magnificent presence between the glib walls of Rosmersholm”

 

This timely revival of one of Ibsen’s least performed plays is an astonishing study of moral guilt, political struggle and the omnipresence of the past. Reminiscent of his earlier work ‘Ghosts’, this shows Ibsen at his dark and daring best. Duncan Macmillan’s adaptation of Karin and Anne Bamborough’s literal translation delivers Ibsen into the twenty-first century, creating a witty, if not a little wordy, drama for our times.

Weighed down by the memory of his dead wife, John Rosmer (Tom Burke) shares his vast estate with a “liberated woman” in the form of Rececca West (Hayley Atwell), his former wife’s former friend. Rosmer’s brother-in-law Andreas Kroll (a superbly on-form Giles Terera) has political aspirations, but his call for support is radically rebuffed as Rosmer turns his attention to the progressive politics of Peter Mortensgaard (Jake Fairbrother). Invoking concepts such as representational democracy and ‘the will of the people’, MacMillan makes sure this play speaks to the current climate, and some knowing chuckles from the audience suggested this relevance did not go unnoticed. Kroll is a fascinating figure, charmingly aristocratic yet stubbornly conservative, and Terera has a magnificent presence between the glib walls of Rosmersholm.

At the heart of the drama though is Rosmer and West’s relationship: can they break free of the past and learn to love each other? Rae Smith’s stunningly decrepit design makes it seem unavoidable. Portraits of the Rosmer family cover every wall, a constant reminder to John of his family’s legacy. Neil Austin’s lighting is similarly evocative, with striking shafts of light breaking through the dusty windows to expose the age and dereliction of this once great home.

Ian Rickson’s production will please West End crowds looking for a timely reminder that politics runs in circle. Rosmer and West struggle to forget the past – are we too quick to? Although I’m no fan of weighty naturalism, with a gorgeous set and memorable performances, this production has plenty to offer.

 

Reviewed by Joseph Prestwich

Photography by Johan Persson

 


Rosmersholm

Duke of York’s Theatre until 20th July

 

Previously covered by this reviewer:
Donal The Numb | ★★★★ | The Vaults | March 2019
Queer Trilogy | ★★★ | Drayton Arms | March 2019
Awkward Conversations With Animals … | ★★★★ | King’s Head Theatre | April 2019
Swimming | ★★★★ | White Bear Theatre | April 2019
The Wasp | ★★★★ | The Space | April 2019
Twelfth Night | ★★★ | Rose Playhouse | April 2019
Harper Regan | ★★★★ | Tabard Theatre | May 2019
Scripts for Supper: The Wind in the Willows | ★★★★★ | Stepney City Farm | May 2019
Why The Child Is Cooking In The Polenta | ★★ | Gate Theatre | May 2019

 

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