Tag Archives: Stephen Kennedy

CROCODILE FEVER

★★★

Arcola Theatre

CROCODILE FEVER

Arcola Theatre

★★★

“The central performances belong to Tyler and Rooney. They are on fire.”

Crocodile Fever is a chaotic drama set in chaotic times about chaotic family relationships. Meghan Tyler’s play, first shown at the 2019 Edinburgh Festival Fringe, is enjoying its London premiere. It is set in a family household in Northern Ireland in 1989 – that is, in the midst of the ‘Troubles’, a euphemism for the violent conflict of the times.

Younger audience members (and even some not-so-young) might benefit from knowing something of the background and history of those times because there are references – for example the sinister memory of the ‘knock on the door’ in the night – that are easily missed yet will enrich understanding of the play.

What makes Tyler’s setting relevant are the underlying themes of oppression, abuse, dysfunctional sisterhood and casual horror. These are ably exploited by Arcola’s co-founder and artistic director Mehmet Ergan and his production team, and cannot help but recall other situations where these elements of war continue to be present. Altogether, however, it is hard to place the play neatly into a genre. Is it a metaphorical family drama, a black comedy or a grotesque absurdist play? Crocodile Fever defies categorisation, by intention.

The action opens in a pristine kitchen (set designer Merve Yörük deserves a mention) where pious sister Alannah (Rachel Rooney) is obsessively cleaning. She has tight control over her environment and wants to keep it that way, although we have early indications of a disturbed mind. Into this order, bursts Fianna (Meghan Tyler), out of a long term in prison and at the opposite end of the personality scale (apparently) to her sibling but wanting to renew their connection. She believes that their father died in a confrontation with the ‘paras’ (paratroopers) so is shocked to find out that he is, in fact, living: upstairs in the family home. Fianna is his long-suffering carer.

At this point any realism in the play starts to disintegrate, slowly but believably at first, and chaos takes over as the interaction between the sisters twists and turns helped by old songs, alcohol, quick fire dialogue and snatches of history that are hard to keep track of. We are on a track to horrible happenings. The father (brilliantly played by Stephen Kennedy) is the reptile in the attic and must be dealt with. His appearance towards the end of the first act is a shock. And from there on, there is a rapid descent of the action into gore and strange symbolism.

The central performances belong to Tyler and Rooney. They are on fire. Rooney, in particular, shows an extraordinary range of comic expression (a touch of the Mrs Doyle?) and, despite the absurdism, is then convincing in her portrayal of release and disintegration. She doesn’t let the flamboyant acting of Tyler as Fianna hog the limelight, as could so easily happen.

Yet, somehow I felt there should be a magnetism exhibited in the sister relationship (whether repelling or attracting) that somehow failed to materialise. It may be that the play, in dealing with so much, lacks a central focus and resolution. This could leave one feeling dissatisfied at the end; nevertheless, the overall impression is of a drama that is tackling big subjects in an innovative way so, if it loses its way a little, well isn’t that what happens in times of terrible conflict?



CROCODILE FEVER

Arcola Theatre

Reviewed on 23rd October 2025

by Louise Sibley

Photography by Ikin Yum


 

Previously reviewed at this venue:

THE POLTERGEIST | ★★★★★ | September 2025
RODNEY BLACK: WHO CARES? IT’S WORKING | ★★ | September 2025
SENSE AND SENSIBILITY: THE MUSICAL | ★★★★ | August 2025
JANE EYRE | ★★★★★ | August 2025
CLIVE | ★★★ | August 2025
THE RECKONING | ★★★★ | June 2025
IN OTHER WORDS | ★★★★ | May 2025
HEISENBERG | ★★★ | April 2025

 

 

CROCODILE FEVER

CROCODILE FEVER

CROCODILE FEVER

Review of Bare Essentials – 3 Stars


Bare Essentials – New Writing

The Arts Theatre

Reviewed – 16th July 2017

 

⭐️⭐️⭐️

 

 

“Less is More … “

 

 

Bare Essentials is essentially one of the most refreshing pieces of theatre to see in the heart of the West End. It aims to bring new writing to Theatreland, where exciting pieces of theatre are not only directed well, but also performed well.

Sometimes less is more, and this show is exactly that as there are no fancy sets, no flashing lights and no special effects. However, what makes Bare Essentials so special, is the incredible talent that is produced on such a minimalistic stage.

Bare Essentials

In under 2 hours, audiences were treated to 6 different performances, all lasting around 15 minutes and Stephen Kennedy’s ‘Should’ve Gone To Lourdes’, was a great way to start the show. The performance begins with two brothers arriving at a brothel in Amsterdam, where Chris is anxiously waiting for his appointment. He soon fears that things might not go according to plan as he is in a wheelchair, but his brother Brian reassures him and even jokes that he might get a discount because he’s disabled. Just before Chris goes in, his phone begins to ring and it is his Mum. Both boys begin to panic and Brian wonders if their mum has put a GPS tracker on Chris’s wheelchair.

This excellent piece of writing was outrageously funny and both actors, Eddie Usher and Edward Bell, performed brilliantly. This was very entertaining and it was a shame that it was only 15 minutes long. Bold, engaging, and funny, Kennedy’s hilarious new play has the potential to be very successful in the future.

Chekhov’s Gun written by Ben Beck, was not what I expected. Duncan Mason delivered an incredible performance as a young man who wanted to explore the possibilities of using a pistol on stage. He repeatedly said that the gun will be fired and someone in this theatre will die. Of course this didn’t happen, but Mason did an excellent job at convincing the audience that this could actually occur. What’s more, is that he soon begins to show concern over the shootings that have recently taken place in schools, malls and movie theatres, almost highlighting how horrific gun crime is in today’s society.

Towards the end of this piece, he puts the gun to his head and is soon dragged off stage, where a gunshot is then heard. Although this is very distressing and at times very uncomfortable to watch, Beck is highlighting a very important theme that needs to be addressed.

Roommates by Matthew Fowler was by far my favourite piece of the evening, as its clever concept, hilarious one-liners and brilliant acting made this very enjoyable to watch. Both Rebecca Hutchins and Phoebe Batteson-Brown, were excellent at playing unborn twins who were annoying each other in their mother’s womb. Molly reveals how she is fed up of her sister “hogging the placenta,” whilst Emily is annoyed at her sister for using the “umbilical cord as a skipping rope.” This hilarious play made me laugh from start to finish and I was very impressed with how well this was written. Being a twin myself, this certainly made me reminisce about the times my sister and I would deliberately wind each other up. Fowler has done an extraordinary job at writing such an innovative piece of theatre and deserves all the success that I’m sure this play will receive.

Overall, Bare Essentials is a great opportunity to see fresh new writing, where you can be laughing one minute and gasping at the next.

It’s definitely a show I will see again.

 

Reviewed by Jessica Brewer

Photography courtesy of Encompass Productions

 

Arts Theatre thespyinthestalls

 

BARE ESSENTIALS

was at The Arts Theatre on the 15th & 16th July

 

Bare Essentials thespyinthestalls

 

 

 

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