Tag Archives: Natasha Chivers

THE HILLS OF CALIFORNIA

★★★★★

Harold Pinter Theatre

THE HILLS OF CALIFORNIA at the Harold Pinter Theatre

★★★★★

“It is, overall, a sharp-witted observation of life. And of death. And the precarious hold we have of memories that lie between.”

Jez Butterworth’s highly anticipated new play, “The Hills of California” is a wondrously slow-burning affair that raises the question, among others, of explaining why people are what they are. As the layers are gradually peeled back the prize at the heart condenses, but it is the twists and turns of the lead-up that keep us in thrall. Despite running at just over three hours, Butterworth seems to have chosen every word with a mosaic artist’s care.

It is the sweltering summer of 1976, and we are in the cluttered parlour of a Blackpool guesthouse, where the cracked piano is off-key. “Through neglect and time” according to the piano tuner – the first (one of many) metaphor that applies to each character. Three sisters are reuniting during the dying moments of their mother who is lying in bed, unseen, upstairs. A fourth sister’s presence is uneasily promised, though not expected. Jill (Helena Wilson) is already on the scene. She still lives with her mother, caring for her, nervously spraying air-freshener to stop her cigarette smoke drifting up the stairs towards her. Enter feisty, witty, no-nonsense Ruby (Ophelia Lovibond) lugging her panic attacks and slapping them down on the table. Then Gloria (Leanne Best), bitter and blunt, sagging under the weight of chips on her shoulder. The dynamic is quickly established as sibling rivalries and affections simmer away, while unreliable memories stew.

We are transported back to the source of their memories. To the 1950s when the dreams were still flourishing, the guesthouse breathed with life, and their mother, Veronica (Laura Donnelly), ruled the roost with a regimental and fierce ambition for her daughters. Determined to see them become the next ‘Andrews Sisters’ she is remorseless in her control over them. Donnelly gives a star turn performance, mistakenly believing her steely command is maternal care, unaware of the damage she is causing. When a predatory theatrical agent comes dangling a carrot, we witness the harsh, defining moment that severs the family, and the future scenes make sense.

Slipping back and forth between the fifties and the seventies is the plays major strength. Each decade sheds light on the other and we see how events shape our protagonists; and how memories of those events can cloud their perceptions of reality. The performances are superb across the board. And if the characters’ memories are off pitch, their singing voices are gorgeously harmonious, especially the younger cast who play the sisters as teenagers.

“Sam Mendes brings out the best of this company, directing like a conductor responding to the shifts of mood and time.”

As the questions tentatively find their answers, the bleakness is constantly relieved by the humour that runs through the writing. Comedy that is accentuated by the fine ensemble acting. Shaun Dooley and Bryan Dick are an astute double-act as Gloria and Ruby’s husbands respectively. Dick also doubles as the resident end-of-the-pier jokesmith, Jack Larkin, forever behind on the rent but upfront with loyalty and cringe-worthy quips. There is no cameo role, even if one or two characters appear transient. Each has their place.

Sam Mendes brings out the best of this company, directing like a conductor responding to the shifts of mood and time. There may be one or two movements that could be shortened – or even cut. But like taking out a single part within a harmony, it would leave the others out of kilter. There are many undulations in “The Hills of California”. We are aware of them up close. Stand back and we see the panoramic, yet intimate, view of a family picked apart skilfully by Butterworth.

The sense of disorientation is enhanced by Rob Howell’s impressive set. Homely yet disarranged, it sweeps upwards with its imposingly gothic staircases like a giant Escher woodcut. The sinister is never far away from the everyday. And the trivial minutiae are forever rubbing shoulders with universal truths.

It is, overall, a sharp-witted observation of life. And of death. And the precarious hold we have of memories that lie between. Like the piano – that becomes a central role in the piece – those relationships can go discordantly off-key – “through neglect and time” – as the piano tuner says. Before reminding us: “a piano must be played”.


THE HILLS OF CALIFORNIA at the Harold Pinter Theatre

Reviewed on 8th February 2024

by Jonathan Evans

Photography by Mark Douet

 

 

Top rated shows in January 2024:

KIM’S CONVENIENCE | ★★★★ | Park Theatre | January 2024
COWBOIS | ★★★★★ | Royal Court Theatre | January 2024
EDGES | ★★★★ | Phoenix Arts Club | January 2024
AFTERGLOW | ★★★★ | Southwark Playhouse Borough | January 2024
RITA LYNN | ★★★★ | The Turbine Theatre | January 2024
LEAVES OF GLASS | ★★★★ | Park Theatre | January 2024
CRUEL INTENTIONS: THE 90s MUSICAL | ★★★★ | The Other Palace | January 2024
THE BEAUTIFUL FUTURE IS COMING | ★★★★ | Jermyn Street Theatre | January 2024

THE HILLS OF CALIFORNIA

THE HILLS OF CALIFORNIA

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Mates in Chelsea

Mates in Chelsea

★★★

Royal Court Theatre

MATES IN CHELSEA at the Royal Court Theatre

★★★

Mates in Chelsea

“There’s a panto energy too, especially in Rory Mullarkey’s script which is laden with one liners”

I leave the theatre feeling a little empty. A play that set out as a call to arms for class warfare has fallen strangely flat. For a while I struggle to put my finger on what didn’t work. How did a play that should be such an easy laugh not quite manage it?

The concept is strong, if straight out of a PG Wodehouse. In modern day London, Tug Bungay (Laurie Kynaston) is a professional viscount. He, along with his fabulously posh, fabulously camp best mate Charlie (an absolute standout George Fouracres) is a profligate wastrel, ambling through his charmed life without aim or purpose. Until his mother (scene stealer Fenella Woolgar) informs him that the money is gone and she’s selling his castle to a mysterious never-photographed Russian oligarch. Cue a series of farcical antics to keep the castle in Tug’s hands, how handy that Charlie has the phone number of a cultural costumer…

It’s pacey, and Act II has some really strong comic moments – mistaken identity and ridiculously over the top impressions are always a laugh. Sam Pritchard’s direction makes the plays feel like a Victorian parlour game, with people popping out at convenient moments, only to return for punchline reveals. There’s a panto energy too, especially in Rory Mullarkey’s script which is laden with one liners – every line is a joke, which can be fun, but does emphasise how few manage to land.

The trouble is – what’s the point? If it were a PG Wodehouse it wouldn’t matter. His genius was writing a satire which never acknowledged being a satire, and simply existed on one level – the farcical ridiculousness poked enough fun at the British upper class that there was no need for Bertie Wooster to make wry remarks about mortgages. Anthony Neilson wrote an excellent article in defence of story on stage, arguing that plays need not have ‘a message’. This is something I wholeheartedly agree with, and this play might have worked better if it had just tried to do one thing. While there are some strong farcical moments, it gets a bit lost in a convoluted socio-political commentary. It winds up too toothless for a satire yet too worthy for a farce.

“There are some moments of great, silly fun, and some interesting social comment.”

The cast are strong. Woolgar is wonderful, subtly treading the line between comic and tragic. Also, Amy Booth-Steel as Tug’s Leninist housekeeper is fabulous, albeit in a part which is at best uncomfortable and at worst feels like a revamping of the old stereotype of the idiotic help.

Milla Clarke’s design conjures the tone well, the first half is a minimalist Chelsea apartment, complete with pop art portrait of Tug. The second half takes place at Tug’s castle, which is designed like an ‘80s Tim Burton film – high hedges and a hanging pop horror sign welcoming us to Digby Grange. Perhaps a bit of a mixed visual metaphor but it is fun, and in keeping with the tone of the play.

The irony of this play being at the Royal Court, situated in the heart of Sloane Square cannot be ignored. The biggest laughs were knowing insider chuckles, rather than at targeted anti-aristocrat barbs. Throughout, it is not clear who the intended butt of the joke is.

There are some moments of great, silly fun, and some interesting social comment. But the whole thing feels weighed down with intention, and that makes it hard to relax into the comedy, or enjoy it as a satire.


MATES IN CHELSEA at the Royal Court Theatre

Reviewed on 14th November 2023

by Auriol Reddaway

Photography by Manuel Harlan

 

 

 

 

Previously reviewed at this venue:

For Black Boys … | ★★★★★ | April 2022
Black Superhero | ★★★★ | March 2023
Cuckoo | ★★½ | July 2023

MATES IN CHELSEA

MATES IN CHELSEA

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