“shadowy symbolism echoes throughout this production”
Roxana Silbert’s envisaging of Chris Hannan’s intensely cerebral well-made play is pacey, slick and satisfying. A very strong cast support one another constantly, keeping the drama taut, which is difficult with a script which occasionally forays into pure, oratorical debate, rather than writing which craves a stage. The play opens with a crash of thunder, and the shadowy symbolism echoes throughout this production, which manages to be both poetically haunting and true to life.
Ian McDiarmid’s Enoch Powell is riveting. His mental and physical deterioration, and Rose Cruikshank’s progression in conviction, culminating in their meeting, are arcs which poignantly interlock. McDiarmid brought the light and shade of humility to the character, complexifying his identity. Tracing Cruikshank’s younger life chipped away at her hardened academic exterior. The closing bartering between Powell and Cruikshank was moving, bringing to life all the thought with which this script is so laden. Amelia Donker played Rose formidably, but a little more softness to earlier dialogue would have made her later displays of vulnerability less of a snap transition.
Nicholas Le Provost’s stage presence was masterful. He spoke with grace and moved with ease, whilst managing to encapsulate the nervous below-the-surface energy of a journalist making risky choices. Highest commendation must go to Paula Wilcox and Joanne Pierce. Their multi-roling was a wonder to behold. The combination of subtlety with careful poise, the consideration in every gesture, turn of phrase and lilt of voice was really rather inspiring. At points, they elevated the piece to levels of excellence. Waleed Akhtar and Ameet Chana were similarly skilled, bringing a tantalising mixture of humour to their roles, whilst portraying an undercurrent of a wider, deeper narrative. Sultan’s cry, ‘I’ve fallen in love with England’ is, on the surface, endearingly uncomplicated: and therein lies the irony of What Shadows.
Ti Green’s clever design – tall model trees standing like skeletons at the back of the stage – coupled with Chahine Yavroyan’s inventive lights and Louis Price’s video projections, making rain and a party atmosphere, created the flitting, shadowy ambiguity needed for the play to be compelling theatrically as well as intellectually. If anything, more time could have been spent with the characters dwelling in the shadows. Giles Thomas’ sound design was particularly effective in scene changes, charging the drama forwards.
Occasionally, the direction felt a little contrived, particularly during Powell’s speech, when the cast entered and exited on a clear cue in the script. And when Rose is supposedly on the precipice of a building, only sound communicated this, as there was little impression created by the actors of danger. But holistically, this production is well-realised and especially apt for now. To quote one of its many aphorisms, ‘By the time you’ve described today it’s tomorrow’ – so go and see it today, before it’s not on tomorrow.
Playwright Joe Orton had a short career brought to an untimely end when he was murdered by his lover in 1967. His work often caused outrage at a time when attitudes were far less liberal than today.
Loot opened in Cambridge in February 1965 to scathing reviews. Following a rewrite it had a short run in Manchester this time receiving a more favourable response. The next year Orton completed another rewrite and in September it opened in London, this time it was a success subsequently receiving an Evening Standard Award for Best Play.
At the time, the Lord Chamberlain had powers to censor plays and enforced some of the content be removed in the interests of ‘good manners’. Now fifty years after the death of Orton the play returns to the London stage and is seen uncut for the first time.
Loot is a play of dubious morals and the title alludes to money stolen from a bank by two cheerfully amoral young men, Hal and Dennis. The cash, hidden in the coffin of Hal’s recently deceased mother, is coveted by Fay, a mercenary nurse who will do anything for money; she has already had a series of marriages that appear to have been made solely for the inheritance.
There follows a madcap series of events that holds the attention of the audience throughout. The humour of the writing and the delivery of the material from an excellent seven strong cast make this production a joy to watch from start to finish. It is very funny and far less shocking for a 21st century audience than it was 50 years ago.
Sinéad Matthews is quite brilliant as Fay, the seven time widowed nurse. She commands the stage and is thoroughly convincing in her role. Special mention should also go to Anah Ruddin who, whilst having no lines (she is the dead Mrs McLeavy), manages to get one of the loudest curtain calls for her wonderful performance.
Ian Redford is McLeavy, a devout Catholic widower with a love of roses and father to only child Hal (Sam Frenchum) whose upbringing makes him incapable of lying. Calvin Demba plays Dennis, a ladies’ man who has impregnated five women and yet still has a very ‘close’ relationship with Hal.
Experienced actor Christopher Fulford is the flamboyant and sneaky police inspector who has a less than professional approach to his police duties. Raphael Bar has a lesser role as Meadows, the bobby on the beat.
The dark funereal set (Gabriella Slade) is a perfect accompaniment to the show’s humour. Overall this is a great production and highly recommended.
