Laundry

The Space

Reviewed – 9th January 2019

★★★

“well-paced, with a clear narrative arc and some terrific, playful moments of theatricality”

The premise of STARCHEDtheatre’s debut production is a simple one: five neighbouring women in 1950s East London live out their lives and loves over their laundry. The company has clearly done its research – there is a wealth of lovely period detail, including the wonderful moment when Connie (superbly played by Jade Dowsett-Roberts) paints on her nylons with gravy – and it is impressively-shaped for a devised piece; well-paced, with a clear narrative arc and some terrific, playful moments of theatricality. The company is clearly ambitious, which is to be applauded, and for the most part its boldness pays off. Sarah Carton clearly has a future in sound design, though the persistent presence of music did occasionally distract from the dramatic action on stage, and the first introduction of a contemporary dance beat into the score does take away from the power of the later intense, wordless washing sequence, in which the women pound their individual frustrations out, drenched in red light.

This sequence, as well as the other powerful ensemble moment, which brings the play to its close, are, unfortunately, only fully visible to the people in the front row, which is a serious flaw in the otherwise excellent production design. It really is a shame to have so much excellent work wasted, and the audience frustration in the second two rows was palpable. Doubly disappointing, this, when there is so much creativity to admire elsewhere in the production – the pleasing use of the sheets in George and Elsie’s wedding scene, and again in Elsie’s moving solo moment in the latter stages of the play, to name but two.

The development of George and Elsie’s relationship is tender and beautiful throughout, from its tentative early beginnings through to its poignant close, and credit must go here both to Harry Elliott and Olivia Baker, who bring a touching level of emotional truth to these two rather understated characters. There is some terrific acting talent on display throughout. Particularly notable are Duncan Mitchell’s Arthur – a picture of roguish charm, deceit and emotional hopelessness – and William Reardon’s explosive turn as John, full of repressed steel and thunder. Anna Hallas Smith also lends a good deal of psychological heft to Betsy, the piece’s agent provocateur and tragic heroine.

The action was managed deftly for the full seventy minutes, and the stage was always pleasingly alive – a particularly impressive feat given that, as per the lack of directing credit on the cast and crew sheet, the company appears to have directed itself collectively. Overall, Laundry is an impassioned and ambitious debut from this young company, bursting with talent and drive. It would be exciting to see where all this creative energy could go in the service of a more contemporary story – something which truly belongs to these performers – and this reviewer, for one, would be first in line for a ticket.

Reviewed by Rebecca Crankshaw

Photography by Henry Thompson

Laundry

The Space until 12th January

Last ten shows reviewed at this venue:

Asking For A Raise | ★★ | July 2018

I Occur Here | ★★★★★ | August 2018

Little Pieces of Gold | ★★★★★ | October 2018

Love is a Work In Progress | ★★★★ | October 2018

The Full Bronte | ★★★ | October 2018

Woman of the Year | ★★★ | October 2018

Little Women | ★★★½ | December 2018

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★★★½

“the performances are committed and energised”

‘Little Women’ is a much loved classic, and Rachael Claye’s adaptation is deeply true to the spirit of its inspiration. Warm and human and familiar, this is a play about family, about growing up, about leaving and about coming back together. Four young women live with their mother, each yearning for different things. Amy is an artist, Jo a writer, Beth a carpenter and Meg wants to make a difference in people’s lives. We meet them as they begin to encounter the world, caught between child and adult.

The cast is consistently strong. Miranda Horn as Beth is particularly lovely, natural and bright onstage. Sean Stevenson’s Laurie is playful and likeable, Amy Gough as Jo is earnest and fervent. In fact across the cast, the performances are committed and energised, and the familial relationships feel nothing but genuine. Jonathan Hawkins as the quirky Professor is a vibrant late addition to the play.

The script captures well what is so brilliant about the book, the relationships and characters are well sketched. However whilst very strong in many ways, it suffers from indecision. The narrative is supposedly set in modern day Crouch End but the dialogue fluctuates back and forth, sometimes genuinely contemporary, in other moments far more mannered and of its time. The ages of some of the characters also seems confused. Stephanie Dickson as Amy, for example, has been directed to play quite young complete with pigtails and a bow in her hair but is simultaneously applying to art school, an incongruence which is not believable.

The show is also a little too long. There are a couple of scenes that are unnecessary, if lovely, and the end, equally is not needed. The image of Beth and Jo together for the last time, of ‘Little Women’ forming in Jo’s mind, is one of both sadness and hope, and I don’t think we learn anything further from the action that follows that.

A Christmas classic, Claye’s 2018 adaptation of ‘Little Women’ is a charming joy to watch that just needs some tweaking to really situate itself.

Reviewed by Amelia Brown

Photography by Matthew Thomas

The Space

Reviewed – 9th January 2019

★★★

“well-paced, with a clear narrative arc and some terrific, playful moments of theatricality”

Reviewed by Rebecca Crankshaw

Photography by Henry Thompson

Laundry

The Space until 12th January

Last ten shows reviewed at this venue:

The Space

Reviewed – 6th December 2018

★★★½

“the performances are committed and energised”

A Christmas classic, Claye’s 2018 adaptation of ‘Little Women’ is a charming joy to watch that just needs some tweaking to really situate itself.

Reviewed by Amelia Brown

Photography by Matthew Thomas

Little Women

The Space until 15th December

Last ten shows reviewed at this venue: