Tag Archives: Stephen Unwin

FARM HALL

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Theatre Royal Haymarket

FARM HALL at the Theatre Royal Haymarket

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“a fascinating reconstruction of what might have been said”

Last year’s Jermyn Street Theatre production of Katherine Moar’s cerebral play journeys the short distance down Haymarket to take up residence at the majestic Theatre Royal.

The title Farm Hall takes its name from the real Cambridgeshire country residence in which a number of Germany’s top physicists are imprisoned at the end of the war and where their every word is recorded and scrutinised. The play is a fascinating reconstruction of what might have been said and how such a collection of brilliant men may have behaved. With the central character of Werner Heisenberg in common, Moar’s fascinating first play invites comparison with Michael Frayn’s brilliant Copenhagen.

The action is set entirely in Farm Hall’s downstairs drawing room; a room that first appears luscious with antique mahogany furniture, polished floorboards, and a Persian rug in front of the open fireplace, until one’s eyes are drawn to the damp on the walls and the peeling wallpaper (Designer Ceci Calf). Everything is softly lit (Lighting Designer Ben Ormerod) exuding a gentle period feel.

The six scientists, impeccably dressed in suits and ties, sit and stand around. It transpires they are rehearsing a scene from Noel Coward’s Blithe Spirit just to fill the time. Later, we’ll see them reading, or playing chess or backgammon. One scientist amusingly sulks because they haven’t got Monopoly. There is surprisingly little talk about science. Director Stephen Unwin skilfully moves the six men around the room without ever hurrying the pace or making the room appear overcrowded.

At first it appears that the dashing WeizsΓ€cker (Daniel Boyd) is the group’s ringleader, controlling the group’s activities and its conversation, and then Von Laue (David Yelland, delightfully plummy) as the senior scientist. Like a group of public-school boys, they fantasise about pretty girls, there are petty rivalries, even some slight bullying of the generally disliked Diebner (Julius D’Silva) – the lone experimental physicist amongst a majority of theoreticals. The empathic Hahn (Forbes Masson) tries to see that everyone gets along and Bagge (Archie Backhouse) prickles that he has the most of all to fear for the future. The six actors are all excellent, the dialogue flows and we are drawn in, fascinated by their individual stories.

And then the tone changes, a large shadow is cast over the gathering as the Americans drop the first atomic bomb. Each man reacts differently, Heisenberg (a mightily impressive Alan Cox) simply won’t believe it. Hahn is inconsolable and hints at suicide. And the conversation turns from games to something more serious. Did they really intend to create a bomb for the Nazis or did they just pretend to? Heisenberg ambiguously admits that both could be true and as the group collect their suitcases on their eventual release they are now asking themselves the impossible question: What is truth? And that is one question too big for any short play to answer.

 


FARM HALL at the Theatre Royal Haymarket

Reviewed on 13th August 2024

by Phillip Money

Photography by Alex Brenner

 

 


 

Previously reviewed at this venue:

HEATHERS | β˜…β˜…β˜… | July 2021

Farm Hall

Farm Hall

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LAUGHING BOY

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Jermyn Street Theatre

LAUGHING BOY at Jermyn Street Theatre

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“Whilst moving, the piece lacks dramatic elements and at times feels more like a lecture more than a theatrical work”

Laughing Boy is a piece of Political Protest Theatre, which is theatre that arises from injustice and makes it clear it is protesting against it. It tells the true story of Connor or β€˜LB’, a learning disabled young man with epilepsy who died as a result of negligence and systemic faults in his care in 2013. His family campaigned and gave testimony as part of a lengthy legal battle. Written and Directed by Stephen Urwin, Laughing Boy is an adaptation of Sara Ryan’s book β€˜Justice for Laughing Boy’. The play uses video projection (Matt Powell) to display real reports and quotes from the legal case along with family footage .

Connor’s story is told by his family, primarily his mother Sara (Janie Dee), an Oxford academic who delivers details of Connor’s death and the parties involved with fury and wit. Her love for Connor burns through the play as she unapologetically rips into the architects of the family’s tragedy. In supporting roles are husband and father Rich (Forbes Masson), brothers Owen (Lee Braithwaite), Will, (Charlie Ives), Tom (Daniel Rainford) and sister (Molly Osborne). Connor (Alfie Friedman) sits expectantly, asking his mother what happened to him as his family chip in to parody the various uncaring faces. The cast portray a loving family who undergo gaslighting, victim-blaming and bureaucracy in the search of answers. We fall in love with Connor and as the family affectionately discuss him. I found myself thinking of the countless people and their families in my life who rely on services that failed Connor and felt their pain.

 

 

As far as stories go, Laughing Boy is a nightmare of devasting grief brought to life. It is told with the factual precision of an Oxford academic with tweets, reports and blog posts dissecting the events and circumstances of Connor’s death. As compelling as the story is, narratively it is anti-climactic and leans into telling us what happened instead of showing. It is mainly from Sara’s perspective despite Connor and other family remaining on stage throughout. Sara explains her actions, including how the online campaign negatively affected the court case, leaving no room for any conjecture or doubt. Nurses, social workers, support staff, defence lawyers and headteachers are painted as bleak, sarcastic and one-dimensional by the supporting cast, with some humour injected in their caricatured portrayal. At points it felt like a Panorama documentary interspersed with heart-breaking input from Connor as he questions where he is from beyond the grave. The play itself is referenced, as Sara remarks at how far the campaign has come.

The set (Simon Higlett) is simple and plain; four wooden chairs and a white curved cyclorama, evoking the austere environment of Slade House and also allowing the stage to be used for detailed projections . The use of the cast reflects this simplicity, miming props and setting, always returning to the base of family as they comfort each other in between impersonating other characters. Whilst moving, the piece lacks dramatic elements and at times feels more like a lecture more than a theatrical work. It serves its purpose at being informative and celebrating Connor as well as the success of the family’s campaign for justice. Laughing Boy calls to action on behalf of all who suffer as a result of underfunded disability services.

 


LAUGHING BOY at Jermyn Street Theatre

Reviewed on 1st May 2024

by Jessica Potts

Photography by Alex Brenner

 

 

 

Previously reviewed at this venue:

THE LONELY LONDONERS | β˜…β˜…β˜…β˜… | March 2024
TWO ROUNDS | β˜…β˜…β˜… | February 2024
THE BEAUTIFUL FUTURE IS COMING | β˜…β˜…β˜…β˜… | January 2024
OWNERS | β˜…β˜…β˜…Β½ | October 2023
INFAMOUS | β˜…β˜…β˜…β˜… | September 2023
SPIRAL | β˜…β˜… | August 2023
FARM HALL | β˜…β˜…β˜…β˜… | March 2023
LOVE ALL | β˜…β˜…β˜…β˜… | September 2022
CANCELLING SOCRATES | β˜…β˜…β˜…β˜… | June 2022
ORLANDO | β˜…β˜…β˜…β˜… | May 2022

LAUGHING BOY

LAUGHING BOY

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