The Lying Kind
Ram Jam Records
Reviewed β 1st December 2019
β β β
βPurposefully lacking in festive cheer, there is still plenty to cheer forβ
Not seen in London since 2002, Anthony Neilsonβs βThe Lying Kindβ 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 Neilsonβs reputation for shocking his audience donβt 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 youβll get.
The script promises few tidings of joy, but this production bears them in abundance; led by the team that brought Philip Ridleyβs βRadiant Verminβ to the same venue last year. Although only their second production, The Kingston Theatre Company β formed by producer/actress Joy Bowers and director Erica Miller β are proving to be a vital asset to fringe theatre on the outskirts of the capital. For βThe Lying Kindβ, 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 officersβ 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 audienceβs 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 β quite literally β 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 Neilsonβs 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 donβt cover up is the underlying adage that it is always better to tell the truth. If you want a quiet life that is: Neilson doesnβt want to get too schmaltzy with his message. So, if you want to avoid the usual Christmas message this year, βThe Lying Kindβ 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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