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Lullabies For The Lost

Old Red Lion Theatre

Reviewed – 9th January 2020

★★★★

“At times there is a distinct Twilight Zone vibe, with the exact setting a mysterious and surreal uncertainty”

Airing dirty laundry in public is rarely a helpful exercise. But in Rosalind Blessed’s new play Lullabies for the Lost the sharing of secrets and anxieties becomes a step on the path to healing.

The piece is being staged in rep at the Old Red Lion Theatre, Islington (alongside her play The Delights of Dogs and the Problems of People), with chances to see each piece separately or across an afternoon and evening.

The two plays complement each other and Blessed has suggested that they exist in parallel realities. Significantly they both feature canine heroes, dogs which play their part in helping troubled people to move on, offering unconditional love.

This longer and newer play is more obviously about mental health, inhabited as it is by eight very different people relating struggles ranging from eating disorders to childlessness through depression and anxiety.

On an effective clinical white set (Anna Kezia Williams) on which white boxes are scattered and used for furniture eight characters are in search of an escape from their various issues. There is a sense that sharing with others is an important part of the process but it is initially unclear who they are – a gathering of supportive friends? A therapy group? A heavenly waiting room?

As each tells their story they gaze at a locked door hoping that this time it will open and allow them to exit rather than constantly having to relive their narrative. At times there is a distinct Twilight Zone vibe, with the exact setting a mysterious and surreal uncertainty.

For one, apparently newer, member of the group, Larry (a performance of studied apprehension from Chris Porter) there is a fear of going out, a secret demon urging his nervous side not to bother.

Another, Nerys, (Kate Tydman) has turned to collecting – not hoarding, she assures us – envious of a rat in her house who can have hundreds of babies while she constantly suffers miscarriages.

Then there’s Sarah (Helen Bang, exuding a confidence plagued by low self worth) a sensitive and lonely soul who has given up on love, wrapping herself in cotton wool of banality, and “Brothers Grimm” Tim (Liam Mulvery) and Jez (Nick Murphey), both having contemplated suicide but each unaware of the other’s state of mind.

As emotions are laid bare we understand the importance of communication, the need to share and concentrate on the light rather than the darkness. Shades of lighting (Mark Dymock) contrast the brightness of the characters relating to and opening up to each other and the relative dimness of inner conflict.

Rosalind Blessed plays Robin, a bulimic suffering from low self image, while Ash (an edgy Duncan Wilkins) is a cynical and sarcastic anorexic confined to an eating disorder unit.

It is only when we hear from Andy (a powerful and ardent Chris Pybus) that we sense anyone sees light at the end of the tunnel. Although feeling that he is stuck in mud, a rescue dog helps him to look beyond himself and his self-judging depression.

Blessed’s writing ensures that each of these people matter and the audience (occasionally addressed directly) are on their side, not only wanting them to face up to their anxieties and inner conflicts but to conquer them.

While often uncomfortably intense there are welcome bursts of humour and a relief that these likeable individuals encourage one another to be positive and hopeful.

As “Ma” appears (a warm film cameo from Blessed’s mother, Hildegard Neil) as an affirming voice from beyond confinement, there is a crucial message about sharing issues, not wasting life, the value of looking for purpose through beauty, love, nature, laughter, art and sport instead of meaningless self-obsession.

Lullabies for the Lost is a wise and important contribution to understanding mental health issues, not least underlining the valuable and vital role of sharing and realising you need never suffer alone.

Reviewed by David Guest

Photography by Adam Trigg

Lullabies For The Lost

Old Red Lion Theatre until 1st February

Last ten shows reviewed at this venue:

In Search Of Applause | ★★ | February 2019

Goodnight Mr Spindrift | ★★ | April 2019

Little Potatoes | ★★★ | April 2019

The Noises | ★★★★ | April 2019

Edred, The Vampyre | ★★★½ | October 2019

Last Orders | ★★★ | October 2019

Blood Orange | ★★★★ | December 2019

Click here to see our most recent reviews

★★★★

“an immensely impressive show: beautifully directed, with a brilliant cast and gorgeous mise en scène”

Theatre Lab Company brings to the Playground Theatre their gothic twist on the classic Charles Dickens’ tale, Great Expectations.

The well-known to British audiences tale of love, loss and journey from rags to riches got some intensive and extensive tuning. While retaining the main, basic plotline, Theatre Lab Company’s adaptation completely changes perspective and load factor, shifting attention to a more feminine point of view.

Cleverly adapted by Lydia Vie, the show’s main focus is on Miss Havisham (Helen Bang) and her doomful influence on Estella (Denise Moreno) and Pip’s (Samuel Lawrence) lives and their relationship; she remains on stage throughout almost the entire first act. Bang’s star shines the brightest of the entire – admittedly brilliant – cast, with hardly any stage movement whatsoever, her ferocity and vulnerability create a powerful, emotional volcano. Lawrence and Moreno are excellent as never-to-be lovers, and the arc of their relationship, particularly in the context of the very subtly altered ending, is beautifully complete. The other subplots are sort of rushed and actors, except Shaun Amos (Herbert Pocket), hardly have time for their characters to really vibrate on a similar wavelength.

The most impressive part of this show is, and by far, the direction by Anastasia Revi. The exceptional set (Eirini Kariori) and lighting design (Chuma Emembolu) help to build a gloomy, gothic atmosphere. Scenes from Pip and Estella’s childhood are especially engaging, played to the haunting tune of The Garden by Einsturzende Neubaten. Scene shifts are beautifully subtle and the use of dance immensely clever. It is, by all means, a five star direction of a show that otherwise tells a tiny bit too much and shows a tiny bit not enough.

Pacing of the adaptation is probably its biggest downside of. The first act is 70 minutes long, whereas the second one lasts only 30 minutes – the story in the first is unwinding slow, which results in the second act being crammed with the biggest reveals and the story “jumping” from one character to another just to finish their respective subplots. It does not, though, diminish the opportunity to immerse oneself in this show – there is just too much to admire.

It is, overall, an immensely impressive show: beautifully directed, with a brilliant cast and gorgeous mise en scène. The perfect play it is not – but you will love it.

Reviewed by Dominika Fleszar

Photography by Panayis Chrysovergis

Old Red Lion Theatre

Reviewed – 9th January 2020

★★★★

“At times there is a distinct Twilight Zone vibe, with the exact setting a mysterious and surreal uncertainty”

Airing dirty laundry in public is rarely a helpful exercise. But in Rosalind Blessed’s new play Lullabies for the Lost the sharing of secrets and anxieties becomes a step on the path to healing.

The piece is being staged in rep at the Old Red Lion Theatre, Islington (alongside her play The Delights of Dogs and the Problems of People), with chances to see each piece separately or across an afternoon and evening.

The two plays complement each other and Blessed has suggested that they exist in parallel realities. Significantly they both feature canine heroes, dogs which play their part in helping troubled people to move on, offering unconditional love.

This longer and newer play is more obviously about mental health, inhabited as it is by eight very different people relating struggles ranging from eating disorders to childlessness through depression and anxiety.

As each tells their story they gaze at a locked door hoping that this time it will open and allow them to exit rather than constantly having to relive their narrative. At times there is a distinct Twilight Zone vibe, with the exact setting a mysterious and surreal uncertainty.

For one, apparently newer, member of the group, Larry (a performance of studied apprehension from Chris Porter) there is a fear of going out, a secret demon urging his nervous side not to bother.

Another, Nerys, (Kate Tydman) has turned to collecting – not hoarding, she assures us – envious of a rat in her house who can have hundreds of babies while she constantly suffers miscarriages.

Rosalind Blessed plays Robin, a bulimic suffering from low self image, while Ash (an edgy Duncan Wilkins) is a cynical and sarcastic anorexic confined to an eating disorder unit.

It is only when we hear from Andy (a powerful and ardent Chris Pybus) that we sense anyone sees light at the end of the tunnel. Although feeling that he is stuck in mud, a rescue dog helps him to look beyond himself and his self-judging depression.

Blessed’s writing ensures that each of these people matter and the audience (occasionally addressed directly) are on their side, not only wanting them to face up to their anxieties and inner conflicts but to conquer them.

While often uncomfortably intense there are welcome bursts of humour and a relief that these likeable individuals encourage one another to be positive and hopeful.

Lullabies for the Lost is a wise and important contribution to understanding mental health issues, not least underlining the valuable and vital role of sharing and realising you need never suffer alone.

Reviewed by David Guest

Photography by Adam Trigg

Lullabies For The Lost

Old Red Lion Theatre until 1st February

Last ten shows reviewed at this venue:

Playground Theatre

Reviewed – 16th December 2019

★★★★

“an immensely impressive show: beautifully directed, with a brilliant cast and gorgeous mise en scène”

Theatre Lab Company brings to the Playground Theatre their gothic twist on the classic Charles Dickens’ tale, Great Expectations.

It is, overall, an immensely impressive show: beautifully directed, with a brilliant cast and gorgeous mise en scène. The perfect play it is not – but you will love it.

Reviewed by Dominika Fleszar

Photography by Panayis Chrysovergis

Great Expectations

Playground Theatre

Previously reviewed at this venue: