Scott Rylander Archives - Page 3 of 10

Dark Sublime

Trafalgar Studios

Reviewed – 28th June 2019

★★★

“as the story unfolds, the main thread becomes a little tangled and indefinite”

There is a touch of Michael Keaton’s ‘Birdman’ as Marina Sirtis, best known for her role as Deanna Troi in ‘Star Trek’, takes to the stage to play a hard-working actress who, years on, can’t seem to shake the shadow of her biggest role.

An eager twenty one year-old fan (Kwaku Mills) turns up at the door of a jaded, middle-aged actress (Sirtis) to interview her about a cult sci-fi programme that she starred in decades before, and they strike up an unlikely friendship.

The main narrative is spliced with scenes from an unaired episode of ‘Dark Sublime’. Living room furniture doubles up as hammy spaceship tech as Simon Thorp darts about, speaking to his chatty computer (Mark Gatiss) via his wrist with great urgency. The switch between ordinary life and sci-fi sets us up for a fun paralleling of plotlines – presumably ‘reality’ will eventually dovetail with ‘fantasy.’
However, as the story unfolds, the main thread becomes a little tangled and indefinite, combining multiple subplots of unrequited love, professional frustration, generational differences, as well as the tie between the LGBTQ community and sci-fi. It’s a bit much to have all of this going on simultaneously.

Writer Michael Dennis was clearly trying to interlace plot points as much as possible, but it thins out the audience’s focus. Marianne’s unrequited love of her best friend Kate (Jacqueline King), for example, partially overshadows the crux of the story, and gives cause for an ill-fitting scene of somewhat cloying sentiment between Kate and her girlfriend Suzanne (Sophie Ward). This scene then gives way to another snippet of ‘Dark Sublime’, but the clash of genre is now slightly bizarre and distracting.

Similarly, the effective use of living room furniture as futuristic hi-tech is diluted when the living room also doubles up as a hotel conference or a park, with no prop changes beside the TV screen showing either a picture of Alexandra Palace or a conference logo (Tim McQuillen-Wright).

Andrew Keates’ direction places a particular emphasis on Oli’s initial draw to ‘Dark Sublime’ as a gay teenager in a small town looking for a necessary escape: the few times it’s mentioned, Oli is bathed in red light (Neil Brinkworth) and stands to deliver a short but dramatic homily. But there isn’t that much stress on this particular point within the script, so it seems a little out of sync.

Whilst there are a few quippy lines, there is often a sense that you have to be ‘in’ on the joke, which, I presume, I wasn’t. On the whole, Keates and Dennis have been overly ambitious and tried to squeeze far too much in. There are a lot of interesting aspects touched upon – the idea of fandom in relation to an actor’s reality for example, or the tie between the LGBTQ community and sci-fi – but I think they would be best served if they didn’t have to fight so much for focus and stage time.

Reviewed by Miriam Sallon

Photography by Scott Rylander

Dark Sublime

Trafalgar Studios until 3rd August

Last ten shows reviewed at this venue:

A Guide for the Homesick | ★★★ | October 2018

Hot Gay Time Machine | ★★★★★ | November 2018

Coming Clean | ★★★★ | January 2019

Black Is The Color Of My Voice | ★★★ | February 2019

Soul Sessions | ★★★★ | February 2019

A Hundred Words For Snow | ★★★★★ | March 2019

Scary Bikers | ★★★★ | April 2019

Vincent River | ★★★★ | May 2019

Click here to see more of our latest reviews on thespyinthestalls.com

★★★★

“Mahy’s performance perfectly condenses an unstable and volatile mix of anger, vulnerability, belligerence and dependence”

Philip Ridley is a playwright whose finger is always on the pulse, and even though “Vincent River” was written at the birth of this century it has lost none of its punch. Unfortunately, this has as much to do with how slowly society changes as it does with the timeless quality of the writing. During the last five years, homophobic hate crime has reportedly been rising. What is seldom reported is the aftermath: the personal story that this play heart-breakingly throws into the spotlight.

Anita is in her new flat, having been forced to flee her previous home. A youth has wandered in through the door into her living room. He is Davey, wearing a black hoodie, a black eye and an even darker obsession with Anita whom he has been stalking for months; ever since Anita’s son, Vincent, was murdered by thugs in a disused railway station’s toilet. Over the next eighty minutes, these two characters fight to understand themselves and each other. Played out in real time the audience are drawn in so much that we feel like the third character in this drama.

The rhythm and melody of Ridley’s dialogue is a gift for the two actors, and under the assured direction of Robert Chevara, the pulse never wavers. Thomas Mahy plays Davey like a dangerous dog whose threat of menace and aggression can be swiftly curbed with a flash of Anita’s bared teeth. Mahy’s performance perfectly condenses an unstable and volatile mix of anger, vulnerability, belligerence and dependence. Yet the undoubted force that drives this piece is the charismatic Louise Jameson, with her matchlessly poignant portrayal of a mother suffering her worst nightmare. A naked study of grief for the loss of a son that is believable throughout. Her raw pain is the skeleton upon which she drapes cloaks of humour, scorn and even tenderness. We are riveted right up to the climax when she finally rips through her armour with a blood curdling howl.

Jameson and Mahy circle each other like wild cats on Nicolai Hart Hansen’s simple and effective set that conveys Anita’s new flat with just a sofa, some unpacked boxes and quite a few opened bottles of gin. But beneath the humdrum stillness of the surroundings runs the vicious undercurrent of Vincent’s murder. The overall effect is hypnotic and electrifying. This is one of Ridley’s more accessible scripts, rooted in reality rather than veering off into the surreal promiscuity or gothic gratuitousness he is known for. But it is no less provocative – in fact its naturalism strengthens the message. The honesty of these performers makes us question the honesty with which we lead our own lives. Truth hurts – but we need that pain in order to start the healing process.

Reviewed by Jonathan Evans

Photography by Scott Rylander

Trafalgar Studios

Reviewed – 28th June 2019

★★★

“as the story unfolds, the main thread becomes a little tangled and indefinite”

There is a touch of Michael Keaton’s ‘Birdman’ as Marina Sirtis, best known for her role as Deanna Troi in ‘Star Trek’, takes to the stage to play a hard-working actress who, years on, can’t seem to shake the shadow of her biggest role.

An eager twenty one year-old fan (Kwaku Mills) turns up at the door of a jaded, middle-aged actress (Sirtis) to interview her about a cult sci-fi programme that she starred in decades before, and they strike up an unlikely friendship.

Similarly, the effective use of living room furniture as futuristic hi-tech is diluted when the living room also doubles up as a hotel conference or a park, with no prop changes beside the TV screen showing either a picture of Alexandra Palace or a conference logo (Tim McQuillen-Wright).

Reviewed by Miriam Sallon

Photography by Scott Rylander

Dark Sublime

Trafalgar Studios until 3rd August

Last ten shows reviewed at this venue:

Trafalgar Studios

Reviewed – 21st May 2019

★★★★

“Mahy’s performance perfectly condenses an unstable and volatile mix of anger, vulnerability, belligerence and dependence”

Reviewed by Jonathan Evans

Photography by Scott Rylander

Vincent River

Trafalgar Studios until 22nd June

Previously reviewed at this venue: