Tag Archives: Tennessee Williams

Midnight In Manhattan – 3.5 Stars


Midnight In Manhattan

Pentameters Theatre

Reviewed – 15th November 2018


“Newham and the rest of the production team have serviced these plays well. They are just right and never overdone”


Hidden in plain sight in an alleyway off Hampstead’s High Street, Pentameters Theatre takes its charming home, where it has lived for fifty years. Old photos of historic theatrical greats pave the walls; nooks and crannies are filled with books and records; and the seats in the front row are an assortment of armchairs. The venue itself is as much a part of the action as what takes place on its oblong-ish stage. I was welcomed and shown to my seat by founder Léonie Scott-Matthews. It felt like to be in the theatre was to be a part of a secret party of authentic live art devotees. I was rather captivated by it all before the show had even begun.

To celebrate their fiftieth anniversary, Pentameters are working their way through rather beautiful stagings of Tennessee Williams’ early one-act plays, which he produced with amazing frequency and facility. Midnight in Manhattan transports the audience to New York, to three unhappy and cursed marital and extramarital situations. Theatrical readings of two of Williams’ poems aptly punctuate the drama.

Subtle jazz selected by Sound Designer Lee Ryda created a seamless through line as one piece moved to the next. Godfrey Old’s set used the space effectively, creating a bedroom and a living area simply but distinctly. Attention to detail, such as the labels on the bottles either being removed or in period, would have made the design great. Each central woman in each play wore a silk dressing gown, which was a lovely touch. Old’s hand-drawn publicity design is perfectly in keeping with Williams’ style: reflective of reality, yet slightly dreamlike. Ollie Edwards’ lighting design was simple and effective, but a lamp or other form of onstage light would have added a further layer of intimacy.

Every Twenty Minutes has a sardonic humour, which Andrea Milton-Furtlotti and Richard Stephenson Winter played very well, by preserving the text’s genius depressing sincerity. However, to mount the irritable tension between the couple, silence between retorts could have been used more effectively, to justify the Woman’s sudden outburst at the Man. Milton-Furlotti, in a difficult role as the sidelined wife, fleshed out her performance by avoiding being too pathetic, which kept the tennis match with her husband more interesting. Ava Amande in The Pink Bedroom was the perfect balance of haughty and tragic.

Director Séamus Newham’s choice to double up the Man in Every Twenty Minutes with the Man in The Pink Bedroom and Joe Cartwright in The Fat Man’s Wife works very well, as this allows the texts to interrelate, and their poignancy to hit home. Therefore, the tantalising offer to the audience is that Amande’s character is the lover of the Man in Every Twenty Minutes, as well as of the Man in The Pink Bedroom. The silent characters in one play are allowed to speak in the next. Stephenson Winter’s performance in all three is expertly odious – we love to hate him as the poor women in his life do. And David Angland as the Woman’s Younger Man in The Pink Bedroom and Jessica Boyde’s younger admirer, Dennis Merriwether in The Fat Man’s Wife, represents the possibility of a heavenly escape for these trapped women. That they can only escape by another man’s possession reminds the audience of just how trapped they are. Angland plays Dennis with youthful energy and just a hint of the tortured.

In terms of quality of writing, complexity of situation and length of duration, Williams certainly builds up to the final play in the trio, The Fat Man’s Wife. This is also the only play in the trio Midnight In Manhattan where the characters have names – they are allowed to grow to being more than archetypes and metaphors of unhappy predicaments. Jessica Boyde is utterly hypnotic. Her performance stands out in this strong company of five by its nuance and tenderness. There is a brilliant moment where her husband unclasps her dress, and it is clear that the spark in their relationship is long extinguished.

Newham and the rest of the production team have serviced these plays well. They are just right and never overdone. Overall attention to detail in the staging and more time for pause in the first two plays would have fully realised the precise tragedy of Williams’ writing. But I recommend Midnight in Manhattan with confidence, and Pentameters with a happy heart.


Reviewed by Eloïse Poulton


Midnight In Manhattan

Pentameters Theatre until 2nd December


Previously reviewed at this venue:
Bad Hindu | ★★★★ | August 2018
A Glimpse of the Domesticity of Franklin Barnabas | ★★★ | October 2018


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And Tell Sad Stories of the Deaths of Queens – 4 Stars


And Tell Sad Stories of the Deaths of Queens

King’s Head Theatre

Reviewed – 15th August 2018


“a stunning piano and vocal set that frames the first act”


Seeing this passionate and surprising play by Tennessee Williams – unperformed during his lifetime – is reminiscent of a moment that happens towards the end of Russell T. Davies’ ‘A Very English Scandal’. “I can only speculate,” says Hugh Grant’s Jeremy Thorpe, referring to his relations with men before the decriminalisation of homosexuality in Britain, “but if you do know those men, George, then you know those nights and you know how those nights can end”. What follows is a snapshot of violent and volatile scenes of Thorpe picking up men, and a similar sense of threat and menace hangs over this beautiful and moving portrayal of oppressed male sexual desire by young director Jamie Armitage.

Ageing drag queen Candy Delaney (Luke Mullins) is nearing ‘her’ thirty-fifth birthday and picks up hot-headed sailor (George Fletcher) on leave for the weekend. Taking him back to her apartment, she offers him anything he wants, all at her expense, just for “some companionship”. Williams’ script is a touching and desperate back and forth filled with honest, risky confessions and financial bartering leading to a dramatically violent, yet familiar, end.

Brimming with emotion, Luke Mullins is an exceptional Candy. Starting off cool and confessional, he convincingly turns desperate and pitiful, and years of heartbreak and pain are readable in every look he gives. It’s a moving performance that makes Candy as the shows central figure so watchable. His upstairs tenants, two ‘queens’ played by Ryan Kopel and Joe Beighton, barge into the second act bringing a much-needed burst of energy, and, under Beighton’s musical direction, provide a stunning piano and vocal set that frames the first act. Armitage’s graceful use of light and colour create a beautiful pastel palette that evokes the heat and period, and choice blackouts create dread and drama at all the right moments.

For those familiar with Williams’ plays, “And Tell Sad Stories…” maintains the emotional weight of his most well-known works, and as a drama in two acts, leaves the audience desperate for more. This is just one of many ‘sad stories’, and the passions and drama on show here leave a lasting impression long after the final bow.


Reviewed by Joseph Prestwich

Photography by Henri T Art


And Tell Sad Stories of the Deaths of Queens

King’s Head Theatre until 19th August



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