Tag Archives: Manuel Harlan

THE GANG OF THREE

★★★★

King’s Head Theatre

THE GANG OF THREE

King’s Head Theatre

★★★★

“At the centre of director Kirsty Patrick Ward’s bitchy and erudite psychodrama are three rounded and convincing performances”

The occasional soundtrack behind this formidable political drama tells of a nation undergoing change, from the raucous rock of the early ’70s to the chaotic onslaught of punk and New Wave as the ’80s approach.

But inside Libby Watson’s evocative set – all dusty books, leather sofas, and drinks trolleys – the same argument goes round and round.

Three giants of the Labour movement – Tony Crosland, Roy Jenkins, Denis Healey – all pals from war-time Oxford – cannot fathom how to seize the leadership of their party and the country.

It’s right there for the taking, if only they can agree on who should carry the flame.

With such a prize will come influence for generations. Think: no Margaret Thatcher; the leftist tendency put to the sword; no third party politics.

But these towering figures are also – and perhaps more so – towering egos and none will relinquish their claim.

In the end, the prize is lost.

In writers Robert Khan and Tom Salinksky’s reckoning, the what-ifs fly like shrapnel through the years.

That is not to suggest these three upholstered middle-aged men were on the outside. No, they were close to power, becoming the embodiment of the privileged elite. Roy Jenkins, the father of the permissive ’60s, Denis Healey, arguably the last truly charismatic chancellor, and – brightest of them all – Tony Crosland and his seminal thinking on the future of socialism.

And yet, the prize eluded them and was granted to lesser men, in their eyes. They marvel, at one point, how the hard left stole the party after the 1979 election defeat simply because Tony Benn and Michael Foot did a deal that avoided splitting the vote, a feat the magnificent minds of The Gang of Three simply couldn’t pull off. For years.

As Healey says at one point, “We are all children wearing our fathers’ clothes, hoping no-one will notice.”

They know their fate is to sink together, to cancel each other out, but still they cling to old disputes while the country moves on.

At the centre of director Kirsty Patrick Ward’s bitchy and erudite psychodrama are three rounded and convincing performances, not impressions but capturing the spirit of those mighty figures.

Alan Cox is Crosland, all camp teasing and frivolity; booming Colin Tierney captures the avuncular yet menacing manoeuvrings of Denis Healey; while Hywel Morgan has the hunched-up physicality (and the mispronounced Rs) of the uptight, humourless Roy Jenkins, so desperate to run a party, he eventually founded his own.

In the brisk, knowing script we jump from April 1972, just as Jenkins throws his toys out of the pram and resigns the deputy leadership, to the mournful 1980 post-mortem, Thatcher in power for a generation and Jenkins still plotting to claim the liberal throne.

By then Crosland is dead at 58, his stellar potential left unfulfilled.

There is an unfortunate flashback to 1940, suggesting a homosexual fling between Jenkins and Crosland, but beyond that, the play never puts a foot wrong. The script is dense with argument about the difficult politics of the left but all is handled with a deft and playful touch.

To those who were there, it is an exciting tribute to great men of charisma in an age of titans – and to those too young to remember, it serves as a reminder that nothing – least of all fratricide – is new in politics.

The Gang of Three is an accomplished and satisfying work, with polished performances, a witty script, endless gins and a cascade of awkward truths that are still relevant today.



THE GANG OF THREE

King’s Head Theatre

Reviewed on 6th May 2025

by Giles Broadbent

Photography by Manuel Harlan

 

 

 


 

 

 

 

 

 

Previously reviewed at this venue:

(THIS IS NOT A) HAPPY ROOM | ★★★ | March 2025
FIREBIRD | ★★★★ | January 2025
LOOKING FOR GIANTS | ★★★ | January 2025
LADY MONTAGU UNVEILED | ★★★ | December 2024
HOW TO SURVIVE YOUR MOTHER | ★★★ | October 2024
TWO COME HOME | ★★★★★ | August 2024
THE PINK LIST | ★★★★ | August 2024
ENG-ER-LAND | ★★★ | July 2024
DIVA: LIVE FROM HELL! | ★★★★ | June 2024
BEATS | ★★★ | April 2024

 

 

THE GANG OF THREE

THE GANG OF THREE

THE GANG OF THREE

THE BRIGHTENING AIR

★★★★

Old Vic

THE BRIGHTENING AIR

Old Vic

★★★★

“a rich and entertaining family drama”

“How are you doing?”, a priest asks jittery Dermot (Chris O’Dowd) midway through this fine new play. “I’m fine”, replies deadpan Dermot, although “the circumstances around me are challenging”.

Dermot is not alone in his plight. In the ramshackle Irish farmhouse that is the setting for Conor McPherson’s eagerly anticipated Chekhov adjacent play, the circumstances would test the most placid of souls.

The future of the farmhouse brings the family together as uneasily as opposing magnets. Three siblings own the place. Two live there and the third – Dermot amid a midlife crisis – has returned from afar thinking there’s money to be made.

He has an ally in a blind renegade priest (Seán McGinley) – their uncle – but finds himself in opposition to his brother Stephen (Brian Gleeson) and sister Billie (Rosie Sheehy) who have made the place their home, combatting the damp, fighting off foxes and shuffling cows with a mindless resilience.

Like the mouldering walls, the family tensions have been left to fester so there’s more than a reckoning about property deeds in McPherson’s atmospheric and busy play.

Elsewhere Lydia (Hannah Morrish) wants a magic potion – “water with muck in” – to win back faithless Dermot’s love, but Dermot, railing impotently against the strictures of family, has found himself beguiled by 19-year-old minx Freya (Aisling Kearns) who turns up with an air of entitlement and her own little plots to pursue.

Billie, accident-prone and on the autistic spectrum, obsesses about trains, paint and chimpanzees. She also speaks in unvarnished and abrasive truths which is a useful means to bring simmering tensions to the boil. Stephen is angry – about having to look after Billie, but also having no life, no money, no love…

Writer-director McPherson says he conceived the 1980s-set drama in an airport after he was thwarted by Covid from seeing his own adaptation of Uncle Vanya. But knowledge of Chekhov is less use than an ear for Irish dialect and an ability to keep up with the scores yet to be settled.

The title, McPherson says, comes from a WB Yeats poem, The Song of Wandering Aengus, and “encapsulates that moment where dreams meet reality, and our most important illusions fade away”.

The ensemble cast fully embraces the opportunities presented by a phenomenal script, littered with miracles, mysticism and mischief. O’Dowd is a marvel, wiry and self-pitying. He brings his immense comedic presence to a play that is very, very funny. Rosie Sheehy is by turns blunt and lyrical, even her recitations of train routes hinting at romance and adventure. Morrish and Gleeson are the stoic heartbeat of the piece.

The first acts are all about slow-burn set-up against Rae Smith’s barren farmhouse backdrop. Which means the post-interval plot twists are something of a hurried cascade. Even in a play which relies on a hint of folkloric magic, the dramas happen unfeasibly fast, relying on an overworked denouement to create a sense of theme and purpose.

Pacing aside, this is a rich and entertaining family drama, delighting in the divisions that uniquely arise from semi-strangers who are bound together by the same blood and forebears.



THE BRIGHTENING AIR

Old Vic

Reviewed on 24th April 2025

by Giles Broadbent

Photography by Manuel Harlan

 

 

 


 

 

 

Previously reviewed at this venue:

A CHRISTMAS CAROL | ★★★★★ | November 2024
THE REAL THING | ★★★★ | September 2024
MACHINAL | ★★★★ | April 2024
JUST FOR ONE DAY | ★★★★ | February 2024
A CHRISTMAS CAROL | ★★★★★ | November 2023
PYGMALION | ★★★★ | September 2023

 

 

THE BRIGHTENING AIR

THE BRIGHTENING AIR

THE BRIGHTENING AIR