“moments of light, sound and movement punctuate the changes of scene, mesmerising the audience”
In its first revival since 2003, Abi Morgan’s play ‘Tiny Dynamite’ is an echo of the original production but with a twist. Ten years after a traumatic event, which sends two childhood friends down very different paths, their annual summer holiday together is the scenario for confronting what has left them incapable of moving on and the secret of their dependency.
In this production, David Loumgair, who shows himself to be an exciting and innovative director, changes the gender of Lucien to a woman, Luce. This works well with Luce showing platonic concern and responsibility for her life-long friend Anthony. Both Eva-Jane Willis and Niall Bishop hold the audience’s attention as the layers of their story are peeled away by the appearance of Madeleine, played by Tanya Fear, the catalyst who sparks their buried feelings. However, the stated contrast between the two friends is belied by the character writing. The overly talkative nature of Anthony comes across well but the quietness of Luce is undermined by, quite simply, the number of lines she has, as well as the similarly placid Madeleine. But Luce’s ordered, conventional shell finally cracks in the most moving scene of the play, revealing the relationship’s true balance. Anthony, hit by lightning at the age of six, struggles with the internal static of his emotions and this creates his own hidden turmoil, cleverly enhanced by special effects.
The set by Anna Reid resembles that of the 2003 staging at the Lyric, Hammersmith – wooden decking surrounded by a moat of water, marooning the characters in their triangular relationship. Added to the beautifully economical handling of props, the use of water on stage is refreshing, although the moat could be used to more advantage. The minimalist music (Dan Jeffries) is in keeping with the set and subtly dresses the scenes, only once or twice becoming a distraction. Bare lightbulbs hang above the stage as an aesthetic presence and integral effect (lighting by Zoe Spurr). Coordinated moments of light, sound and movement (Natasha Harrison, Movement Director) punctuate the changes of scene, mesmerising the audience.
Since writing ‘Tiny Dynamite’ Abi Morgan has gone on to have a successful career writing for film and television, genres she says she feels more comfortable with. Here she infuses an underlying discomfort rather than the tension needed to capture an audience from the start. The concept of the title – tiny things sparking off huge reactions – is not altogether coherent and in the end the play is about knowing when to take responsibility for our actions and when to leave things to fate.
Despite some thematic inconsistency ‘Tiny Dynamite’ Is brilliantly executed with fine performances and artistic flair.
“The twists and turns of this piece completely took me by surprise and I adored it”
The Haunting of Blaine Manor was the last show I went to see as part of the London Horror Festival, the showcase for horror and spooky plays that has been running for the last three weeks at the Old Red Lion Theatre. A festival I thoroughly enjoyed and can’t wait to see again next year. This piece, alongside the festival, has given me a taste for scarier theatre and I look forward to watching more plays like it soon.
The script was brilliant, the storyline, the characters and the style in which it was written really engrossed me from beginning to end. This two hour beauty whizzed past before my eyes. I was so connected to the action on stage and the characters’ stories. I really commend Joe O’Byrne as the writer and director of this piece. The twists and turns completely took me by surprise and I adored it. I was incredibly excited by it all.
Throughout this festival I have seen how different productions dress and utilise the theatre space and I have to say the set design for the Haunting of Blaine Manor was by far the most detailed. It really allowed for the audience to immerse into the production. Of course, the cast too must be commended on putting on a fantastic performance, together working really well. There were points that lacked a bit of energy but these were few and far between and didn’t hinder the production.
Andrew Yates as the psychic Cairo was fantastic. He truly committed to the character adding little nuanced moments throughout. His German accent was spot on and added a different and mystic feel. He was one of my favourites in the play. Likewise, I also enjoyed Peter Slater’s performance as the protagonist Roy, an American paranormal debunker, an interesting character who takes you on a journey. However, there were key moments that I feel Slater didn’t give the nuanced performance it required to really hone in the right effect on the audience. Nevertheless, I still really enjoyed watching him on stage.
The whole cast really bounced off each other. I loved Jo Haydock’s performance of Vivian, particularly her interaction with Peter Slater. Her character was really interestingly written as to what she represents within the play as a whole. There were moments that I wanted a bit more nuance and thought, but I still bought into her character thoroughout.
Undoubtedly Phil Dennison as Scarabus was a joy to watch on stage, adding to the brilliance of the show. I really enjoyed his character and Phil had some phenomenal moments. On a similar note, Daniel Thackeray gave a very interesting performance as Vincent. At first there was something about it that jarred with me, but then I started to really get into his performance. In all honesty, each and every character on that stage was unique and intriguing in their own right.
The Haunting of Blaine Manor is a roller coaster ride of a show that many would enjoy watching – I cannot recommend it enough.
