Tag Archives: Philip Ridley

Moonfleece – 3 Stars

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Moonfleece

Moonfleece

Pleasance Theatre

Reviewed – 27th March 2018

★★★

“Jaz Hutchins gives a stunning performance and makes the most of Ridley’s writing”

 

Novelist and playwright Philip Ridley has been cited as a pioneer of ‘in-yer-face’ theatre. Indeed his 1991 debut play The Pitchfork Disney was considered by many to have influenced the development of that style of work. In 2010 Ridley’s Moonfleece caused controversy when a Dudley arts centre cancelled a run as it felt the content “includes characters and themes of a political and potentially discriminatory nature”. The premise of the work is based around a gay relationship plus the advocates and victims of racism and homophobia. It traces a family with far right politics and the highly destructive and damaging results it eventually has on them.

Fast forward to 2018 and the Lidless Theatre are reviving Moonfleece in the compact stagespace studio at The Pleasance, London. Part of the project is supported by the Islington Youth Council who are serious about tackling the adverse impact hate crime has had on their community.

Upon entering the theatre it is clear the audience is going to feel part of the action, being up close and personal to the characters in the dilapidated East End tower block squat flat that the action will centre in. The set has two graffiti covered walls and the room is littered with debris and the seating is on two sides of the stage.

We are quickly introduced to the main character of the play – Curtis (Jamie Downie) a troubled young man who is part of a family hell-bent on spreading their fascist views to the surrounding neighbourhood. He returns uninvited to his old home with two of his henchman Tommy (Josh Horrocks) and the shaven headed unstable Gavin (Joshua Dolphin). They are dressed smartly, yet menacingly, in sharp grey suits with St George’s cross lapel badges on them. They are there for a séance in search of his lost brother’s ghost and over the next ninety minutes, we are introduced to a total of eleven characters who slowly add to the story that swings from shock violence to touching sadness. The main story is that of a dead brother who was banished by Curtis’ stepfather because of his sexual orientation. Though as with many Ridley plays, all is not what it initially seems.

When eventually the green haired wheelchair bound spiritual medium Nina (Adeline Waby) arrives the stage is ready for a showdown. There are a few characters that are arguably superfluous to the story but no doubt Ridley felt a reasonable need to include these to add both humour and further tension. The pace and substance of the play change when Zak arrives. Jaz Hutchins gives a stunning performance and makes the most of Ridley’s writing. It not only clarifies the story but it changes the pace and substance of the play.

Director Max Harrison has done well to revive this important piece of work, to fit so many characters into such a small space and to keep the pace moving well throughout. Designer Kit Hinchcliffe’s set makes the audience feel as though they really are in a squat. The lighting from Katy Gerard is basic though effective as is the sound design by Annie May Fletcher.

Overall this was a good showing of the play and as usual with Philip Ridley there is much to consider about the content when leaving the theatre.

 

Reviewed by Steve Sparrow

Photography by Gregory Birks

 


Moonfleece

Pleasance Theatre until 15th April

 

Related
Vincent River | ★★★★ | Park Theatre | March 2018

 

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Vincent River – 4 Stars

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Vincent

Vincent River

Park Theatre

Reviewed – 23rd March 2018

★★★★

“brutal and lyrical, appalling and somehow poetic”

 

When going to a Philip Ridley play you know there will be bleakness, anger and what the critic Aleks Sierz christened In-Yer-Face-Theatre. Vincent River has all that, and some whip-smart comedy to lighten the load. It’s a brilliant, fierce piece of writing, beautifully brought to life in this production by the superb performances of Louise Jameson and Thomas Mahy.

Robert Chevara directs with a sense of rhythm and choreography that produces a natural rise and fall of narrative and emotion. The story unfolds against a backdrop of East London locations and a harsh, vicious homophobia that shocks and saddens. The set is a plain room that Anita has just moved into. It is not yet a home, just a place. Nicolai Hart Hansen has judged the mood well with his set and costume design, providing enough of a background to support the story without imposing itself.

Vincent River was written in 2000 and, as Chevara says in the programme notes, ‘it is even more prophetic and prescient now than the it was first produced.’ Hate crime has risen by 29% in the past year, but hate crime against LGBTIQA people has risen by 80%. Also in the notes, Chevara says that Ridley suggests, in this play, ‘that only through honesty can we find absolution.’ And the honesty blazes in both the writing and the performances. It is brutal and lyrical, appalling and somehow poetic. The tension between the characters of Anita and Davey is like a thread of elastic, twisting and pulling through fear, distrust, sexuality, disgust and a kind of acceptance. The connection between Jameson and Mahy is palpable, as their characters navigate the minefield of emotions, eventually finding the honesty that both characters need.

Thomas Mahy is a recent graduate of Drama Centre London, and is absolutely equal to the challenge of acting with the vastly more experienced Louise Jameson, who is known for her illustrious TV roles (most notably Doctor Who’s assistant Leela in the 70s), not to mention a theatre career that has taken her to the RSC and the National Theatre. It’s good to see a new actor clearly on the way to a promising career.

 

Reviewed by Katre

Photography by David Monteith Hodge

 


Vincent River

Park Theatre until 14th April

 

 

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