“forces its audience to acknowledge the value of time and the sadness of life’s brevity”
James Lewis’ authentic and relatable new play ‘Feel’ makes for an extraordinary evening’s entertainment as it hops between being ingeniously witty and soul-wrenchingly moving. Directed by David Brady and set in the summer of 2016, the scenes cross cut between the bench on the platform of an unspecified train station and the bedroom of an understated flat, as four Londoners struggle with their life-long search for love, laughter and meaning. The set is simplistic but perfectly functional and its lack of bells and whistles is undoubtedly a blessing. This is a very wordy play and its real-world costumes and recognisable images allow the audience to pay close attention to the dialogue of the piece; for it is here that the magic really lies.
The text follows Nick and Karen, who meet on a train platform and whose differences in humour, countenance and spirit draw them closer to each other by the second; and Jamie and Naomi who turn out to be far more similar than either of them would like to let on. The couples fall madly, and sometimes begrudgingly, in love with each other and the performances of all four actors are stunning. Jonathon George’s portrayal of a man on the brink of self-destruction is incredibly moving and Isobel Eadie’s exceptional take on a reckless, grieving young woman makes the character’s on-the-page spite miraculously endearing. Gemma Wray and James Vincent bring an enviable chemistry to Nick and Karen and bring to life the relationship most of us fantasise about. Never predictable, these four actors truly astonish with the depths of their performances as they prove that there is something of Nick, Karen, Jamie and Naomi in each of us.
‘Feel’ serves as a punishing but worthy reminder that everybody you meet is dealing with their own heartache. It forces its audience to acknowledge the value of time and the sadness of life’s brevity; and the exquisite score brings the sometimes repetitive blackout transitions back to life. ‘Feel’ will leave you with a burning need to remind your loved ones that you care, but will also leave you with a will to smile at the boy who’s crying in the seat opposite you on the tube, or to buy a coffee for the girl behind you in the queue in Starbucks. If everyone is dealing with their own issues, ‘Feel’ is the perfect piece of persuasion to just try to be a little bit kinder to the world.
“the low-key performances fail to engage the audience emotionally”
Set during the social upheaval of 1936, Martin McNamara’s new play “Mosley Must Fall” integrates the prevailing social conflicts, placing them compactly under the roof of the McEnroe family. As Mosley and his fascist supporters prepare to march through the Jewish and Irish quarters of East London, Dublin Easter Rising veteran, Liam, tries to convince his sons of the futility of fighting for a cause. But youth sees life differently and each son has his own convictions and predicaments.
Green Curtain Theatre presents this year’s Festival of New London Irish Plays under the title ‘Against the Odds’, this being one of their three works. The script is enlightening and absorbing but the production sometimes lacks direction and with it, a lapse of theatrical contrasts and pace. Aonghus Weber and Fiona Cuskelly give reserved performances as the disillusioned parents, Liam and Maureen, and fail to transmit their deep-rooted worries and anger. Mickey Mason, as their son Jim, adds strength to the scenes with more nuanced acting but is often let down by a want of dramatic response. The unabashed Bernard Duffy (Kevin Bohan), at the risk of occasionally bordering on clownish, lightens the tone and Lisa Lynn plays a confident yet accepting Ruth Cohen, adding another thread to the tapestry of the story. The most powerful moment comes from Michael Black as son Dessie when a final outburst breaks through his cool demeanour.
The spartan set and bleakness of the lighting help to emphasise the frugal lives people were living and this is brought to light by references to food and meals and the recognition of the desperate, scrounging neighbour. Nevertheless, the scene changes could be slicker to avoid the on-stage congestion.
In “Mosley Must Fall” the McEnroe family represents the fractured society, torn by roots, loyalty, generations … This was a time when people lived side by side and helped those in need, but were agonising over ingrained beliefs. However, the low-key performances fail to engage the audience emotionally and, subsequently, create an imbalance in the play’s message. The most striking speech is made in defence of Mosley which, despite the support he gained in London’s East End, is probably not the intended moral focal point. By intensifying the energy and dynamic interpretation of the characters, their conflicts would come across more powerfully on stage. As it stands, it inclines to the more intimate nature of radio – a medium McNamara is very experienced in.
This is a restrained production of a fascinating period in this country’s history with a well-crafted script which reminds us of the many strands which lead to and from Mosley’s instigation of the British Union of Fascists and the parallels past and present. There are some spirited and touching moments, but the tension of the family’s predicament is simplistically handled and expressed.
Reviewed by Joanna Hetherington
Mosley Must Fall
Lion and Unicorn Theatre until 3rd March
Part of Against The Odds:
Festival Of New ‘London Irish’ Plays
