Tag Archives: Young Vic

Jesus Hopped the ‘A’ Train
★★★★★

Young Vic

Jesus Hopped The A Train

Jesus Hopped the ‘A’ Train

Young Vic

Reviewed – 20 February 2019

★★★★★

 

“the brilliance of this production is that the answers don’t just come from the words; every aspect and element of the show feels relevant and important”

 

Kate Hewitt’s production of Stephen Adly Guirgis’ ‘Jesus Hopped the ‘A’ Train’ is bold and philosophical, with moving performances and genius staging that elevates this show to exciting heights.

Angel Cruz (played with tender fierceness by Ukweli Roach) has wound up in jail, accused of attempted murder after shooting a cult leader called Reverend Kim. Alongside the threatening watch of prison officer Valdez (Joplin Sibtain), and the guidance of his lawyer Mary Jane Hanrahan (Dervla Kirwan), Angel strikes up a complex relationship with serial killer, and fellow prisoner Lucius Jenkins (Oberon K.A. Adjepong) – a relationship built on debate and argument surrounding the nature of good, evil and, indeed, God.

The opening line of Guirgis’ play sets the tone, as Angel prays, “Our Father, who art in heaven – Howard be thy name.” The moment is witty and heart wrenching in equal measure as Angel desperately tries to remember the correct words. The play continues in this vein. The dialogue is an absolute powerhouse and the real force behind this work; it’s clever, snappy, and fast paced, becoming so beautifully intricate in the sounds and nuances that are created. The actors really let themselves fly as they attack their dialogue and rattle off their monologues, keeping the performance exciting and engaging. In one particularly impressive monologue, Adjepong’s Lucius exercises whilst addressing his religious beliefs; the actor’s energy doesn’t falter once as he performs countless press ups, squats and on the spot sprints all the while delivering his speech. These scenes are separated by blackouts and a score of dramatic drum beats that sound like gunfire – they are thrilling and tense and help support the tone of the piece.

The staging, too, keeps the show feeling fresh, exploiting both movement and stillness to full effect. The auditorium is in the round; the stage is created as a strip cutting through the audience, with glass doors sliding along it. The simple fluidity of this design (Magda Willi) introduces an interesting dichotomy to the show that reflects the inherent sentiment of the play. On the one hand, it creates a sense of openness and, ironically, freedom, whilst on the other hand it creates an inescapable claustrophobia. The transparent glass doors evince our all-seeing nature whilst at the same time producing the actors own reflections in a way that reminds us of their entrapment. They can’t escape prison; they can’t escape themselves.

The play implores us to question humanity and freedom, good and evil, religion and atheism. We are drawn to the charming, God-fearing, comical Lucius despite his psychopathic nature and are left to wonder how we assess our morality and whether we can ever truly find redemption. Whilst Guirgis’ script is truly wonderful, the brilliance of this production is that the answers don’t just come from the words; every aspect and element of the show feels relevant and important. Overall, this is a really well thought out, fantastic piece of theatre.

 

Reviewed by Tobias Graham

Photography by Johan Persson

 


Jesus Hopped the ‘A’ Train

Young Vic until 30th March

 

Previously reviewed at this venue:
Fun Home | ★★★★★ | June 2018

 

Click here to see more of our latest reviews on thespyinthestalls.com

 

The Inheritance – 4 Stars

Inheritance

The Inheritance

 Noël Coward Theatre

Reviewed – 13th October 2018

★★★★

“Seeing a play on the West End that so unashamedly and honestly tackles gay male relationships (sexual and otherwise) feels in itself a remarkable achievement”

 

Epic in almost every sense of the word, ‘The Inheritance’, now enjoying a West End transfer after a sell-out run at the Young Vic, demands seven inspiring, moving, riveting hours to tell a story about how stories are shaped, and how they in turn shape those who listen to them.

A group of men are trying to tell their life stories but need help. Enter E. M. Forster, whose ‘Howards End’ forms the basis of Matthew Lopez’s ‘The Inheritance’, to help the boys along. Expertly played by Paul Hilton, ‘Morgan’ – with the help of the cast – becomes our narrator, introducing us to Toby Darling (Andrew Burnap) and Eric Glass (Kyle Soller), whose rocky relationship the play centres around. Taking place almost entirely in Manhattan, New York, the couple face eviction, jealousies, successes and failures, all the while embracing and reflecting upon the lives of gay men over the last hundred years with each other and the group of friends that surrounds them.

At its core, Lopez has woven an intoxicating tapestry of a show that demonstrates the problematic importance of legacy and community, especially for gay men today. We hear lots of stories. How these stories come together is the nature of ‘inheritance’. How do we learn how to be gay men? From each other? And what happens when that community of exchange breaks down? Drawing on the emotional devastation of the late-eighties/early-nineties AIDS crisis, Lopez suggests the trauma of one generation should be the next one’s inspiration.

Bob Crowley’s sparse design is gorgeously simple, and along with Stephen Daldry’s astute direction, exposes the theatricality of the endeavour, whilst giving the cast plenty of space to play. The often cumbersome narrative elements to the play are expertly handled by the cast and director, who places his actors almost constantly on stage, listening, commenting and waiting for their turn. The need to flip on a dime from exposition to ‘scene’ is wittily and effectively handled by the cast at large. Burnap is mesmerising in his performance as Toby Darling, larger than life, hilarious, yet always hinting at a dark past, the reveal of which the audience really has a long wait for. Kyle Soller is equally courageous in his performance, able to be sentimental without parody and believably naïve all the way through to the end. Andrew Burnap and Syrus Lowe stand out in a tight, generous and incredible ensemble.

‘The Inheritance’ is essential viewing for everyone. Seeing a play on the West End that so unashamedly and honestly tackles gay male relationships (sexual and otherwise) feels in itself a remarkable achievement. I would argue Lopez could have trimmed down this story by a few hours and we wouldn’t have minded, but this emotionally stirring and inspirational production is well worth getting cramp for.

 

Reviewed by Joseph Prestwich

Production photography by Marc Brenner

Cast image below by Johan Persson


The Inheritance

 Noël Coward Theatre until 19th January

 

Previously reviewed at this venue:
Quiz | ★★★★ | April 2018
The Lieutenant of Inishmore | ★★★★ | July 2018

 

Click here to see more of our latest reviews on thespyinthestalls.com