Tag Archives: Laura Donnelly

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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The Ferryman

Sonia Friedman Productions, Neal Street Productions
& Royal Court Theatre Productions present

The Ferryman

By Jez Butterworth
Directed by Sam Mendes

 

Jez Butterworth’s new play, directed by Sam Mendes, to transfer to the Gielgud Theatre from the Royal Court for 16 weeks from 20 June.

Paddy Considine is confirmed to play the part of Quinn Carney within a cast of 23 and he will be joined by Laura Donnelly in the role of Caitlin Carney and Genevieve O’Reilly in the role of Mary Carney.

The Ferryman is the fastest selling play in the history of the Royal Court Theatre.

Tickets go on sale to the general public on Friday 10 February at 9am.

Over 20,000 tickets for the West End run will be on sale at less than £25, with tickets at all performances from just £12. All tickets for previews will be at reduced prices.

After the short run at the Royal Court Theatre sold out in just one day, the producers are delighted to announce that Jez Butterworth’s epic, new play The Ferryman will transfer to the West End. Multi award-winning actor, director and writer Paddy Considine will be joined by Laura Donnelly and Genevieve O’Reilly in the production directed by Sam Mendes. The cast will also include Bríd Brennan, Turlough Convery, Fra Fee, Tom Glynn-Carney, Stuart Graham, Gerard Horan, Carla Langley, Des McAleer, Conor MacNeill, Rob Malone, Dearbhla Molloy, Eugene O’Hare and Niall Wright with further casting to be announced. The full company comprises 38 performers: 18 main adults, 7 covers, 12 children on rota and 1 baby.

Rural Derry, 1981. The Carney farmhouse is a hive of activity with preparations for the annual harvest. A day of hard work on the land and a traditional night of feasting and celebrations lie ahead. But this year they will be interrupted by a visitor.

The Ferryman will run at the Gielgud Theatre for 16 weeks from 20 June – 7 October with an opening night on 29 June. Tickets go on sale to priority bookers on Wednesday 8 February and the Box Office opens for general on-sale on Friday 10 February at 9am.


Listing

Sonia Friedman Productions, Neal Street Productions
& Royal Court Theatre Productions present

The Ferryman

20 June 2017 – 7 October 2017

 

Monday to Saturday 7.00pm

Wednesday and Saturday matinees 1.30pm

Plus 1.30pm matinee on Tuesday 27 June

 

Gielgud Theatre

Shaftesbury Ave, Soho, London W1D 6AR

 

Box Office

 

www.TheFerrymanPlay.com

0844 482 5130*

*calls cost up to 7p per minute plus your standard network charge

Reduced price tickets for preview performances
Over 20,000 tickets at £25 or under

Tickets from just £12

Premium tickets are available

Age Guidance 14+ Contains strong language