Mona Goodwin Archives - thespyinthestalls.com

Napoli, Brooklyn

Park Theatre

Reviewed – 17th June 2019

★★★★

“There is violence, despair and a moment of unrealised revelation, and Blair handles it all with a deft understanding”

This story of an Italian American family in nineteen sixties Brooklyn shines a light on the experiences of first and second generation immigrants, and the struggles faced by the women in particular. It is loosely based on writer Meghan Kennedy’s mother’s adolescence and the life of her big Italian Catholic family. Kennedy wants to honour the voices of girls from families like this who, both in the past and currently, have to fight to be heard. Six of the eight actors on stage are female, putting women’s experiences at the centre of the action.

The Muscolino family live in a Brooklyn tenement, and their story is told through a series of almost cinematic scenes that unveil the lives of the family members. The mother, Luda, brilliantly played by Madeleine Worrall, cooks and cares for her husband Nic and three daughters. But her family are not happy, and she is unable to cry. She can’t even talk to God anymore, as her husband has beaten up their daughter Vita, so she talks to an onion instead. Vita, vividly brought to life by Georgia May Foote, does not regret protecting her younger sister Francesca from their father’s rage, which was triggered by her cutting her hair short, and, although she has no wish to be in the convent she’s been sent to, she can appreciate the peace and calm there; a real contrast to her home life. Tina, the eldest, feels guilty that she didn’t stand up to their father and protect her sister. She is caught in a dead end job, denied schooling to help provide for her family, and Mona Goodwin does a lovely job of portraying her low self esteem and doubts. They are all caught in their own narratives, and those narratives are really all about love.

Francesca is in love with her friend Connie, and they are planning to run away to France. They dance to ‘Bee Bop A Lula.’ pretend to smoke cigarettes and look forward to a life where they can be their true selves. Hannah Bristow’s Francesca is feisty, funny, brave and full of the optimism of youth. Laurie Ogden plays Connie with tenderness and gentle determination, as the girls plan their escape.

Connie’s father is Albert, the local butcher and he is in love with Luda, she clearly likes him too, but she is faithful to her husband, even though he is greatly changed from the man she fell in love with. The two men are complete opposites; Stephen Hogan gives Albert a wistful gentleness that beautifully contrasts with Robert Cavanah’s frighteningly violent Nic. Cavanah’s performance has more than a touch of Marlon Brando about it, and the times when we see the man he used to be are unexpectedly touching.

The final character is Celia, played by Gloria Onitiri, a black woman who works with Tina at the factory. She is a happily married woman who loves reading and Onitiri plays her with spirit. The two women become friends, and when Tina asks Celia ‘how does it feel to be loved’ it brought a tear to my eye.

When a dreadful and completely unexpected tragedy strikes the whole area all their lives are turned upside down.

Napoli, Brooklyn is wonderfully directed by Lisa Blair. There are some standout moments, such as the mesmerisingly tender scene when Francesca and Connie gaze into each other’s eyes and mime undressing. There is violence, despair and a moment of unrealised revelation, and Blair handles it all with a deft understanding. The set, designed by Frankie Bradshaw, is atmospheric and gives a great sense of place and time. Johanna Town and Max Pappenhem created the lighting and sound, adding to the sensory impression of the setting, which was occasionally enhanced by the delicious smell of food.

This is a play that has a firm sense of time and place, but deals with themes that are just as relevant today. Beautifully acted and directed, it is definitely one to see.

Reviewed by Katre

Photography by Marc Brenner

Napoli, Brooklyn

Park Theatre until 13th July

Last ten shows reviewed at this venue:

Peter Pan | ★★★★ | December 2018

Rosenbaum’s Rescue | ★★★★★ | January 2019

The Dame | ★★★★ | January 2019

Gently Down The Stream | ★★★★★ | February 2019

My Dad’s Gap Year | ★★½ | February 2019

The Life I Lead | ★★★ | March 2019

We’re Staying Right Here | ★★★★ | March 2019

Hell Yes I’m Tough Enough | ★★½ | April 2019

Click here to see more of our latest reviews on thespyinthestalls.com

★★★½

“without doubt visually and technically strong; occasionally, however, it feels as though something important is missing”

As innovative as he was, it is doubtful that H. G. Wells foresaw his most famous work – often referred to as “the first sci-fi novel” – being even remotely related to debates about the 2016 US elections, lizard people, and whether or not you’re allowed to vape at the dinner table. But, in their reimagining of Wells’ classic novel, Rhum and Clay have done just that. A story about Martians has become a story about the truth, and which version of it we choose to believe.

The War of the Worlds tells three stories simultaneously. The first is derived from Wells’ novel, detailing the Martians’ invasion of Earth. The second is the story behind Orson Welles’ 1938 radio adaptation of the novel, which was so realistic that it allegedly caused mass panic amongst the American public. Finally, in the present day, British blogger Meena travels to Grover’s Mill, New Jersey, to explore the effect of this hysteria on a local family – but goes far deeper than she intended. It won’t please those looking for a faithful adaptation of the novel, but the three stories fit together coherently and bring out aspects of each other well. Despite the sometimes tenuous connection between Meena’s narrative and the source material, it is an unexpectedly insightful way of exploring contemporary concerns about fake news and political paranoia.

The weaker moments are often strengthened by an energetic and committed cast. Mona Goodwin makes Meena a likeable character, who is naïve and earnest despite the self-serving nature of her project. Julian Spooner brings a sense of urgency, particularly through his portrayal of news reporter Carl Phillips; Matthew Wells’ gravitas grounds the action during its more melodramatic moments. Of the four, Amalia Vitale is the most captivating, particularly in the role of Lawson. She has an amazing stage presence: even when she is only a background character, it is hard not to watch her. Set designer Bethany Wells must also be credited for her simple yet effective stage. The translucent walls that surround the space help create a sense of artificiality; the way they obscure the characters’ movements adds a sinister edge.

That being said, there are still some elements of the show that are a little difficult to be enthusiastic about. It has a lot to say about relevant and exciting topics, yet the ending does not tie these things together as effectively as it should. Meena’s story in particular feels a little rushed and unfinished. It is without doubt visually and technically strong; occasionally, however, it feels as though something important is missing.

Rhum and Clay have successfully given an oft-told story a new sense of relevance. Although the final product does not fully do justice to their vision, it is still entertaining, insightful, and above all an effective immersion into a sinister and intriguing world – one that is far closer than we think.

Reviewed by Harriet Corke

Photography by The Other Richard