Tag Archives: Kate Donnachie

DEATH OF ENGLAND: CLOSING TIME

★★★★

@SohoPlace

DEATH OF ENGLAND: CLOSING TIME at @SohoPlace

★★★★

“Duncan-Brewster and Doherty are simply thrilling to watch”

“Closing Time” is the third instalment of the “Death of England” trilogy of plays by Clint Dyer and Roy Williams. It has been a month since the first two – “Michael” and “Delroy”. During these first two monologues we were introduced to two off stage characters: Michael’s sister, Carly; and Delroy’s mother, Denise. We feel we know them both already such was the dynamic story telling of the actors. The anticipation is high as we wait to meet them in the flesh. We are not disappointed. From the moment Denise (Sharon Duncan-Brewster) and Carly (Erin Doherty) explode onto the stage we know we are in for another high-octane, scatter-gun ninety minutes of thought-provoking drama.

This time, though, it moves a little too fast. We are given no room to breathe as the two monologues compete and merge, overlap and clash, like a frantic tarantella dance; both women looking to purge the poisons that seem to have inflicted themselves and those around them. They spit and they rant, never knowing whether to attack or embrace. They attract and repel each other in equal measure, but therein lies our reservations. We, too, are unsure how far to be drawn in. Although there is no fourth wall there is an invisible barrier that keeps us at arm’s length this time. Perhaps there is just too much ranting (the monarchy, racism, colonialism, cancel culture, white privilege) or the delivery is just simply too fast, but we are less moved by the end than we were by their predecessors.

Duncan-Brewster’s Denise is simply captivating, however, as the accomplished yet frustrated chef. On her way to her dream, she has been running a food business in the East End. But it is closing down – or rather being closed down. Helping her pack up is her ‘daughter-in-sin’, Carly. Doherty gives a fierce, fire-cracker performance, her character sweeping the stage like a tornado. There is no eye of the storm, and Carly has no eye on the consequences of her actions. Her rebellious energy is intricately misplaced, epitomised in a drunken outburst (hilarious, yet ideologically as unsound as you can get) that is captured on camera and sent viral. Our cancel culture is brutally examined as these ill-chosen words lead to the collapse of Denise’s business. The causes and effects are brilliantly and dramatically evoked as the two actors swing between blame, forgiveness, defiance and pleading.

Still present is Benjamin Grant’s and Pete Malkin’s powerful and atmospheric sound design with its orchestral stabs, muted underscoring and thrilling realism; complemented by Jackie Shemesh’s lighting with its staccato shifts in perfect rhythm to the dialogue. The leitmotifs are all there, but the familiarity now lends an air of predictability. Similarly, we also start to feel that the characters’ views belong more to the writers; an impression that was absent in the first two monologues. Yet, despite a creeping impartiality in the text, we ultimately feel the magnetism of, and empathise with, these two broken personalities who show us that reconciliation is never completely out of reach. Duncan-Brewster and Doherty are simply thrilling to watch.

A month ago, I wrote that plays like “Death of England” are what keep English theatre well and truly alive – beating in the heart of the West End like the vital organ it is. By the time we reach “Closing Time” the sentiment still holds true, if a little wavering by now. But any signs of arrhythmia are swiftly curtailed by the outstanding performances.

 


DEATH OF ENGLAND: CLOSING TIME at @SohoPlace

Reviewed on 28th August 2024

by Jonathan Evans

Photography by Helen Murray

 

 

 

 

 

 

Previously reviewed at this venue:

DEATH OF ENGLAND: DELROY | ★★★★★ | July 2024
DEATH OF ENGLAND: MICHAEL | ★★★★★ | July 2024
THE LITTLE BIG THINGS | ★★★★ | September 2023
BROKEBACK MOUNTAIN | ★★★★★ | May 2023

DEATH OF ENGLAND: CLOSING TIME

DEATH OF ENGLAND: CLOSING TIME

Click here to see our Recommended Shows page

 

DEATH OF ENGLAND: DELROY

★★★★★

@SohoPlace

DEATH OF ENGLAND: DELROY at @SohoPlace

★★★★★

“Essiedu’s performance is beyond compare as he tears up the rule book as well as the flag”

There is no particular order to “Death of England”, the trilogy of plays by Clint Dyer and Roy Williams. They are intricately linked to each other but can be seen as standalone plays in their own right as well. Chronologically “Death of England: Delroy” takes place after “Death of England: Michael”, and there are some loaded references to its precedent, but the satisfaction reaped from either wouldn’t be diminished by watching just one or the other. I can’t say this for sure, though, with only a couple of hours interval between witnessing both (we have to wait a few weeks, however, before tackling the third section: “Death of England: Closing Time”).

The same red cross dominates the playing space, this time scrawled with handwritten phrases to which Delroy adds during his monologue, only to tear up later along with fragments of the cross’s fabric. The symbolism is direct, but everything else over the next hour-and-three-quarters is as contorted as you can get. Delroy is trying to make sense of the world he finds himself in. His scribblings on the floor are like emotional equations that even his sharp and eloquent mind cannot solve.

We first meet Delroy (Paapa Essiedu) as he is having an electronic tag attached to his ankle. Essiedu then takes us on the journey of how Delroy reached this point with a mix of beautifully precise insights, immaculately delivered comedy, self-deprecation, candour and fury. He pleads injustice but never once becomes a victim. There is no such thing as innocence or guilt in Delroy’s world; there are too many shades to people – and being British does not make you exempt, whatever your colour. That is the beauty of the writing, and Essiedu’s performance is beyond compare as he tears up the rule book as well as the flag.

Delroy’s partner is expecting his first child and, while on a shift at his dubious day job as a bailiff, he gets the call that she has gone into labour. She is Carly – the sister to his childhood friend Michael. During his rush to the hospital, chance encounters, misunderstandings, preconceptions and inopportune clashes lead to him being arrested. Howls of laughter greet Essiedu’s retelling, which give way to jaw-dropping home truths. Co-writer Clint Dyer also directs all three plays, continually breaking the fourth wall, more so in “Delroy” than in “Michael”, allowing Essiedu to engage members of the audience with flourishes of improvisation that never wander out of character. Like Thomas Coombes, he also brings the peripheral characters to vivid life with impersonations that ring out with hilarious and venomous accuracy. Nobody escapes his acerbic impressions – police officers, judges; his girlfriend and mother (I can’t wait to meet them in the flesh in “Closing Time”); and also Michael (who we have previously met).

Leitmotifs of Benjamin Grant’s and Pete Malkin’s disturbingly atmospheric sound design migrate from the first play to the second, highlighting the parallels between the two shows. But we all know that parallel lines, while having much in common, never meet. The morality may be similar, but Delroy takes the narrative in different directions rather than just looking at it from another angle. And having seen both shows in quick succession we get a real sense of the depth of experience Michael and Delroy have shared, even though we have never seen them together, which is testament to the two actors’ performances. You don’t need to see both to appreciate this, but I’d recommend it without a shadow of a doubt. Plays like “Death of England” are what keep English theatre well and truly alive. This show beats in the heart of the West End like the vital organ that it is.


DEATH OF ENGLAND: DELROY at @SohoPlace

Reviewed on 30th July 2024

by Jonathan Evans

Photography by Helen Murray

 

 

 

 

 

Previously reviewed at this venue:

THE LITTLE BIG THINGS | ★★★★ | September 2023
BROKEBACK MOUNTAIN | ★★★★★ | May 2023

DEATH OF ENGLAND: DELROY

DEATH OF ENGLAND: DELROY

Click here to see our Recommended Shows page