Tag Archives: Jez Butterworth

THE RIVER

★★★

Greenwich Theatre

THE RIVER at the Greenwich Theatre

★★★

“each actor was incredibly committed and the chemistry between them was fantastic”

Jez Butterworth’s The River returns to London at the Greenwich Theatre. A play about a man who takes his girlfriends to a lovely country cabin by a river. Yet he is seemingly haunted by … something?

The show begins with a scene featuring The Man (Paul McGann) and The Woman (Amanda Ryan). They share romantic exchanges before he convinces her to go out fishing with her. After which The Man returns with The Other Woman (Kerri McLean), and their relationship and conversations appear no different. This partner swapping occurs throughout the play, suggesting that The Other Woman is one of potentially many previous partners The Man has taken to the lodge.

It has to be said that the cast, under the strong direction of James Haddrell, were brilliant. I was consistently engrossed in their characters as each actor was incredibly committed and the chemistry between them was fantastic. I could not, however, tell you what the moral or meaning of this story is though – which left me unsatisfied. Throughout the whole show, various mirroring scenes between The Man and the two women occur. In all of them I felt like I was just waiting for them to get to the point. As if we were searching through The Man’s psyche (of which the women are just tools to help do so) via the medium of his dating life, but never actually getting anywhere. He never opens up to his partners and never tells them the truth. He’s searching for something in these women, but we don’t know what. Perhaps that is the point that I am just missing. Maybe the point is he doesn’t know what he’s looking for and he is unsatisfied. That is why we don’t get answers.

McGann’s naturalistic performance of the man is subtle yet nuanced. He wonderfully shifts from loving to anxious to investigative in a matter of moments, and he was key in holding my attention throughout the show. The atmosphere of the theatre was also incredibly accurate. Julian Starr’s sound design is lovely in the way that the subtle noises of the natural world are played constantly – from the occasional cricket to the melody of the river moving. Emily Bestow has designed an incredibly detailed set that fits with the naturalistic style: a fishing cabin (where at one stage, a fish gets gutted) full to the brim of life and the world of The Man.

The best part of The River is the incredibly strong and dedicated performances throughout. It’s unfortunate that they are let down by what I would describe as a repetitive and unsubstantial plot line.


THE RIVER at the Greenwich Theatre

Reviewed on 3rd October 2024

by David Robinson

Photography by Danny With A Camera

 

 

 

 

 

 

Previously reviewed at this venue:

VINCENT RIVER | ★★★ | June 2023
AN INTERVENTION | ★★★½ | July 2022
BAD DAYS AND ODD NIGHTS | ★★★★★ | June 2021

THE RIVER

THE RIVER

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THE HILLS OF CALIFORNIA

★★★★★

Harold Pinter Theatre

THE HILLS OF CALIFORNIA at the Harold Pinter Theatre

★★★★★

“It is, overall, a sharp-witted observation of life. And of death. And the precarious hold we have of memories that lie between.”

Jez Butterworth’s highly anticipated new play, “The Hills of California” is a wondrously slow-burning affair that raises the question, among others, of explaining why people are what they are. As the layers are gradually peeled back the prize at the heart condenses, but it is the twists and turns of the lead-up that keep us in thrall. Despite running at just over three hours, Butterworth seems to have chosen every word with a mosaic artist’s care.

It is the sweltering summer of 1976, and we are in the cluttered parlour of a Blackpool guesthouse, where the cracked piano is off-key. “Through neglect and time” according to the piano tuner – the first (one of many) metaphor that applies to each character. Three sisters are reuniting during the dying moments of their mother who is lying in bed, unseen, upstairs. A fourth sister’s presence is uneasily promised, though not expected. Jill (Helena Wilson) is already on the scene. She still lives with her mother, caring for her, nervously spraying air-freshener to stop her cigarette smoke drifting up the stairs towards her. Enter feisty, witty, no-nonsense Ruby (Ophelia Lovibond) lugging her panic attacks and slapping them down on the table. Then Gloria (Leanne Best), bitter and blunt, sagging under the weight of chips on her shoulder. The dynamic is quickly established as sibling rivalries and affections simmer away, while unreliable memories stew.

We are transported back to the source of their memories. To the 1950s when the dreams were still flourishing, the guesthouse breathed with life, and their mother, Veronica (Laura Donnelly), ruled the roost with a regimental and fierce ambition for her daughters. Determined to see them become the next ‘Andrews Sisters’ she is remorseless in her control over them. Donnelly gives a star turn performance, mistakenly believing her steely command is maternal care, unaware of the damage she is causing. When a predatory theatrical agent comes dangling a carrot, we witness the harsh, defining moment that severs the family, and the future scenes make sense.

Slipping back and forth between the fifties and the seventies is the plays major strength. Each decade sheds light on the other and we see how events shape our protagonists; and how memories of those events can cloud their perceptions of reality. The performances are superb across the board. And if the characters’ memories are off pitch, their singing voices are gorgeously harmonious, especially the younger cast who play the sisters as teenagers.

“Sam Mendes brings out the best of this company, directing like a conductor responding to the shifts of mood and time.”

As the questions tentatively find their answers, the bleakness is constantly relieved by the humour that runs through the writing. Comedy that is accentuated by the fine ensemble acting. Shaun Dooley and Bryan Dick are an astute double-act as Gloria and Ruby’s husbands respectively. Dick also doubles as the resident end-of-the-pier jokesmith, Jack Larkin, forever behind on the rent but upfront with loyalty and cringe-worthy quips. There is no cameo role, even if one or two characters appear transient. Each has their place.

Sam Mendes brings out the best of this company, directing like a conductor responding to the shifts of mood and time. There may be one or two movements that could be shortened – or even cut. But like taking out a single part within a harmony, it would leave the others out of kilter. There are many undulations in “The Hills of California”. We are aware of them up close. Stand back and we see the panoramic, yet intimate, view of a family picked apart skilfully by Butterworth.

The sense of disorientation is enhanced by Rob Howell’s impressive set. Homely yet disarranged, it sweeps upwards with its imposingly gothic staircases like a giant Escher woodcut. The sinister is never far away from the everyday. And the trivial minutiae are forever rubbing shoulders with universal truths.

It is, overall, a sharp-witted observation of life. And of death. And the precarious hold we have of memories that lie between. Like the piano – that becomes a central role in the piece – those relationships can go discordantly off-key – “through neglect and time” – as the piano tuner says. Before reminding us: “a piano must be played”.


THE HILLS OF CALIFORNIA at the Harold Pinter Theatre

Reviewed on 8th February 2024

by Jonathan Evans

Photography by Mark Douet

 

 

Top rated shows in January 2024:

KIM’S CONVENIENCE | ★★★★ | Park Theatre | January 2024
COWBOIS | ★★★★★ | Royal Court Theatre | January 2024
EDGES | ★★★★ | Phoenix Arts Club | January 2024
AFTERGLOW | ★★★★ | Southwark Playhouse Borough | January 2024
RITA LYNN | ★★★★ | The Turbine Theatre | January 2024
LEAVES OF GLASS | ★★★★ | Park Theatre | January 2024
CRUEL INTENTIONS: THE 90s MUSICAL | ★★★★ | The Other Palace | January 2024
THE BEAUTIFUL FUTURE IS COMING | ★★★★ | Jermyn Street Theatre | January 2024

THE HILLS OF CALIFORNIA

THE HILLS OF CALIFORNIA

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