Richard Keightley Archives - thespyinthestalls.com

★★★★★

“A deliciously haunting production from a plucky and dedicated theatre”

It’s late summer, a stifling atmosphere pervades the Kentish home of the Ardsley family, all of whom are in some way affected by the ending of the Great War. Whether by injury, hasty marriage, stagnating economy or the stultifying culture of abandonment dressed up as just getting on with things, each face a future of anxiety and diminishment. Only the youngest, Lois, seems to have escape routes, though none without penalty.

Somerset Maugham’s angry and sullenly anti-war work, premiered in 1932, was not deemed a huge success, despite or because of its scathing lines satirising attitudes to returning combatants. Over time the drama’s unblinking appraisal of human motivations led to more literary critiques and a smattering of recent revivals. Opening the Jermyn Street Theatre’s Memories Season, at a time of when England is again wracked by change and the younger generation must again face shrinking horizons to a chorus of entreaties to be optimistic, it fits like a well-made suit, though modern parallels are thankfully not forced.

The set by Louie Whitemore establishes a world of tennis and tea on the lawn very much as the writer intended and, as the action ensues, Emily Stuart’s beautifully tailored period costumes underline the sense of a moment in time, perfectly preserved. Diane Fletcher as the weary matriarch, Charlotte, portrays with precision the slow acceptance that nothing seems to matter anymore; every glance and micro-expression accumulating dejection.

The four Ardsley children all have different reasons to feel frustrated in their pursuit of a meaningful life and after the interval the masterful writing chillingly depicts how human nature turns venal as a consequence of being starved of options. All performances do their bit for the cause. Richard Keightley is particularly unerring in his performance of the war-blinded, still fragile but chipper Sydney Ardsley, but no character is overplayed, which only makes their suffocating predicament more so. Even the lower class, drunken oaf, Howard played by Burt Caesar restrains his boorishness, slurping beer in noisy measured gulps, advancing on young Lois in the same methodical way, using the sinister wartime logic of enjoying life while you can, alarmingly transposed to peace time. Sally Cheng as Lois, Rachel Pickup as Eva Ardsley and Jotham Annan as Collie Stratton follow suit, politely unravelling their tragic prospects at the same rate with varying degrees of brittle cheerfulness.

Direction by the theatre’s Artistic Director Tom Littler is subtle, possibly unadventurous, but in doing so, he allows the mounting frustration to moulder into angst and finally to a very English version of hysteria, all at an insidiously clockwork pace, marked by distant church clock chimes, refilled whisky and sodas, tea and the dropping apples and rose heads. We feel we are watching England decline before us in real time. A deliciously haunting production from a plucky and dedicated theatre celebrating its 25th anniversary.

Reviewed by Dominic Gettins

Photography by Robert Workman

Pictures of Dorian Gray – D

Jermyn Street Theatre

Reviewed – 12th June 2019

★★

“this Dorian-meets-Dracula interpretation has left the story drained of its lifeblood”

Oscar Wilde’s The Picture of Dorian Gray – about the beautiful young man whose portrait grows old and marred over the years, while he remains a picture of innocent youth – is famous enough to be familiar even if you haven’t read it. The novel doesn’t lend itself well to the stage, and it’s an ambitious choice for an adaptation. Unfortunately, Tom Littler and Lucy Shaw’s one-note show doesn’t capture the complexity of Wilde’s writing.

Directed by Littler and adapted by Shaw, Pictures of Dorian Gray is titled in the plural to reflect its twist: the cast rotates through four different performances (‘Pictures’), gender swapping Dorian (Stanton Wright or Helen Reuben), Wotton (Richard Keightley or Augustina Seymour), Basil (Rueben or Wright), and Sibyl Vane (Seymour or Keightley).

The performances are strong all around – Reuben (Picture D) stands out for her portrayal of Dorian’s gradually souring innocence. However, the characters, and the intrigue around their gender-swapped dynamics, are drowned by Littler and Shaw’s heavily stylised presentation, which focuses solely on the darkness in Wilde’s story at the expense of all other elements. The aesthetic is gothic horror. The set is a sparse, black room with stark hanging lights and gothic mirrors (William Reynolds). The costumes are Victorian-influenced black robes (Emily Stuart). Disappointingly, this Dorian-meets-Dracula interpretation has left the story drained of its lifeblood. I found myself regularly reaching back to the novel for its colour and humour to contrast the hollow, unvarying bleakness of the production.

The characters who aren’t in scene slowly pace the edges of the stage, interspersing the dialogue with monotone prose from the novel, or blankly chanting scrambled, dissociated quotes. The constant repetition of echoing words – “Books. Mirror. Realism. Art. Art. Art.” – is grating and meaningless. The effect is a joyless, alienating tone. A few half-hearted chuckles from a handful of audience members survive the cleansing, but mostly the production dispenses with what is entertaining and engaging in favour of being confrontationally cold. Wilde would be the last person to take himself as seriously as this show wants to.

There’s plenty of darkness in Wilde’s works, but it’s insidious. In his plays, he slips his criticism into the comedy like razors. In The Picture of Dorian Gray, it takes a while to realise it’s a horror story. His writing lures you in with its warmth and humour, pretty dresses and lovely gardens. He’s still making light, witty jokes in the final chapters. Wilde is never straightforward. He’s very funny when he’s serious, and sincerity is his way of being playful. Littler and Shaw have missed this entirely.

In its attempt to stuff the story into a simplistic, one-note horror box, Pictures of Dorian Gray has stripped away the humour, the subtlety, the contradictions, all of Wilde’s colours, and left only black. It’s necessary to remember the original Dorian Gray is hugely enjoyable, even if Littler and Shaw want to argue it isn’t.

Reviewed by Addison Waite

Photography by S R Taylor

Pictures of Dorian Gray – D

Jermyn Street Theatre until 6th July

The cast switch roles at different performances, giving you a choice of four versions: A – Male Dorian with male Wotton, B – Male Dorian with female Wotton, C – Female Dorian with male Wotton and D – Female Dorian with female Wotton. See Jermyn Street Theatre website for dates each version is performed.

Jermyn Street Theatre

Reviewed – 6th September 2019

★★★★★

“A deliciously haunting production from a plucky and dedicated theatre”

Reviewed by Dominic Gettins

Photography by Robert Workman

For Services Rendered

Jermyn Street Theatre until 5th October

Previously reviewed at this venue:

Jermyn Street Theatre

Reviewed – 12th June 2019

★★

“this Dorian-meets-Dracula interpretation has left the story drained of its lifeblood”

Reviewed by Addison Waite

Photography by S R Taylor

Pictures of Dorian Gray – D

Jermyn Street Theatre until 6th July

Last ten shows reviewed at this venue: