Tag Archives: Sasha Frost

The Understudy

★★★★

Online

The Understudy

The Understudy

Online via www.theunderstudyplay.com

Reviewed – 20th May 2020

★★★★

 

“Recorded in isolation, it is propelled by a cast that comprises the cream of the crop”

 

Of all his novels, David Nicholls has said that “The Understudy” is the one he most yearns to rewrite. Those familiar with the book would possibly balk at this show of modesty. It is true that it has been unfairly overlooked in the shadow of his better-known works, but it deserves more of the spotlight. The gentle, self-deprecating humour, laced with a sharp and cutting wit that can only come from experience, casts an astute eye over the ‘theatrical life’; taking us backstage and beyond.

For eight years Nicholls trod the boards himself. He was a failed actor, he admits, his career on a steep downward path. We somehow get the feeling he’s being too hard on himself, but his natural skills as a writer turned that failure into success and, with luck, his story can take centre stage now with its revival as a streamed, online radio play. Released in two parts, it is adapted by Henry Filloux-Bennett in response to Covid-19 thwarting the fully staged production. With director Giles Croft at the helm it is a wonderful homage to an industry under threat and reaffirmation that it has no alternative but to survive. (Consequently, all proceeds from the play go to theatre charities).

The story revolves around actor Stephen McQueen (no, not ‘that’ Steve McQueen); divorced, down on his luck and waiting in the wings for that big break. His ex-wife has given up waiting long ago, while his daughter wonders when he will get a proper job. McQueen’s luck looks set to change when he lands a job understudying the vane but talentless film star, Josh Harper, in the West End. He covets the leading man’s job, but unfortunately, he covets his wife too. When he sees an opportunity to steal both, things can only go horribly wrong.

Recorded in isolation, it is propelled by a cast that comprises the cream of the crop. You can almost ‘hear’ the twinkle in Stephen Fry’s eye as his affectionately sardonic narration weaves through the action; while Russell Tovey epitomises the hapless McQueen. Sarah Hadland, as ex-wife Alison, floors him with her sarcastic punches, but with her skilled shifts of tone can pick him up again with real affection. Josh Harper is suitably arrogant and wonderfully observed in Jake Ferretti’s portrayal. With Emily Atack as his love interest (on and off stage) and Sheila Atim as his intellectually and morally superior wife, they are all supplemented by a fine supporting cast.

The in jokes that litter the script will appeal beyond the theatre profession. Although those on the inside will be familiar with the mantra ‘Acting is Reacting’. It is hard to know whether the foreknowledge that each actor was recording their lines alone in their own homes affects our listening, but we are often all too aware of the isolation. There is a sense of detachment within the flow of dialogue and, inevitably, there will be a lack of chemistry. Nevertheless, with the editing skills and the addition of sound and music from Alexandra Faye Braithwaite, Annie May Fletcher and Sophie Galpin the show stands out as an excellent radio play in its own right. Even though it whets the appetite for the (hopefully) eventual fully staged production, it doesn’t seek to replace the live experience. This rendition of “The Understudy” succeeds in its own right and can, at least for now, step out to steal its own few moments in the spotlight.

Reviewed by Jonathan Evans

 


The Understudy

Part One available from 20th May Part Two from 27th May with both parts available for a month

Online via www.theunderstudyplay.com

 

 

Last ten shows reviewed by Jonathan:
Message In A Bottle | ★★★★ | Peacock Theatre | February 2020
Musik | ★★★★ | Leicester Square Theatre | February 2020
Nearly Human | ★★★ | The Vaults | February 2020
Tell It Slant | ★★★ | Hope Theatre | February 2020
The Importance Of Being Earnest | ★★★½ | The Turbine Theatre | February 2020
Closed Lands | ★★★ | The Vaults | March 2020
Max Raabe & Palast Orchester | ★★★★★ | Cadogan Hall | March 2020
The Kite Runner | ★★★★ | Richmond Theatre | March 2020
The Last Five Years | ★★★★ | Southwark Playhouse | March 2020
A Separate Peace | ★★★★ | Online | May 2020

 

Click here to see our most recent reviews

 

Time is Love

Time is Love
★★★½

Finborough Theatre

Time is Love

Time is Love

Finborough Theatre

Reviewed – 4th January 2019

★★★½

“Atim and Akuwudike particularly stand out as being well cast and effortlessly engaging”

 

Set against the dark, urban landscape of modern-day Los Angeles, ‘Time is Love’ is Chè Walker’s new play making its British premiere this year at the ever-intriguing and inventive Finborough Theatre. It’s a tense, urban noir, swerving in and out of lap dancers’ dressing rooms, brothels and police interrogation rooms, making effective use of video and an edgy, percussive score by Olivier award-winning Sheila Atim (who also stars).

Flicking between 2016 and 2019, we are made aware of an impending “catastrophe” by narrator-cum-prostitute Serena (Sasha Frost) that will rock the lives and of Blaz (Gabriel Akuwudike) and his long-term girlfriend Havana (Jessica Ledon). Back in 2016, Blaz is imprisoned for three years, taking the fall for childhood friend and partner-in-crime Karl (Benjamin Cawley). In the three years that follow, Karl and Havana jostle for Blaz’s heart, with Havana ‘playing away from home’ with crooked cop Seamus (Cary Crankson). Sheila Atim’s lap-dancer Rosa offers comfort and wisdom through the smog.

Filled with excellent acting, the ensemble’s characterisations create a convincing image of the Los Angeles underworld. Atim and Akuwudike particularly stand out as being well cast and effortlessly engaging. However, the production has some failings that centre around Walker’s script and direction. A large white screen plays canvas to filmed footage that underscores most scenes, but too often the footage simply shows us the action of the scene ‘on location’ and can be distracting. More interesting is when we see Havana enact violent revenge on an unsuspecting lap-dancer. When film shows us something we cannot see on stage, it really proves its worth.

Too many scenes are created by two characters entering a space and talking. This sometimes works, but with a script littered with lengthy, exposition-heavy monologues, it is easy to lose interest. Walker has a unique take on a classic tale of betrayal, and the world he creates is certainly intriguing, but the focus seems uncertain at times. Los Angeles is a patchwork of people and stories, but we need more as an audience to find these disparate characters worth our time.

Overall, Walker has gathered a stunning ensemble and built a convincing, urban world on stage, but currently it just falls short of being brilliant.

 

Reviewed by Joseph Prestwich

Photography by DWGH Photos

 


Time is Love

Finborough Theatre until 26th January

 

Last ten shows reviewed at this venue:
The Biograph Girl | ★★★ | May 2018
Finishing the Picture | ★★★★ | June 2018
But it Still Goes on | ★★★★ | July 2018
Homos, or Everyone in America | ★★★★ | August 2018
A Winning Hazard | ★★★★ | September 2018
Square Rounds | ★★★ | September 2018
A Funny Thing Happened … | ★★★★ | October 2018
Bury the Dead | ★★★★ | November 2018
Exodus | ★★★★ | November 2018
Jeannie | ★★★★ | November 2018

 

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