Tag Archives: Phillip Money

The Tempest

★★★

Jermyn Street Theatre

ReviewsAnett Black, Jermyn Street Theatre, Jim Findley, Julia Cave, Lynn Farleigh, Max Pappenheim, Michael Pennington, Neil Irish, Peter Bramhill, Phillip Money, Rachel Pickup, Richard Derrington, Steve Gregson, Tam Williams, The Tempest, Tom Littler, Whitney Kehinde, William Reynolds, William Shakespearethespyinthestalls

The Tempest

Jermyn Street Theatre

Reviewed – 30th November 2021

★★★

“the verse reading of Michael Pennington in this space is inspiring”

How can a venue as intimate as the Jermyn Street Theatre manage a production of The Tempest? Director Tom Littler pulls it off with an ensemble of just eight players and the mighty Michael Pennington as Prospero. The set (Set & Costume Design by Neil Irish & Anett Black) hints at a desert island existence: bits of boat, an oar, sheeting that could be old sail, seashells. Wavy shelves line the walls, Prospero’s all-important books lying this way and that. An island soundscape pervades the space (Composer & Sound Design by Max Pappenheim), waves roll along the beach, exotic birds tweet.

Prospero, using a model boat as an aid, conjures up a storm and we see a group of mariners behind a gauze fearing for their lives. Pennington possesses a calm authority which emphasises the frailty of the enchanter. The honey tone of his speaking voice is pleasing to the ear but, with book in hand throughout, he is limited in his movement. Communication with the audience is not as intense as it could be in this miniature space but when he does glance up with a whimsical smile and a twinkle in his eyes, we see a master actor at work.

The success of this production lies with the superlative actors’ skills in doubling roles. Richard Derrington and Peter Bramhill have two double acts. Firstly, as Antonio and Sebastian, in silk dressing gowns, they are snide and condescending towards the King’s advisor Gonzalo (Lynn Farleigh) and then menacingly circle the sleeping King (Jim Findley), knives in hands, plotting murder. Some moments later and they are back as Stephano in a thermal onesie, and Trinculo in tails and bowler hat – the comic relief, breaking the fourth wall with their drunken jests. Tam Williams has no easy task doubling Caliban – half naked, bruised and scarred, a cowl covering his head, at his best when whispering the pathos of the creature – and a rather wet-behind-the-ears Prince Ferdinand in striped pyjamas.

Whitney Kehinde’s Ariel holds everything together. Harnessing her inner Puck, she weaves around the stage, arms whirling. Two of her songs stand out – Full Fathom Five and Where the Bee Sucks – in which the verse becomes part of her magical incantation emphasised by haunting electronic effects.

Rachel Pickup’s Miranda lights up the stage. Her love-at-first-sight scene is delightful although this Ferdinand is less convincing in showing that the attraction is mutual. And Miranda’s wide-eyed amazement at seeing more humans for the first time drew many smiles behind the masks of this audience.

This is an effective but low-key Tempest. Prospero’s valedictory speech in which he intends to break his staff and drown his book is deliberately underplayed and the Gauguin-inspired wedding masque does not convince. But the verse reading of Michael Pennington in this space is inspiring. The Jermyn Street Theatre’s auditorium, in which you can hear every nuance of every word, is as much the star of the show as the actors upon the stage.

Reviewed by Phillip Money

Photography by Steve Gregson

The Tempest

Jermyn Street Theatre until 22nd December

Previously reviewed at this venue this year:

Footfalls and Rockaby | ★★★★★ | November 2021

This Beautiful Future | ★★★ | August 2021

Click here to see our most recent reviews

Blue / Orange

★★★★

Royal and Derngate Theatre

ReviewsBlue / Orange, Charles Balfour, Diane Alison-Mitchell, Ellie Manners, Giles Terera, Hazel Holder, James Dacre, Joe Penhall, Michael Balogun, Oxford Playhouse, Phillip Money, Ralph Davis, Royal and Derngate Theatre, Simon Kenny, Theatre Royal Bath, Tony Gayle, Valgeir Sigurðssonthespyinthestalls

Blue / Orange

Royal and Derngate Theatre

Reviewed – 23rd November 2021

★★★★

“Blue/Orange remains a thought-provoking and relevant play, well-worthy of this new revised production”

This award-winning play by Joe Penhall is set in a London NHS psychiatric hospital where two doctors discuss a possible diagnosis for their patient – schizophrenia, psychosis, neurosis, borderline personality disorder – but we don’t need to fully understand these terms. The crux of the matter is that these two psychiatrists control the freedom of the third man.

The set (Designer Simon Kenny) is a closed black box, no windows, one concealed door. A square on the floor is marked out by a bright white light. Two institutional plastic chairs face each other confrontationally, between them a low table and on it a fruit bowl containing some oranges. Above the stage is suspended a large black block on which a digital clock face is projected showing us the time at the start of each act. The action of the play takes place over a period of one day – the final twenty-four hours before the patient is either free to leave the hospital or he is re-sectioned and detained for a further period.

Blue-Orange Giles-Terera-and-Michael-Balogun-8348 photo-by-Marc-Brenner

Blue-Orange Michael-Balogun-Giles-Terera-and-Ralp-Davis-4464 photo-by-Marc-Brenner

Blue-Orange Giles-Terera-168 photo-by-Marc-Brenner

Blue-Orange Michael-Balogun-242 photo-by-Marc-Brenner

Blue-Orange Michael-Balogun-and-Giles-Terera-307 Marc-Brenner

Blue-Orange Ralph-Davis-and-Michael-Balogun-4016 photo-by-Marc-Brenner

Blue-Orange Ralph-Davis-and-Michael-Balogun-6 photo-by-Marc-Brenner

Blue-Orange Ralph-Davis-Michael-Balogun-and-Giles-Terera-4377 photo-by-Marc-Brenner

Blue-Orange Giles-Terera-and-Michael-Balogun-8348 photo-by-Marc-Brenner

This is an excellent production. The direction of the players around the space is first-rate (Director James Dacre) and it is hard to find fault in the performances of the three actors. The patient Christopher (Michael Balogun), in grey hoodie, tracky bottoms and trainers, prowls around the space, a caged bear. His moods swing from high spirits to near depression, his movements range from bouncing across the stage to sinking deep in a chair. Balogun convinces us entirely. This man is disturbed, volatile and unpredictable. For him, the oranges in the bowl look blue and, when cut into, the flesh of the orange is blue too. But is he a danger either to himself or others?

Registrar Bruce (Ralph Davis), dressed in grey casual work attire (no men in white coats here), ID lanyard around his neck, suspects that Chris is sicker than he appears and wants to keep him in hospital before his condition deteriorates. But to instruct so means going against the wishes of the Authority and Bruce has his own career ambitions to think about.

Consultant Robert (Giles Terera), in a crisp shirt and smart grey suit and tie, wants Chris released within the day. But Robert also has his own agenda, research to do and a book to write, so how far can he be trusted? Terera shows the self-importance of this man from his first appearance, dominating the space and exuding the character’s class and privilege through perfect posture and enunciation.

The square of the consulting room begins to resemble a sporting arena as both doctors attempt to score points off each other, playing off their patient between them, until just one of them remains standing.

Twenty years since its first production, Blue/Orange remains a thought-provoking and relevant play, well-worthy of this new revised production. And the sincere and honest performances of this cast make a memorable piece of theatre.

Reviewed by Phillip Money

Photography by Marc Brenner

Blue / Orange

Royal and Derngate Theatre until 4th December

Previously reviewed at this venue in 2021:

Animal Farm | ★★★★ | May 2021

Gin Craze | ★★★★ | July 2021

Click here to see our most recent reviews