THE GATHERED LEAVES

Park Theatre

★★★★

“a finely flowing production that is consistently identifiable”

The centre piece of Andrew Keatley’s “The Gathered Leaves” is a beautiful birthday cake, lovingly created by the autistic Samuel for his father’s seventy-fifth birthday. A replica of the country manor in which the family have reunited for the celebration (the first time they have all been together for seventeen years), the detailed intricacy of the sugar-coated façade hides all manner of ingredients. Cut open the surface and the flavours are bitter and sweet, and we never know which mouthful we are going to swallow next. The Pennington family is a similar blend of mismatched elements that make up a dysfunctional whole. It’s a tried and tested dramatic formula but Adrian Noble’s revival is a compelling slice of theatre.

It is 1997 and change is afoot in Britain. The extended family appear to be sheltered in their comfortable privilege, but they are not immune to upheaval. The autocratic patriarch (Jonathan Hyde) is desperately trying to cling onto his authority and tradition while battling with a diagnosis of vascular dementia. Times have changed and the nine assembled members of the family are representations of these changes across three generations. Of course, sparks are going to fly, and drama is guaranteed. Keatley’s writing also injects warmth, humour and a precarious harmony that astonishingly never clashes with the suspense. Skeletons fall out of the closet, rattling with regrets, while resentments surface that are cleverly sculpted into some sort of shape of understanding, if not quite reconciliation.

The cast, across the board, brilliantly bring their characters to life. Hyde expertly combines rigidity with vulnerability, constantly surprising us with revelations that show a very human side to an outwardly unsympathetic individual. Joanne Pearce nails the ‘long-suffering wife’ syndrome while refusing to be sidelined or relegated in dominance. The younger generations are equally convincing. Richard Stirling has the almost impossible task of portraying the autistic son Samuel, but he grasps the complexities with acute judgement. Innocent yet volatile, with authentic mannerisms to match, his childish persona puts the other adults to shame by being the only really truthful member of the family. Except for maybe his brother Giles (a superb Chris Larkin) who tries to hold everything together; on the constant lookout for Samuel while trying to appease not just his father, but a dissatisfied wife (Zoë Waites) and his defiant children. George Lorimer and Ella Dale, as Simon and Emily, depict the younger generation with socially conscious humour, throwing in delicious dollops of subterfuge and modern sensibilities into the mix.

Many issues are dwelt upon (perhaps too many). The arrival of estranged daughter Alice (played with cool conviction by Olivia Vinall) reveals the extent of the chasm that exists within this family. She is accompanied by her dual heritage teenage daughter, Aurelia. Taneetrah Porter gives a standout performance as the young Aurelia. Bemused yet diplomatic she is the true peacekeeper, refusing to reject the failings of the family that she is witnessing for the first time.

A few scenes are unnecessary, particularly a couple of drawn-out duologues that act merely as a kind of postmortem to what has just happened. Otherwise, this is a finely flowing production that is consistently identifiable. The topics (particularly autism, racism, conservatism, liberalism… there are many ‘isms’ in this play) never become issues. Rather they are part of the fabric. Each act opens with a flashback to the young Giles and Samuel (Ellis Elijah and Joe Burrell respectively) which gives some background, backstory and build up.

“The Gathered Leaves” is ultimately moving, as well as being thoroughly entertaining. Shades of Ayckbourn mingle with hints of Pinter at times, but Keatley’s drama remains resolutely unique. There is a fair bit to laugh about, but it still remains serious while also gently pulling our heartstrings. A finely balanced evening.

THE GATHERED LEAVES

Park Theatre

Reviewed on 19th August 2025

by Jonathan Evans

Photography by Rich Southgate

Previously reviewed at this venue:

LOST WATCHES | ★★★ | August 2025

THAT BASTARD, PUCCINI! | ★★★★★ | July 2025

OUR COSMIC DUST | ★★★ | June 2025

OUTPATIENT | ★★★★ | May 2025

CONVERSATIONS AFTER SEX | ★★★ | May 2025

FAREWELL MR HAFFMANN | ★★★★ | March 2025

ONE DAY WHEN WE WERE YOUNG | ★★★ | March 2025

ANTIGONE | ★★★★★ | February 2025

CYRANO | ★★★ | December 2024

BETTE & JOAN | ★★★★ | December 2024

THE GATHERED LEAVES

★★★★

“Each performer reveals the layers of these complex characters with a skill that stretches beyond the mere words on the page”

Can you separate the artist from the man? Now there’s a question. One that has been around for a very long time, but becomes more pertinent as time progresses and attitudes advance. John Logan addresses this in in his cutting-edge and challenging new play “Double Feature”. Although Alfred Hitchcock is only part of the story, he is the one that pulls focus, morphing from idol to vindictive sexual predator in the space of ninety minutes. It is perhaps dangerous territory to tread, but thrilling to watch. So long as you are prepared to be discomfited.

It is 1964 and Hitchcock, at his zenith as the world’s most celebrated filmmaker, has invited his muse and leading lady, Tippi Hedren, to his cottage on the Universal lot to ‘rehearse’. Meanwhile, in 1967, the young film director, Michael Reeves, is attempting to cook for, and mollify, veteran actor Vincent Price in his Suffolk cottage. Two continents and three years apart the stories are intermeshed with echoes and parallels that overlap like twisted limbs in a fierce, four-hand wrestling match.

Jonathan Kent’s imaginative staging splices the action together seamlessly, beautifully capturing Logan’s dramatic device of running the two stories simultaneously. All four characters are onstage throughout; one couple retreating to the shadows like ghosts in limbo during the moments when the lights are focused on the other pair. Yet there is an invisible cord that pulls all four together which tightens each time we cut from one scene to the next.

Both relationships are at a period of crisis and the cast capture the requisite power struggle and dynamics. Ian McNeice is an affable, charismatic titan as Hitchcock. His initial, almost cuddly persona rapidly melting into sinister monstrosity while Joanna Vanderham swings in a completely opposite direction. Her obsequious Tippi Hedren, pushed to the very edge of humiliation fights back with a master stroke performance that will have every #MeToo advocate cheering from the rooftops. Jonathan Hyde, as the understandably cantankerous Vincent Price, toys with his ‘new-kid’, arthouse director, wielding his experience and superiority like a piece of string to an overwrought kitten. Rowan Polonski brings out the multifaceted Michael Reeves with consummate skill, eventually winning Price’s respect. Each performer reveals the layers of these complex characters with a skill that stretches beyond the mere words on the page. Polonski, in particular, bringing out the tragic irony of a man who would be dead less than a year later.

This might not be to everyone’s taste, and the insider knowledge often threatens to overshadow the general appeal of the play. And we sometimes feel that Logan is writing for himself almost as much as for his audience. It is, however, compulsive viewing. As the scenes overlap, so do the notions of life imitating art. The two storylines portray the sometimes hidden and dark process of creating art, like a ferocious tennis match in which the unseeded has as strong a backhand as the ace server. It does well to keep the play within a short, one act time frame, concentrating the drama instead of overstretching the concept. Never becoming too earnest there are plenty of moments of humour in this unashamed and unflinching glimpse behind the scenes. The real winner, in the end, is the audience.

THE GATHERED LEAVES

Park Theatre

★★★★

“a finely flowing production that is consistently identifiable”

THE GATHERED LEAVES

Park Theatre

Reviewed on 19th August 2025

by Jonathan Evans

Photography by Rich Southgate

Previously reviewed at this venue:

THE GATHERED LEAVES

THE GATHERED LEAVES

THE GATHERED LEAVES

DOUBLE FEATURE at Hampstead Theatre

★★★★

“Each performer reveals the layers of these complex characters with a skill that stretches beyond the mere words on the page”

DOUBLE FEATURE at Hampstead Theatre

Reviewed on 19th February 2024

by Jonathan Evans

Photography by Manuel Harlan

Previously reviewed at this venue:

DOUBLE FEATURE

DOUBLE FEATURE

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