'Jonah and Otto' Park Theatre ***

What happens when the homeless and the ministry encounter where wealth and trickery appear to remain completely unlike? The Park Theatre's current production of Robert Holman’s 2008 play, ‘Jonah and Otto’ was one that fundamentally conveys this; however the performance does lack some scandalous moments. ‘Jonah and Otto’ was first staged at the Royal Exchange Theatre, in 2008, which introduces us to ancient and nervous minister, Otto seems to be a lonely individual, even though he's married with four daughters, finds comfort in himself by talking to a wall, as was caressing it too.  He soon converses with homeless, impenitent, and practical joker, Jonah, who is carrying an immense amount of hurt in his heart, and has a mentally unstable mind. It appears that the two have some similarities; such as the mental instability, on the other hand, their backgrounds and position in society are massive miles apart. In addition, Otto is surprised when Jonah reveals that he's a father, so Otto takes pity on him, and offers him some money to support the child and Jonah’s mysterious nature is expressed when Otto’s wallet is supposedly missing, but it suddenly reappears from under a pavestone. Progressively, we come to learn that Otto’s eldest daughter has been left disabled due to a horrific accident when she was a young girl, this instils a sense of sympathy towards him, and of course it enables us to see his vulnerable side. Jonah is conjuring a plan as the mother is his child is actually in France, and is desperate to be reunited with her as his life can return to a more positive state. To ensure that this is completed with triumph, he astonishingly and magically changes into Otto’s more refined outfit to ensure he is well respected and well-groomed. Of course Otto is angry that this has happened, but he understands that Jonah has to dress appropriately to be really reunited with his lover. Holman’s narrative is somewhat compelling as you’re allowed to witness two men, in different stages of the life appear to be suffering with similar conditions, then again, the dialogue does lack some emotional strength when the characters are explaining the traumas that they have occurred. One found the performances by the company of ‘Jonah and Otto’ were quite pleasing to the critics’ eyes as their voice and movement executions were incredible appealing. Peter Egan is wonderful as the lonesome vicar, Otto; especially when we observe his compassion towards Jonah, and his daughter. Moreover, his understanding of Jonah’s plight was particularly comforting too. Alex Waldmann is intriguing as the charlatan, Jonah; particularly when we see him magically changing out of his unsavoury clothes into Otto’s smart attire, as well as his movements of the characters’ spasms were achieved with tenacity and ease. Tim Stark’s direction was discreet here as we are we have been allowed to witness the story of two troubled people who are experiencing quite a lots disappointing and upsetting moments within their lives, as well as understanding the mental unsteadiness within all types of people. Unfortunately, some of the scenic transitions could have worked more fluidly throughout the performance. Simon Bejer’s design is severely minimalist and disappointing as there appears to be a lack of full creativity due to the fact that the Park’s exposed brickwork is the only aspect of the set here, additionally, the cloud aspect of the set were not comprehended with as much precision as you’d expect, which is quite lacklustre. Overall, the experience of ‘Jonah and Otto’ was watchable, but one finds that there needed further work to enable a more cohesive production.