Tag Archives: ULTZ

A GOOD HOUSE

★★★★

Royal Court

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A GOOD HOUSE

Royal Court

★★★★

“The performances and the dynamics are gripping”

The time is now. The setting is the evocatively named small town of Stillwater which, we are told is located ‘wherever that may be’. Although it is clear we are in South Africa. But switch the accents and we could be anywhere in the world; from the Redneck belt of the Southern US to a provincial English backwater. The poignancy that oozes from Amy Jephta’s one act play, “A Good House”, is universal. The smalltown sensibilities that fester unchecked on a microscope slide are magnified into a thrilling and acerbic dissection of community politics. Bitter, sweet, dangerous and funny; it challenges and twists our expectations.

Sihle (Sifiso Mazibuko) and Bonolo (Mimî M Khayisa) are new to the area. They are getting to know relative old timers Chris (Scott Sparrow) and Lynette (Olivia Darnley). It is, in fact, two years since Sihle and Bonolo moved to the neighbourhood: a telling fact. A brief, highly charged prologue precedes the opening scenes in which Sihle and Chris first meet each other under different circumstances. It sets up the dynamics and highlights the innate and institutionalised racism that is embedded in the tarmac of the residents’ matching driveways. We think we are in Mike Leigh territory for a moment. Wine is slowly (alas too slowly) poured and polite conversation trips over awkward faux pas. But Jephta pulls it out by the scruff of the neck, while Nancy Medina’s direction cracks the whip, drives out the Pinteresque pauses and sends it galloping off through the overlapping dialogue.

Sparrow’s Chris is clumsily ‘right on’ and obsequious in the extreme. We quickly know that he can’t be trusted. Similarly, Darnley’s over-eager Lynette is a Cape Town Sloane Ranger – if such a thing exists. Sihle and Bonolo have sussed them out. A freeze-frame device intermittently sets certain characters in suspended animation while the others are free to vent the true feelings that lie hidden beneath the chit chat. The performances and the dynamics are gripping. Mazibuko fills the stage with the imposing figure of Sihle, seemingly – and only initially – compliant with the reactions provoked by his skin colour and background. Khayisa’s portrayal of the no-nonsense Bonolo is a master stroke that surprises us with some refreshingly unexpected views on society and race.

In their suburban community, a mysterious shack has sprung up – the inhabitants nowhere to be seen. Speculation abounds as to who is responsible for this eyesore, and with this speculation the petty bigotry feeds on itself and multiplies. Andrew (Kai Luke Brummer) and Jess (Robyn Rainsford) are the couple most affected, the shack being on their doorstep. Brummer and Rainsford are a perfect match depicting the ‘perfect suburban couple’ – in other words gauche and full of gaffes, embarrassing indiscretions, bigotry and fanaticism.

The shack, although a real structure, is also clearly an allegory. The anonymity of its occupants is seen as being dangerous. Fear abounds, naturally. The writing and the performances ridicule and make a mockery of it all, quite rightly, but also highlight the conflicts and the tensions. The petty prejudices cut far deeper than overt racism. We get a real sense of the institutionalised racism that breeds in these small-town minds that, if left untended, can grow like knotweed.

“A Good House” is a very modern satire. Its façade is a comedy but behind its closed doors lies quite a different story. If I were you, I’d think twice about borrowing a cup of sugar in Stillwater. But I wouldn’t think twice about seeing the play. Just be prepared to find splinters of glass mixed in with the sugar.

 



A GOOD HOUSE

Royal Court

Reviewed on 17th January 2025

by Jonathan Evans

Photography by Camilla Greenwell

 

 

 

 

 

Previously reviewed at this venue:

THE BOUNDS | ★★★ | June 2024
LIE LOW | ★★★★ | May 2024
BLUETS | ★★★ | May 2024
GUNTER | ★★★★ | April 2024
COWBOIS | ★★★★★ | January 2024
MATES IN CHELSEA | ★★★ | November 2023
CUCKOO | ★★½ | July 2023
BLACK SUPERHERO | ★★★★ | March 2023
FOR BLACK BOYS … | ★★★★★ | April 2022

A GOOD HOUSE

A GOOD HOUSE

A GOOD HOUSE

 

 

🎭 A TOP SHOW IN JULY 2024 🎭

SKELETON CREW

★★★★

Donmar Warehouse

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SKELETON CREW at the Donmar Warehouse

★★★★

“a subtle and quiet portrayal of people who feel real and vivid”

Not a lot happens in this play but that’s the crux of its genius. It elevates the everyday. It’s about everything and nothing.

Written in 2014 and first performed in New York in 2016, Skeleton Crew follows four workers in a car manufacturing plant in Detroit. A foreman and three floor workers. As their jobs are threatened, the quiet day to day of their lives unravel, with each facing the uncertainty of their future.

Watching the steady and inevitable disintegration of this department sounds bleak. Somehow, it’s not. The humanity and quiet kindness in these characters gives the audience hope. As the story slowly unfurls, it remains compelling and strangely optimistic.

Dominique Morrisseau’s script is tight. Each line oozes with character. Dancing between philosophy and banter, the dialogue snaps and sizzles. And she knows when to hold back. There’s power in what isn’t said. Matthew Xia leans into that silence in his direction. There are moments of stillness, of pause. Watching people get ready for work, alone, tells you so much about them.

Many of these moments are not silent, just without dialogue. Nicola T Chang’s carefully crafted sound design gives each character a soundtrack, quietly signalling whose story will be the focus of each scene. From Aretha to J Dilla, to the sound of the fridge whirring, this attention to detail makes the world, and the characters, feel more vibrant.

All of the performances are strong – especially from newcomer Branden Cook. However all eyes were glued to Pamela Nomvete in a remarkable performance as the jaded mother hen Faye.

Ultz was the show’s designer, and perhaps undelivered a little. The set was naturalistic – a break room – but each scene was intercut with the clanking of shadowy machinery, an illusion assisted by Ciarán Cunningham’s lighting design. There was a moment of pyrotechnics, which was exciting, but felt a little out of place. For a designer with such an impressive track record, this isn’t Ultz’s best work.

Don’t come to this show expecting surprising plot twists, or a fresh political take. But come for the beauty in a subtle and quiet portrayal of people who feel real and vivid.


SKELETON CREW at the Donmar Warehouse

Reviewed on 6th July 2024

by Auriol Reddaway

Photography by Helen Murray

 

 

Previously reviewed at this venue:

THE HUMAN BODY | ★★★ | February 2024
LOVE AND OTHER ACTS OF VIOLENCE | ★★★★ | October 2021

SKELETON CREW

SKELETON CREW

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