“a drama that feels outdated, lacking the high stakes needed to make this two-hander as compelling as it could be”
An “intimate character driven comedy-drama” (as described by director Gary Condes), Two For The Seesaw premiered in 1958 and has enjoyed a successful history since then, including a Robert Mitchum and Shirley MacLaine starring film adaptation. Now in the intimate Studio 2 space at Trafalgar Studios, this new staging is painfully faithful to William Gibson’s original script, producing a drama that feels outdated, lacking the high stakes needed to make this two-hander as compelling as it could be.
Jerry (Charles Dorfman), a lawyer from Nebraska, has recently separated from a wife he is financially and emotionally reliant upon and moved to New York. There, he meets aspiring dancer and Bronx girl Gittel (Elsie Bennet). Representing two clashing personalities, the pair seesaw between loving embraces and tempestuous arguments, each keeping secrets from the other until a climactic duel that decides the duo’s fate. The success of this show hinges on powerful and, to use a slightly vague term, truthful performances, which Dorfman and Bennet, though both highly committed to character and given circumstances, fail to provide. We never quite connect with these characters’ drives, or feel what’s at stake, and delivery at times feel one-note, lacklustre and constrained.
The actors aren’t helped by Condes’ direction, who seems intent on making his actors sit and talk over the phone, or sit and talk in person, scene after scene… after scene. Max Dorey’s lovingly naturalistic set design too seems orchestrated to provide areas for actors to rest their tired feet. This prop-heavy design leads to soul-crushingly long blackouts that actually counteract the naturalism and make it harder to reconnect with the setting and situations. Though attractively working to support the story, the set seems to simplify the characters’ differences (Jerry’s apartment is blue! Gittel apartment is pink!) rather than interrogate the play’s themes further.
Revivals work best when we can question older plays from a contemporary point of view, and Condes lets Two For The Seesaw off the hook too easily. For some, some good old fashioned, barbarous exchanges between the sexes and a heartfelt exploration of marriage and power are enough for an entertaining evening of West End theatre. But ‘The Apartment’ this is not.
“an enlightening show from a talented and committed team”
Lady Anne Tree, who died in 2010, was an English aristocrat who became a prison visitor in 1949 after witnessing the devastating effect that a sentence had on a family friend. Having watched soldiers benefit from doing needlework, she wanted to introduce that skill into the prison system and spent three frustrating decades before finally getting government approval. She subsequently founded the Fine Cell Work charity which enables prisoners to build fulfilling and crime free lives by training them to do skilled and creative needlework. Based on Lady Anne Tree’s work, Esther Freud, herself a prison visitor, has written Stitchers allowing us to see up close a world of noise, violence and claustrophobia that few would choose to live in.
Upon entering the compact Jermyn Street Theatre, the audience is faced with an impressive set (Liz Cooke) that creates the feeling of being in a prison. When the lights come up on the opening scene, we experience an ear splitting cacophony of sound with cups and plates banging on the metal grid walls together with shouting, whistle blowing and doors slamming. It is an unpleasant introduction to prison life. When the sound finally subsides we see Lady Anne. It is the late 90s and complete with her bag of wool and material, she meets five prisoners whom we learn more about as the play progresses. Busby – a wheelchair bound repeat offender, Lukasz – a Polish hard man, Len – an ex army lifer, Tommy – a young and angry man on remand and Denise – a transgender woman on recall. The final character is Keith, a prison officer who on the surface is hardened by his years in the system but we see a softer side of him as he suffers domestic unhappiness. Each has a story of frustration and despair that is explored in detail.
Sinéad Cusack stars as Lady Anne. She is an experienced, accomplished actor and is perfect for the role. Many tickets will no doubt be bought by those who want to see her in a theatre where every seat is close to the stage. Michael Nardone is outstanding in his portrayal of Lukasz. He is able to show both the hard and soft side of the character and Ewan Stewart is a terrific warder.
Whilst there are large number of scenes, director Gaby Dellal manages to keep the piece moving. The lighting (William Reynolds) perfectly accentuates the more sensitive moments whilst the sound (Max Pappenheim) is at times a little aggressive but the use of echo does work well recreating the noise of prison corridors.
Esther Freud is clearly a talented writer who understands her subject well and who should be proud of Stitchers. Overall this was an enlightening show from a talented and committed team.
