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Review of Jamaica Inn – 5 Stars

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Jamaica

Jamaica Inn

Tabard Theatre

Reviewed – 10th November 2017

★★★★★

“A faithful adaptation of the book executed with a boldness and flair all its own”

 

I was intrigued to see how a story carved from the expanse of the desolate Bodmin Moor and battered by wild wind and rain could be told in the intimate setting of the Tabard Theatre. The dim, misty lighting and Maira Vazeou’s set design – simple, yet containing the essential elements of the surrounding marshland and stark life – beautifully foreshadow this gothic tale by Daphne du Maurier. Set in the 1820s, it follows young Mary Yellan, recently orphaned, as she arrives at Jamaica Inn to stay with her aunt and uncle. Her headstrong nature embroils her in its sinister secrets and deceptions which she neither wants to discover, nor can resist.

Lisa Evans’ adaptation is impressively close to the novel, keeping much of the original dialogue and drama to maintain the suspense and balance. The small space is used to create a sense of claustrophobia and isolation, leaving the outside to rely more heavily on the imagination. The cast is excellent with an especially spell-binding performance from Helen Bang as Aunt Patience, while Anastasia Revi’s direction grips the attention from beginning to end through the ingenious use of props, movement, sound and character detail.

Kimberley Jarvis as Mary captivates the stage, often in tightly choreographed scenes which recreate the action and texture of the book and there is an effective interplay with her thoughts skilfully woven into the soundscape. The bullying figure of Uncle Joss, played by Toby Wynn-Davies, swings frighteningly from aggression to ominous charm, and Peter Rae portrays an intriguing Frances Davey, the local vicar.

On a technical level, the performance uses imaginative lighting (Ben Jacobs) and slick, original stage management. The sound design is a tour de force and the music, composed by Jonathan Bratoëff, enriches the work with both instrumental passages and songs, though occasionally this detracts from the harshness of the content. It is quite an achievement that only once does the space hinder the dramatic impact of the play, at the story’s denouement following a powerful build-up of tension. In addition, the short interaction between Mary and Mrs Bassat could have been a more engaging contrast to the surrounding urgency had Phoebe Hyder’s role been better defined.

Truly enjoyable and befitting the long, dark winter evenings, this production of Jamaica Inn blends fine acting with artistic allure and technical mastery. A faithful adaptation of the book executed with a boldness and flair all its own.

 

Reviewed by Joanna Hetherington

Photography by Panayis Chrysovergis

 

 

JAMAICA INN

is at the Tabard Theatre until 2nd December

 

 

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Gilgamesh

Gilgamesh

White Bear Theatre

Reviewed – 12th October 2017

⭐️⭐️⭐️

 

“combines some excellent dramatic performances with some interesting physical theatre”

 

Written by Piers Beckley and directed by Ray Shell, this was a brave attempt to retell the story of Gilgamesh, the Sumerian demigod of superhuman strength who built the citadel of Uruk to defend his people. The original story is found in the Epic of Gilgamesh, a poem which is cited as the first great work of western literature and is thought to have been written between 2150 and 1400 BC.

This production combined some excellent dramatic performances with some interesting physical theatre. However these were joined by some points of a less impressive nature. The character of Enkidu, the wild man sent to humble Gilgamesh, stood out as one of the better elements. Played by Toby Wynn-Davies his convincing performance gave weight to the production as a whole. This, together with a solid performance by Luke Trebilcock as Gilgamesh, provided the show with two strong central characters.

The sex scene between Shamat, played by the Countess Alex Zapak, and Enkidu was somewhat spoilt by unnecessary post-coital singing. In contrast, Enkidu’s rejection by the natural world after he had become ‘civilised’ was both thought provoking and performed with true feeling. The developing relationship between Gilgamesh and Enkidu is also sympathetically and subtly portrayed as is Gilgamesh’s grief when Enkidu dies.

Some of the aspects of physical theatre were well executed. Scenes which stood out were the forest with its clever sound effects, the use of twigs in the portrayal of scorpions and the ark during the flood scene. Occasional live music added atmosphere and more texture to the piece.

This quest for eternal life portrayed most elements of a true saga – the perilous journey, fighting the mythical beast and the crossing of the uncrossable river but the message we were left with at the end was unclear. Gilgamesh did not return to Uruk triumphant, so was the message that eternal life is, after all, unattainable? Was it that knowledge is the source of evil and unhappiness and turns us against nature, or was the message finally that the love between two men is a powerful force?

 

Reviewed by Holly Barnard

 

 

GILGAMESH

is at The White Bear Theatre until 21st October

 

 

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