Tag Archives: Jack Flammiger

The Drought

The Drought

★★★

King’s Head Theatre

THE DROUGHT at the King’s Head Theatre

★★★

 

The Drought

“There’s enough that’s excellent to know that she could make this genuinely spine-chilling”

 

Writer Nina Atesh has come upon a beautiful, terrifying idea: What if the sea simply disappeared one day, drying out like a small puddle, stranding all its aquatic societies, fish and sailor alike. It captures the imagination with both the arid aesthetic of the dried-out sea, and the practical horror of being completely stranded in the middle of nowhere with no fresh water to be found. Unfortunately, it doesn’t quite come to fruition.

There’s definitely a growing sense of dread throughout, but it seems misdirected: The two last crew members on board this particular ship- the captain (Andrew Callaghan) and his loyal steward, Garson (Jack Flammiger) – busy themselves with pointless naval tasks, playing out some sense of normality, until they’re interrupted by a mysterious stranger (Caleb O’Brien), claiming to be a stranded whaler, in need only of food and water. But his motives become suspect as he tries to manipulate and turn the captain and steward against one another. The reason isn’t entirely clear- he seems to desperately want the captain’s much prized jar of sea water- but the menace he poses doesn’t seem to add up to the apparent goal.

Julia Sullivan’s set is appropriately sparse, a platform serving as Captain’s desk, topped with only a ledger, a lamp, and the precious sea water. Sullivan’s costumes have a little more flare, mirroring the bizarre contrast between the bleak, lonely circumstances, and the captain’s refusal to give up his naval rituals: Garson is smartly attired in a striped blue collarless shirt, always tucked in, and similarly the captain is never without his naval jacket, scattered with what looks like glittering, gold seaweed, a sign of his eternal pledge to life at sea.

The performances are strong on the whole, though the script seems to let O’Brien down a bit; the uncertainty of his character’s purpose seeps into his performance. Callaghan is jarringly spectacular, a massive fish in a small pond (pun intended). His eyes bulge with exhaustion, and his false jocularity is maybe the scariest part of the show.

If Atesh were to rewrite this and come back to the stage with the exact same cast and crew, I would absolutely come to see it. There’s enough that’s excellent to know that she could make this genuinely spine-chilling if she were willing to kill her darlings and rework the plot.

 

 

Reviewed on 20th September 2022

by Miriam Sallon

Photography courtesy Pither Productions

 

 

 

 

Previously reviewed at this venue:

 

Beowulf: An Epic Panto | ★★★★ | November 2021
Freud’s Last Session | ★★★★ | January 2022
La Bohème | ★★★½ | May 2022
Brawn | ★★ | August 2022

 

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Cops

Cops

★★★

Southwark Playhouse

Cops

Cops

Southwark Playhouse

Reviewed – 17th January 2020

★★★

 

“Sometimes it’s like a fine vintage wine, in other places, it’s dusty and antiquated”

 

Southwark Playhouse starts the new year Stateside as it transports us over to the Windy City. Cops, a new play by Tony Tortora, focuses on personal conflicts and professional unrests.

Chicago, 1957. A time and place where change and betterment is on the horizon in every aspect of society. But the murky underworld of Mafia crime and dirty police corruption is hard to erase. Stan (Roger Alborough), Rosey (Daniel Francis), Eulee (James Sobol Kelly), and Foxy (Jack Flammiger) work together in the Police Department. They may be of different ages, ethnicities and social standings, but their joint disgruntled attitudes towards the work and each other bonds them together. They’re on the hunt to bring in a gangster-come-star witness, before the Mob gets their hands on him. However, the operation soon becomes trickier as the cops get more entangled in the thickening plot, whilst their lives and relationships with each other begin to crumble.

There’s definite Arthur Miller-type undertones to Tony Tortora’s writing. Stan, for example, is a downtrodden everyman, with only his job to live for, much like Miller’s Wille Loman from his masterpiece Death of a Salesman. Yet, like Foxy who yawns during a long all-night stake out, it’s hard to not want to do the same at times. The stake out scenes in particular move at a dirge-like pace. The dialogue may be fast moving, but any physical, engaging action comes in dribs and drabs. The storyline of mob violence and corruption in the police department promises being full of grit and suspense but is rather lacklustre in final execution. Tortora is excellent at nailing the vernacular and true day-to-day movements of a 1950’s cop, but for theatrical purposes, this doesn’t translate into being engaging enough.

Where Tortora and director Andy Jordan do shine is the examination of interactions between the intergenerational, interracial work colleagues. The office offers a dissection of society at the time. The throwaway un-PC comments, and racial nicknames flung around by Stan, reminds you how much things have changed since 1957, but also how relevant social injustice still is today.

The cast give near-faultless performances as each and everyone one are believable and truthful in their delivery. From the scenes of bantering office talk, to introverted moments of opening up their hearts, they balance the fine line between the two with utmost precision.

The set (designed by Anthony Lamble), accurately captures the look of an American cop shop of the 1950’s. Maps, documents and photographic evidence plaster the walls. Archaic ash trays are dotted everywhere. The four detectives have their own desk. A charming, subtle touch from Lamble is that each workspace is arranged in the style of each characters personality. Stan’s is messy and full of paperwork, Rosey’s impeccably clean and organised. The back half of the stage is exposed brickwork and undecorated windows, making the transitions from office to stake-out in an abandoned warehouse run smoothly.

As contradictory as it sounds, this is a refreshingly traditional piece of new work. Cops examines masculinity in a classical style and structure that is fitting of the time period the play is set. Minus some in-jokes for the modern day audience, the play feels like it could have been written sixty years ago – for better and for worse. Sometimes it’s like a fine vintage wine, in other places, it’s dusty and antiquated. Authenticity is clearly the driving force, meaning captivating, gripping action is sadly put on the back burner.

 

Reviewed by Phoebe Cole

Photography by Robert Day

 

Cops

Southwark Playhouse until 1st February

 

Last ten shows reviewed at this venue:
Oneness | ★★★ | May 2019
The Curious Case Of Benjamin Button | ★★★★★ | May 2019
Afterglow | ★★★½ | June 2019
Fiver | ★★★★ | July 2019
Dogfight | ★★★★ | August 2019
Once On This Island | ★★★ | August 2019
Preludes | ★★★★ | September 2019
Islander | ★★★★★ | October 2019
Superstar | ★★★★ | November 2019
Potted Panto | ★★★★ | December 2019

 

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