Tag Archives: Roger Alborough

Cops

Cops

★★★

Southwark Playhouse

Cops

Cops

Southwark Playhouse

Reviewed – 17th January 2020

★★★

 

“Sometimes it’s like a fine vintage wine, in other places, it’s dusty and antiquated”

 

Southwark Playhouse starts the new year Stateside as it transports us over to the Windy City. Cops, a new play by Tony Tortora, focuses on personal conflicts and professional unrests.

Chicago, 1957. A time and place where change and betterment is on the horizon in every aspect of society. But the murky underworld of Mafia crime and dirty police corruption is hard to erase. Stan (Roger Alborough), Rosey (Daniel Francis), Eulee (James Sobol Kelly), and Foxy (Jack Flammiger) work together in the Police Department. They may be of different ages, ethnicities and social standings, but their joint disgruntled attitudes towards the work and each other bonds them together. They’re on the hunt to bring in a gangster-come-star witness, before the Mob gets their hands on him. However, the operation soon becomes trickier as the cops get more entangled in the thickening plot, whilst their lives and relationships with each other begin to crumble.

There’s definite Arthur Miller-type undertones to Tony Tortora’s writing. Stan, for example, is a downtrodden everyman, with only his job to live for, much like Miller’s Wille Loman from his masterpiece Death of a Salesman. Yet, like Foxy who yawns during a long all-night stake out, it’s hard to not want to do the same at times. The stake out scenes in particular move at a dirge-like pace. The dialogue may be fast moving, but any physical, engaging action comes in dribs and drabs. The storyline of mob violence and corruption in the police department promises being full of grit and suspense but is rather lacklustre in final execution. Tortora is excellent at nailing the vernacular and true day-to-day movements of a 1950’s cop, but for theatrical purposes, this doesn’t translate into being engaging enough.

Where Tortora and director Andy Jordan do shine is the examination of interactions between the intergenerational, interracial work colleagues. The office offers a dissection of society at the time. The throwaway un-PC comments, and racial nicknames flung around by Stan, reminds you how much things have changed since 1957, but also how relevant social injustice still is today.

The cast give near-faultless performances as each and everyone one are believable and truthful in their delivery. From the scenes of bantering office talk, to introverted moments of opening up their hearts, they balance the fine line between the two with utmost precision.

The set (designed by Anthony Lamble), accurately captures the look of an American cop shop of the 1950’s. Maps, documents and photographic evidence plaster the walls. Archaic ash trays are dotted everywhere. The four detectives have their own desk. A charming, subtle touch from Lamble is that each workspace is arranged in the style of each characters personality. Stan’s is messy and full of paperwork, Rosey’s impeccably clean and organised. The back half of the stage is exposed brickwork and undecorated windows, making the transitions from office to stake-out in an abandoned warehouse run smoothly.

As contradictory as it sounds, this is a refreshingly traditional piece of new work. Cops examines masculinity in a classical style and structure that is fitting of the time period the play is set. Minus some in-jokes for the modern day audience, the play feels like it could have been written sixty years ago – for better and for worse. Sometimes it’s like a fine vintage wine, in other places, it’s dusty and antiquated. Authenticity is clearly the driving force, meaning captivating, gripping action is sadly put on the back burner.

 

Reviewed by Phoebe Cole

Photography by Robert Day

 

Cops

Southwark Playhouse until 1st February

 

Last ten shows reviewed at this venue:
Oneness | ★★★ | May 2019
The Curious Case Of Benjamin Button | ★★★★★ | May 2019
Afterglow | ★★★½ | June 2019
Fiver | ★★★★ | July 2019
Dogfight | ★★★★ | August 2019
Once On This Island | ★★★ | August 2019
Preludes | ★★★★ | September 2019
Islander | ★★★★★ | October 2019
Superstar | ★★★★ | November 2019
Potted Panto | ★★★★ | December 2019

 

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The Lesson – 4 Stars

Lesson

The Lesson

Hope Theatre

Reviewed – 27th September 2018

★★★★

“The dialogue, in the hands of the accomplished trio of actors, is music (sometimes thrillingly discordant) to the ears throughout”

 

Written in 1950, Eugene Ionesco’s “The Lesson” has lost none of its strangeness, nor its resonance. It exemplifies what has been coined ‘Theatre of the absurd’ of which Ionesco is master. A powerful three hander it beats to the palpitating rhythm of a macabre merry-go-round upon which the archetypal characters of the Professor, the Pupil and the Maid are fated to ride.

The Maid is busy mopping the floor of the Professor’s study as the audience take their seats. A seemingly innocuous pre-show. For those familiar with the play, I don’t need to state its significance; and for those unfamiliar, I won’t. So let the lesson begin. The Maid fussily withdraws having ushered in the new Pupil. It gets off to a smooth start but it’s not long before the Professor becomes increasingly frustrated with his protégé’s inability to grasp the rudiments of mathematics. Roger Alborough wastes no time establishing his stage presence with a performance that is chillingly playful. But playful in the way a predator teases with its prey.

Sheetal Kapoor is quite extraordinary as the Pupil, transforming from compliant, naïve schoolgirl into a shattered marionette. As her enthusiasm for the lesson deteriorates her toothache increases; clearly a metaphor for her psychological pain. In fact, the whole play is a metaphor, a cautionary tale for today, further exemplified by Joan Potter’s Maid who repeatedly has to clean up the mess. Potter makes the sinister aspects of this play quite palpable with an understated performance pitched with just the right amount of irony. Yes, it’s gruesome but, hey, it’s absurd so it’s okay to laugh.

Donald Watson’s translation is further heightened under Matthew Parker’s slick direction. The dialogue, in the hands of the accomplished trio of actors, is music (sometimes thrillingly discordant) to the ears throughout. Repeated banalities, unshackled illogicality and non sequiturs all compete for air time. Comedy and violence, absurdity and disturbance, mystery and fear all go hand in hand; so the audience’s reactions are varied. While some are laughing, others are recoiling in horror.

The experience is sharpened by the confines of the space. Encased in the round, neither the actors nor the audience have room to escape, and there’s even less room for a fourth wall. Although the cast never address the audience directly we are drawn into the impossible dialogue: there is no barrier between us and them, between reality and fantasy, which intensifies the unnerving quality of the writing. Simon Arrowsmith’s filmic sound design adds the final layer; a gossamer cloak of atmosphere that fits the action perfectly.

Gripping through to the final scene in which the absurdity pours over the action like blood from a knife wound, “The Lesson” has something to teach us all. And this production at the Hope Theatre is, without a doubt, a high-grade lesson in theatre making.

 

Reviewed by Jonathan Evans

Photography by LH Photography

 


The Lesson

Hope Theatre until 13th October

 

Previously reviewed at The Hope:
My Gay Best Friend | ★★★★★ | January 2018
Foul Pages | ★★★ | February 2018
Moments / Empty Beds | ★★★★ | February 2018
My Evolution of the Cave Painting | ★★★★ | February 2018
Our Big Love Story | ★★ | March 2018
Cream Tea & Incest | ★★★★ | April 2018
Adam & Eve | ★★★★ | May 2018
Worth a Flutter | ★★ | May 2018
Cockamamy | ★★★★ | June 2018
Fat Jewels | ★★★★★ | July 2018
Medicine | ★★★ | August 2018
The Dog / The Cat | ★★★★★ | September 2018

 

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