Louie Whitemore Archives - Page 4 of 7

★★★★

“the chemistry between all three of the actors is totally delectable”

Poor August Strindberg. Despite being just as instrumental to the rise of naturalist drama, the Swedish writer has always played second fiddle to his contemporary Henrik Ibsen, and is often relegated to the footnotes of theatre history. Luckily, Howard Brenton is on hand to provide adaptations of some of Strindberg’s best work at the Jermyn Street Theatre, that seek to remind audiences that his writing was just as seminal as that of A Doll’s House or Hedda Gabler.

Creditors, initially written in 1888 ostensibly centres on Adolf (James Sheldon), a painter and sculptor whose anxieties about his new wife Tekla’s (Dorothea Myer-Bennett) faithfulness towards him are exacerbated by an intellectual new friend (David Sturzaker) he’s made. I use the word ‘ostensibly’, because as the plot develops, each character gets their turn in the spotlight that focuses on their motivations and desires. It’s an uncommon structural choice but it works exceptionally well in creating empathy on all sides – a necessity considering the thematic heft of the material, dealing with ideas of faith, love, art, and entitlement in a mature and thoughtful way.

Brenton’s adaptation, based on a translation from Agnes Broomé, crackles with dramatic electricity, that conveys the central questions of the play in smart ways while also facilitating emotionally charged character-driven moments. This is helped in no small part by Tom Littler’s direction and Louie Whitemore’s design, which confidently allow a lot of stillness from the actors to let the script speak for itself, and sets a stellar balance of delivering laughs while also consistently ramping up the tension. The performances, too, are utterly magnetic as the chemistry between all three of the actors is totally delectable. Sheldon and Myer-Bennett in particular share a scene that is oozing with nuance and subtext as the pair play secret agendas against each other, and the dynamic between the two was grippingly unpredictable.

Creditors is not a flawless play – the first third lacks the same creativity and cleverness of the other two, and certain plot points are somewhat predictable, but by and large, the team behind this adaptation have crafted a nigh-on irrefutable argument for Strindberg’s work to remain at the forefront of the pantheon of writers that pioneered drama as we know it today. The play is running on alternating nights with Miss Julie, featuring the same cast and creatives, and I for one cannot wait to return to the Jermyn Street Theatre tomorrow and continue falling in love with this prolific writer’s oft-neglected oeuvre.

Reviewed by Tom Francis

Photography by Robert Day

The Daughter-in-Law

Arcola Theatre

Reviewed – 15th January 2019

★★★★★

“Matthew Biddulph as Joe Gascoyne gave the most natural performance and almost always felt like he could have ended each sentence with a cheeky wink”

The Daughter-in-Law is back at the Arcola now occupying Studio 1, after a month in the smaller Studio 2 during the summer of 2018. It is one of D H Lawrence’s eight plays completed during his lifetime, although he’s more famously known for his poetry and novels. Jack Gamble’s revival some fifty-odd years since its first staging at The Royal Court in 1967 proves the central themes of marriage and family, set amongst Nottinghamshire’s mining community, are still relatable today.

Lawrence introduces us to the Gascoyne family. We have the matriarch and her two youngest sons, Luther and Joe, Luther’s wife of six weeks, the eponymous Daughter-in-Law, Minnie, and neighbour Mrs Purdy. These are the types of people Lawrence would have known well, having grown up in the mining community of Easton himself in the late 1800s. A thick Derbyshire accent (dialect coach Penny Dyer) is in full use throughout the play, which does take some getting used to, especially for southern London types. However, it does also make for great comedic moments, particularly Mrs Gascoyne’s use of colloquialisms to the young women in her sons’ lives.

Although complications to Luther and Minnie’s marriage are revealed very early on, it’s actually the relationship between the mother and her family members which draws the most scrutiny at the climax of the play with Minnie asking “how is a woman to have a husband if all the men belong to their mothers?” It’s an insightful statement delivered to sympathetic laughter, but at least one of the conclusions Minnie draws from this, that she would rather have a husband who knocks her about than one who can’t really love her, I cringed to hear.

Ellie Nunn and Matthew Barker as Minnie and Luther each show their force in the relationship in contrasting ways, Nunn verbally but Barker physically. Matthew Biddulph as Joe Gascoyne gave the most natural performance and almost always felt like he could have ended each sentence with a cheeky wink.

Each of the four acts are set in the dining room of either Mrs or Minnie Gascoyne’s homes. Louie Whitemore’s set is therefore unflashy but authentic viewed in the round. The lighting and sound also subtly, but cleverly work with the set to situate the play in both time and location. Geoff Hense complements lit candles on stage with warm orange glows. Dinah Mullen’s sound is most notable when recreating the sounds of the mine shafts in one tense moment.

This production at Arcola Theatre offers another chance to see this worthy revival, a gentle reminder that the plight of the miners did not start or end with Margaret Thatcher, and an honest acknowledgement that marriage is rarely a simple fairy tale.

Jermyn Street Theatre

Reviewed – 29th April 2019

★★★★

“the chemistry between all three of the actors is totally delectable”

Reviewed by Tom Francis

Photography by Robert Day

Creditors

Jermyn Street Theatre until 1st June

Last ten shows reviewed at this venue:

Arcola Theatre

Reviewed – 15th January 2019

★★★★★

“Matthew Biddulph as Joe Gascoyne gave the most natural performance and almost always felt like he could have ended each sentence with a cheeky wink”

Ellie Nunn and Matthew Barker as Minnie and Luther each show their force in the relationship in contrasting ways, Nunn verbally but Barker physically. Matthew Biddulph as Joe Gascoyne gave the most natural performance and almost always felt like he could have ended each sentence with a cheeky wink.

This production at Arcola Theatre offers another chance to see this worthy revival, a gentle reminder that the plight of the miners did not start or end with Margaret Thatcher, and an honest acknowledgement that marriage is rarely a simple fairy tale.

Reviewed by Amber Woodward

Photography by Idil Sukan

The Daughter-in-Law

Arcola Theatre until 2nd February

Last ten shows reviewed at this venue: