Tag Archives: Ram Jam Records

The Lying Kind

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Ram Jam Records

The Lying Kind

The Lying Kind

Ram Jam Records

Reviewed – 1st December 2019

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β€œPurposefully lacking in festive cheer, there is still plenty to cheer for”

 

Not seen in London since 2002, Anthony Neilson’s β€œThe Lying Kind” has all the ingredients of a perfectly crafted farce, adding in some seasonal flavours of the Nativity that leaves a delicious, yet undetermined taste in your mouth. But with Neilson’s reputation for shocking his audience don’t expect the usual Christmas fare. Yes, it is set on Christmas Eve, and even throws in a character called Balthasar (although not quite the wise man here) and a couple of Carols. There any similarity ends as we are taken off on a tangent of cross purposes, cross dressing (and undressing); misunderstanding and murder; dead dogs and dead daughters, paedophile vigilantes and closet queen vicars. Dreaming of a White Christmas? This is as black as you’ll get.

The script promises few tidings of joy, but this production bears them in abundance; led by the team that brought Philip Ridley’s β€œRadiant Vermin” to the same venue last year. Although only their second production, The Kingston Theatre Company – formed by producer/actress Joy Bowers and director Erica Miller – are proving to be a vital asset to fringe theatre on the outskirts of the capital. For β€œThe Lying Kind”, the small music and cabaret venue has been transformed, by designer Amy Snape, into a shabby but homely living room. Into this drab vision of suburbia enter two inept policemen, Blunt and Gobbel. They dither on the doorstep as they pluck up the courage to tell the elderly couple who live there that their daughter has been killed in a road accident. Before they enter the house, a subplot is set in motion as they are assaulted by an overzealous member of the neighbourhood vigilante group: Parents Against Paedophile Scum, who think they are trying to harbour a child molester.

The bulk of the story is made up of the two officers’ sheer inability to divulge the tragic news to the unsuspecting couple within the house. The rules of farce are strictly adhered to and as confusion builds and logic falls apart with surreal abandon, the twists continue to confound the audience’s self-satisfied belief that they are one step ahead of the characters. Joy Bowers, as Gobbel, gets the performance absolutely spot on. Originally written for a male actor she ingeniously switches the gender and is a guiding star throughout the evening with her deadpan comic timing and self-deprecating mockery of her stooge like character. James Dart relishes his role as the put upon Reverend Shandy, mistaken for a paedophile and – quite literally – forced back into the closet. Erica Miller has taken some bold decisions with the text that Dart is all too happy to take on board.

Miller certainly rises to the challenge of staging an ambitious text. The intricate mechanics required by the script, however, do grind to a halt all too often. The piece relies on all the cogs working in unison. Julia Lacey and Cynon Lewis, who play the bereaved couple Garson and Balthasar respectively, lack the skills required to deliver Neilson’s text. The dialogue is a gift, but they barely take off the wrapper. Even in farce more layers need to be pulled back to reveal the reality of the characters and to make us care for them.

Fortunately, though, the laughs keep us going throughout the evening. Laughs that do paper over the sometimes inconsistent acting. But what they don’t cover up is the underlying adage that it is always better to tell the truth. If you want a quiet life that is: Neilson doesn’t want to get too schmaltzy with his message. So, if you want to avoid the usual Christmas message this year, β€œThe Lying Kind” is well worth travelling afar to catch. Purposefully lacking in festive cheer, there is still plenty to cheer for.

 

Reviewed by Jonathan Evans

Photography by Catherine Harvey

 

The Lying Kind

Ram Jam Records until 9th December

 

Previously reviewed at this venue:
Radiant Vermin | β˜…β˜…β˜…β˜… | September 2018
Three Shades | β˜…β˜…β˜…β˜… | March 2019

 

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Three Shades

Three Shades
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Ram Jam Records

Three Shades

Three Shades

Ram Jam Records

Reviewed – 3rd March 2019

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β€œwill remind you why you fell in love with bare-knuckle back room theatre in the first place”

 

Whereas it’s not always the case in one-person shows, the solitary nature of this production amplifies and sharpens the performance. Sarah Woodruff animates three delightfully detailed characters who sit inexplicably well together as diminutive or transparentised versions of some other real person: three shades.

Woodruff enters from the back, barefoot, and is revealed to be the ghost of a slaughtered Roma lady who resolves to haunt those who murdered her. The material proceeds chronologically – then to a contemporary divorcee who, as she handles the breakdown of a marriage, threatens her home wrecking dog walker. Finally, there is a β€˜Girlie’ robot serving as a geriatric carer – overjoyed and not saddened by its possible β€˜decommissioning’.

James Kemp directs Woodruff well, and there is careful attention paid to the missing half of each conversation. Where the typical one-person show has large actor shaped holes on stage and in the dialogue, Three Shades uses timing and glances to allow the missing characters to almost speak on their own terms.

This idea of people flattened out by death, by loss, and by design was original and refreshing but, at times, delivered with modest stinginess. The ideas contained within were novel, but there was a little voice whispering β€˜so what?’ in my ear. A forty five minute running time is brave and humble, but when the ideas were this different it’s fair to come back, bowl in hand, uttering β€˜Please sir, can I have some more’.

For those of you who β€˜do’ Fringe Theatre, Three Shades (and the lovely and characterful Ram Jam Records) will refill wells which have drawn dry by lesser productions. There’s a precious joy in art that makes you reflect on other work and say β€œoh that’s what they were going for.” Just one actor suddenly is the right artistic choice and gives the people on stage the focus and time they deserve. The quirky humour of a husband-stealing dog walker suddenly isn’t because the writer couldn’t think of a proper joke, but instead serves to alienate and abstract the figure we see before us.

Woodruff’s thoughtful script attended by her tremendously dextrous performance will remind you why you fell in love with bare-knuckle back room theatre in the first place.

 

Reviewed by William Nash

 


Three Shades

Ram Jam Records

 

Previously reviewed at this venue:
Radiant Vermin | β˜…β˜…β˜…β˜… | September 2018

 

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