Tag Archives: Tim Mascall

The Ice Cream Boys

The Ice Cream Boys

★★★★

Jermyn Street Theatre

The Ice Cream Boys

The Ice Cream Boys

Jermyn Street Theatre

Reviewed – 11th October 2019

★★★★

 

“There’s never been a better time to make this study, and the Jermyn Street production does it with panache”

 

On 11th October 2019, two days after Jermyn Street Theatre opened its new production, newspapers reported that former President of South Africa Jacob Zuma was to stand trial for corruption charges in relation to billion-pound arms deals. Charges against Zuma are not new; these same charges had simply been held off until now.

This is all very timely for The Ice Cream Boys. The sweet name belies the murky political intrigue at its heart. The single act play posits a meeting between two architects of the rainbow nation’s modern history: Zuma and his former intelligence services mastermind, Ronnie Kasrils.

In Gail Louw’s new play, we’re asked to enter into the fantasy of Kasrils and Zuma meeting in the present day. They’re old men now, their paths crossing in a starched hospital room as they both await tests and treatments for the sorts of conditions that come to men in their eighties. Zuma reports that he’s slow to pass water (‘Prostate’, he says grimly) and Kasrils that he has a possible skin melanoma after ‘all that time in the sun’. But the men, former allies, have plenty of unresolved differences. Cue a complex but taut psychological interplay, as the pair play metaphorical (and literal) chess and debate lives spent steeped in divisions of race and class.

Set design (Cecilia Trono) is simple but clever, neatly invoking a clinical white hotel room that acts as a kind of purgatory. The men are left alone to spar but for occasional interruptions by their nurse – and their past. When history intrudes, often in the form of painful memories, lighting (by Tim Mascall) shifts, jarring back to the cool, sanitised hospital room after.

The two male leads – Andrew Francis as Zuma and Jack Klaff as Kasrils – hold the stage with astonishing personality. Klaff, especially, is spellbinding, using his whole physicality to invoke Kasrils and maximising his passing resemblance to the man. The South African accents, so often mangled, are almost faultless, and the charisma such that we find ourselves in a bind as to whether to warm to or despise these deeply flawed individuals.

It might be easy to overlook the third player here; Bu Kunene as Thandi, the nurse tending to her patients with increasing exasperation. The play has Thandi transforming into numerous other characters, appearing magically transformed each time – from Zuma’s mother to Nelson Mandela, Kunene delivers with skill and a quiet certainty. So understated is her performance, especially as an increasingly steely Thandi, and so in contrast to the bombast of the Zuma and Kasrils characters, that it shows a real talent for handling sensitive characterisation. It’s also essential to see a woman here, playing and representing the many women who were implicated and caught up in – and harmed by – the political and personal machinations of the men.

The politicians appear variously as children, laughing and singing in fond waves of nostalgia and petulant when denied ice cream, and as uncompromising despots debating solutions for their divided country. Each is misty-eyed at memories of the women who influenced them – but in the next breath, we’re graphically reminded of Zuma’s rape accusation (dismissed in court but presented as near-fact here, with Zuma barely bothering to deny it).

And this is the truth of politics; complicated, messy issues led by complicated, messy and perhaps ultimately irredeemable individuals. There’s never been a better time to make this study, and the Jermyn Street production does it with panache.

 

Reviewed by Abi Davies

Photography by Robert Workman

 

The Ice Cream Boys

Jermyn Street Theatre until 2nd November

 

Previously reviewed at this venue:
Original Death Rabbit | ★★★★★ | January 2019
Agnes Colander: An Attempt At Life | ★★★★ | February 2019
Mary’s Babies | ★★★ | March 2019
Creditors | ★★★★ | April 2019
Miss Julie | ★★★ | April 2019
Pictures Of Dorian Gray (A) | ★★★ | June 2019
Pictures Of Dorian Gray (B) | ★★★ | June 2019
Pictures Of Dorian Gray (C) | ★★★★ | June 2019
Pictures Of Dorian Gray (D) | ★★ | June 2019
For Services Rendered | ★★★★★ | September 2019

 

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Orpheus Descending
★★★★

Menier Chocolate Factory

Orpheus Descending

Orpheus Descending

Menier Chocolate Factory

Reviewed – 16th May 2019

★★★★

 

“Every moment between them is overflowing with nuance and tension, with a beautiful unpredictability as to how their relationship will develop”

 

The stage directions in the plays of the likes of Tennessee Williams and Arthur Miller are notorious for their length and level of detail – to actors, directors, and designers they can often feel like micromanagement of every aspect from the writer. Tamara Harvey’s production of Orpheus Descending defies the demands of the stage directions by instead having Valentine Hanson’s Uncle Pleasant speak some of them aloud. Amongst an unfocused opening, this comes off as a somewhat baffling choice, but key moments transfigure the function of the directions by weaponising them to make a stern point about the cyclical nature of hatred and fear within small-town communities, creating a rich and layered tapestry that delves directly into the human heart.

The titular Orpheus of Orpheus Descending is Valentine Xavier (Seth Numrich), a guitar-wielding, snakeskin-wearing drifter who has ended up in a small Southern town and is looking for work. Conveniently, Lady Torrance (Hattie Morahan) needs an extra hand at her general store since her husband Jabe (Mark Meadows) has fallen ill and although she’s reticent to employ an outsider, her decision to do so takes both her and Valentine on a passionate and ideological odyssey – albeit one threatened by the animosity from the rest of the town towards Valentine. The play grapples with a lot of hefty themes and ideas, chief among which seemed to be an exploration of outcasts and belonging – the clash of the townspeople who immediately dislike any intrusion into their tight-knit community with the free-spirited and open-minded nature of Valentine exposes the prejudices embedded into society and how can they affect even those who thought they were safe. In many ways, it operates as a microcosm for wider society and – sadly – still bears a lot of relevance today.

There are universally excellent performances on display here – even minor roles like Ian Porter’s Sheriff Talbott and Carrie Quinlan’s Nurse Porter carry a depth and gravitas that enrich the texture of their actions and dialogue. Jemima Rooper also does an incredible job as Carol Cutrere, another outcast whose circumstance and attitude serves as a smart counterpoint to Valentine. However, the abundance of praise must go to Numrich and Morahan as the central pair – the dynamic between the two is like a injection of rocket fuel directly into the bloodstream. Every moment between them is overflowing with nuance and tension, with a beautiful unpredictability as to how their relationship will develop; it’s never anything less than a total joy to watch the two interact.

Harvey’s direction and Jonathan Fensom’s minimalist design keeps the focus firmly on the performances, which is probably for the best given that there are so many – there are thirteen actors in the play, which results in an opening that’s quite chaotic and messy. It makes you wish the creative team had been as bold with presenting the most focused version of the play as they had with the stage directions, because once it does hone in on Valentine and Lady, Orpheus Descending is hauntingly seismic.

 

Reviewed by Tom Francis

Photography by Johan Persson

 


Orpheus Descending

Menier Chocolate Factory until 6th July

 

Previously reviewed at this venue:
The Gronholm Method | ★★★★ | May 2018
Fiddler on the Roof | ★★★★★ | December 2018
The Bay At Nice | ★★½ | March 2019

 

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