Tag Archives: Leonie Scott-Matthews

Midnight In Manhattan – 3.5 Stars


Midnight In Manhattan

Pentameters Theatre

Reviewed – 15th November 2018


“Newham and the rest of the production team have serviced these plays well. They are just right and never overdone”


Hidden in plain sight in an alleyway off Hampstead’s High Street, Pentameters Theatre takes its charming home, where it has lived for fifty years. Old photos of historic theatrical greats pave the walls; nooks and crannies are filled with books and records; and the seats in the front row are an assortment of armchairs. The venue itself is as much a part of the action as what takes place on its oblong-ish stage. I was welcomed and shown to my seat by founder Léonie Scott-Matthews. It felt like to be in the theatre was to be a part of a secret party of authentic live art devotees. I was rather captivated by it all before the show had even begun.

To celebrate their fiftieth anniversary, Pentameters are working their way through rather beautiful stagings of Tennessee Williams’ early one-act plays, which he produced with amazing frequency and facility. Midnight in Manhattan transports the audience to New York, to three unhappy and cursed marital and extramarital situations. Theatrical readings of two of Williams’ poems aptly punctuate the drama.

Subtle jazz selected by Sound Designer Lee Ryda created a seamless through line as one piece moved to the next. Godfrey Old’s set used the space effectively, creating a bedroom and a living area simply but distinctly. Attention to detail, such as the labels on the bottles either being removed or in period, would have made the design great. Each central woman in each play wore a silk dressing gown, which was a lovely touch. Old’s hand-drawn publicity design is perfectly in keeping with Williams’ style: reflective of reality, yet slightly dreamlike. Ollie Edwards’ lighting design was simple and effective, but a lamp or other form of onstage light would have added a further layer of intimacy.

Every Twenty Minutes has a sardonic humour, which Andrea Milton-Furtlotti and Richard Stephenson Winter played very well, by preserving the text’s genius depressing sincerity. However, to mount the irritable tension between the couple, silence between retorts could have been used more effectively, to justify the Woman’s sudden outburst at the Man. Milton-Furlotti, in a difficult role as the sidelined wife, fleshed out her performance by avoiding being too pathetic, which kept the tennis match with her husband more interesting. Ava Amande in The Pink Bedroom was the perfect balance of haughty and tragic.

Director Séamus Newham’s choice to double up the Man in Every Twenty Minutes with the Man in The Pink Bedroom and Joe Cartwright in The Fat Man’s Wife works very well, as this allows the texts to interrelate, and their poignancy to hit home. Therefore, the tantalising offer to the audience is that Amande’s character is the lover of the Man in Every Twenty Minutes, as well as of the Man in The Pink Bedroom. The silent characters in one play are allowed to speak in the next. Stephenson Winter’s performance in all three is expertly odious – we love to hate him as the poor women in his life do. And David Angland as the Woman’s Younger Man in The Pink Bedroom and Jessica Boyde’s younger admirer, Dennis Merriwether in The Fat Man’s Wife, represents the possibility of a heavenly escape for these trapped women. That they can only escape by another man’s possession reminds the audience of just how trapped they are. Angland plays Dennis with youthful energy and just a hint of the tortured.

In terms of quality of writing, complexity of situation and length of duration, Williams certainly builds up to the final play in the trio, The Fat Man’s Wife. This is also the only play in the trio Midnight In Manhattan where the characters have names – they are allowed to grow to being more than archetypes and metaphors of unhappy predicaments. Jessica Boyde is utterly hypnotic. Her performance stands out in this strong company of five by its nuance and tenderness. There is a brilliant moment where her husband unclasps her dress, and it is clear that the spark in their relationship is long extinguished.

Newham and the rest of the production team have serviced these plays well. They are just right and never overdone. Overall attention to detail in the staging and more time for pause in the first two plays would have fully realised the precise tragedy of Williams’ writing. But I recommend Midnight in Manhattan with confidence, and Pentameters with a happy heart.


Reviewed by Eloïse Poulton


Midnight In Manhattan

Pentameters Theatre until 2nd December


Previously reviewed at this venue:
Bad Hindu | ★★★★ | August 2018
A Glimpse of the Domesticity of Franklin Barnabas | ★★★ | October 2018


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A Glimpse of the Domesticity of Franklin Barnabas – 3 Stars


A Glimpse of the Domesticity of Franklin Barnabas

Pentameters Theatre

Reviewed – 12th October 2018


boils up into something incompletely satisfying, though satisfying nonetheless


The voice of Bernard Shaw crackles like a tinny old wireless, sharing the postulate of Franklyn and Conrad Barnabas: that human life should span three-hundred years, increasing the complexity of modern society. This – the Creative Evolution – is a central idea explored in Shaw’s Back to Methuselah. It is worth pointing out that the Barnabases in question are characters from that very play. By introducing to the original petri dish new characters that elicit effervescent reactions, the production focusses on relationships.

Warm lights bring out a well-to-do 1920s living room full of gold gilt-edges of books, heavy-looking portraits and ceiling roses overhead, offering the glimpse into the heart of this boisterous domestic comedy.

They start as a pair; Franklyn (Edwin Flay) and Conrad (Anthony Wise) who teeter on the edge of clunky exposition as they outline their idea of Creative Evolution and its relevance to the situation at hand: that Clara, Franklyn’s wife, has left the household. Any clunkiness is forgotten when Franklyn’s brother-in-law, Immenso Champernoon (Jonas Cemm) enters the room. He is a brash, hilarious caricature of Shaw’s contemporary, G.K Chesterton (Shaw himself described the portrayal as libellous), who is shoe-horned into the play to commence a contest of ideas.

The rest of the cast are introduced one by one, bickering with Champernoon over the institution of marriage, eastern philosophy, the empire – a seemingly endless list of moral coordinates. Laura Fitzpatrick, as Franklyn’s wife and Immenso’s sister, Clara Barnabas, trails a knowing, contrariness around the stage, winding up the men in her midst and allowing them to argue over the fallout. Her daughter Savvy (Johanna Pearson-Farr) hams-up her flirtation with the Reverend Haslam (William Keetch), but this works with, not against, the action.

Cemm, as Champernoon, bears an uncanny likeness to Chesterton and every fast-paced line spat out with haughtiness feels like it might have been improvised by Chesterton himself. He puns and plays with paradox, blurting out words, arguments and ideas with a blistering wit that’s hard to keep up with at times.

With telegraphed nods to Shavian ideas of feminism and beauty, Mrs Etteen (Julia Faulkner) and Champernoon enter into a long and flirtatious quarrel. The gravity of these interactions is lost among the quick-fire comedy and, when it ends after eighty minutes, I can’t honestly remember having stopped to breathe.

This is a boisterous, rollicking, no-second-wasted production, although it is not without flaws. Published originally in a work entitled Short Stories, Scraps and Shavings, it follows that the structure of the thing is not wholly satisfying. There are no great payoffs to be found here, no sudden intakes of breath, no witty barbs building up, act after act, scene after scene. It is funny. But it all boils up into something incompletely satisfying, though satisfying nonetheless.


Reviewed by Sam Joseph


A Glimpse of the Domesticity of Franklin Barnabas

Pentameters Theatre until 21st October


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