Tag Archives: Simon Slater

Cops

Cops

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Southwark Playhouse

Cops

Cops

Southwark Playhouse

Reviewed – 17th January 2020

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β€œSometimes 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 | β˜…β˜…β˜… | May 2019
The Curious Case Of Benjamin Button | β˜…β˜…β˜…β˜…β˜… | May 2019
Afterglow | β˜…β˜…β˜…Β½ | June 2019
Fiver | β˜…β˜…β˜…β˜… | July 2019
Dogfight | β˜…β˜…β˜…β˜… | August 2019
Once On This Island | β˜…β˜…β˜… | August 2019
Preludes | β˜…β˜…β˜…β˜… | September 2019
Islander | β˜…β˜…β˜…β˜…β˜… | October 2019
Superstar | β˜…β˜…β˜…β˜… | November 2019
Potted Panto | β˜…β˜…β˜…β˜… | December 2019

 

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Frankenstein

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Richmond Theatre

Frankenstein

Frankenstein

Richmond Theatre

Reviewed – 18th November 2019

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β€œThis production does breathe new life into Mary Shelley’s story with its inventiveness, but it perilously runs the risk of killing it too”

 

What’s the name of Mary Shelley’s monster? β€˜Frankenstein’ is the unanimous response. Wrong! Shelley never ascribed a name to the creature created by Victor Frankenstein, the scientist who meddles with nature. Although in Rona Munro’s stage adaptation the misnomer is given an extra twist as Munro places Shelley herself into the action. It is an interesting framing device that mirrors the story’s concerns: Shelley has created her own monster which, now set unleashed into the world, is beyond her control.

Eilidh Loan, as the young eighteen-year-old writer, is a feral creature herself with a lacerating energy, scratching words onto her pages as the tale unfolds around her. She is the writer, and the director, of her characters as she prompts and taunts, and is never kind to them. But there lies part of the problem – her grating Cockney detachment strips the drama of its sense of tragedy and sadness. You rather miss, too, the presence of Lord Byron and Percy Bysshe Shelley. It seems a shame to ignore the real-life story behind the conception of the dark tale, which is almost as famous as the novel itself. Maybe Munro’s intention was that we, the audience, were the ones cooped up with Mary in the chalet on Lake Geneva. Loan frequently spoke out to the auditorium as though she were being challenged to come up with her own terrifying tale. But lines like β€œIs it frightening enough?” or β€œIt’s my nightmare” are too simplistic to realise the effect.

Although the stilted characterisation and dialogue dampen the atmosphere, it is more than compensated for in Patricia Benecke’s foreboding staging. Becky Minto’s icy set of balconies and bare trees like withered lungs suggest the dread and despair, punctuated by Simon Slater’s bolts of sound that feed the melodrama. At times, though, the cast are forced to try to outdo the setting with occasional overdramatic delivery. Ben Castle Gibb, as Victor Frankenstein, is the most successful at avoiding this with a manic performance that captures the extremes of obsession without drumming home the point. Michael Moreland’s Monster bizarrely speaks like Kathy Burke’s own monstrous creations; Kevin and Perry, which doesn’t help lift him out of the cartoon like portrayal Munro has written for him, and the other characters.

Sprinklings of feminist anachronisms and modern-day analogies to ethnic intolerance, fear and prejudice border on patronising and melt the glacial force of Shelley’s original. Trying to balance the entertainment value with a subliminal sermon is unnecessary and it dilutes the power. This production does breathe new life into Mary Shelley’s story with its inventiveness, but it perilously runs the risk of killing it too.

 

Reviewed by Jonathan Evans

Photography by Tommy Ga-Ken Wan

 

ATG Tickets

Frankenstein

Richmond Theatre until 23rd November then UK tour continues

 

Previously reviewed at this venue:
Iolanthe | β˜…β˜…β˜…β˜… | May 2018
84 Charing Cross Road | β˜…β˜…β˜…β˜… | June 2018
Tom Gates | β˜…β˜…β˜…β˜… | March 2019

 

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