'Evening at the Talk House' National Theatre, Dorfman **

Theatre at times can present a colossal amount of expectations either an awaited new play, a famous actor, director, designer etc. on the other hand, productions can lead to you becoming very lethargic where you unknowingly drift off to sleep because of how dull the show is. The National Theatre’s production of Wallace Shawn’s world premiere play, ‘Evening at the Talk House’ could have been a hit production, but sadly this wasn’t the case here, by the same token, the performances were adequately depicted.

‘Evening at the Talk House’ is set in the central meeting room of the Talk House where writer, Robert who was once an esteemed theatre writer decided to fly the coop from the outdated theatre environment and progress into writing for TV; especially comedies. He decides to hold a 10^th anniversary reunion to the day of his last theatre play, ‘Midnight in a Clearing with Moon and Stars’ where he invites all those involved to rekindle relationships and see what everyone is up to. Questionably is the reunion such a brilliant idea? As the guests gather for the get together, it appears that things are not exactly going too well for some of the guests with regards to how their careers have advanced. This is evident when proletarian actor, Dick enters the party with dried up blood all over his face due to the fact that he was beaten up by people who are supposed to be his “friends”, to make himself more presentable the shows former wardrobe mistress, Annette (Naomi Wirthner) cleans him up. Over the course of the performance, we see how many of theatre professionals have been able to adapt where they can move into the television industry such as producer of the play, Bill (Joseph Mydell) has become an established talent agent and actor, Tom (Simon Shepherd) has formed an reputable career as a television actor in Robert’s popular TV comedies. Nevertheless, it is clear that the majority of them have lost their passions for theatre and the entertainment industry and who they actually are. But when club hostess, Nellie remains altogether similar to whom she was a decade ago, she constantly reminds them of their past and their original persons 10 years ago. There are cynics present at the gathering where they are immensely negative towards the world and how theatre is no longer a way to propose political issues. Throughout the show, waitress Jane (Sinead Matthews) has a desire to become an actress, yet with such sceptics like the composer, Ted (Stuart Milligan) around the possibilities of her dreams becoming a reality is far from approaching. As the reunion flows, Dick suggests what the theatre and society has been missing over the last decade in a drunken state and how the world has become an atmosphere of full on dread. At the finale, Dick and his ex-friends appear to look at how the world has changed either for the worse or the better where it suggests that the Western and well developed world is going to be going through a decline of some kind means that life will become unbearable if topics are not talked about on stage or on screen.  Shawn’s narrative is discouraging as the whole plot feels too jumbled as with politics, the state of theatre and unemployment into an hour and forty five minute performance caused the plot to degrade itself at many periods as it was unclear. 

One found the performances by the company of, ‘Evening at the Talk House’ to be passable through tolerable American accents, diction and articulation, furthermore the movements directed by Maxine Doyle were acceptable throughout. Wallace Shawn is judicious as faded actor, Dick; especially where his floundering career has made him contemptuous against society and theatre makes him realise that with theatre it allows audiences to become informed with the society of the day.  Josh Hamilton is on the ball as writer, Robert; mainly the humongous and long monologue at the start of the play in which he is striving to help all those in his final theatrical show to remind them about what they have achieved in their careers and to reconnect relationships that have been lost for ten years. Anna Calder-Marshall is notable as club hostess, Nellie; predominantly where she decides to push the party goers that their pretentious attitude is vulgar and reminds them that your moral compass and the people around you are the most integral things you need in your life and that money or success is not at all important. 

Ian Rickson’s direction is befitting here as he has been able to interpret Shawn’s concept which I would find challenging to get a handle on as the muddled storyline does show how a dramaturg would have helped the narrative to achieve its full potential, Sadly this was not put into place her so that is why the director’s vision looks somewhat chaotic.  The Quay Brothers’ set and Soutra Gilmour’s costumes are appropriate as the set appears to look like a run-down function room in a pub in a deprived area and the costumes portray the feeling of who is successful and who is a complete and utter failure.  Overall, the experience of, ‘Evening at the Talk House’ was a vastly slumberous and at times laggard show that is not testament to Wallace Shawn’s writing and acting abilities.

'Dinner With Friends' Park Theatre ****

Being able to confide in your friends is an admirable thing where issues with their coupling is causing huge wedges between them, additionally, the exploration of how relationships can differ from one couple to another, yet can a divorce force a unity of two couples who have been friends for a long time force their friendship to be eradicated almost immediately? The Park Theatre’s production of Donald Margulies’ 2001 play, ‘Dinner With Friends’ is an interesting and sad production about divorce and the impingement  of friendship, not to mention the enactments were beautifully conveyed.

‘Dinner With Friends’ is set in the US state, Connecticut, 2000 or 2001 where we are familiarised with two completely opposite married couples, Gabe and Karen seem to be like the perfectly married coupling, whereas, their friends, Tom and Beth are far from happy as Tom has been deceitful towards Beth as he is currently in a relationship with a woman who is vastly younger than him. At a dinner in which Tom is absent, Beth informs Gabe and Karen that her marriage to Tom is practically over and as you would expect the news is a complete shock to Gabe and Karen. The news causes immense concern with Gabe and Karen as change is on the cards.  Due to the fact that Tom cheated on Beth, Karen is disgusted in Tom’s actions and when Tom arrives at Gabe and Karen’s late in the evening, Karen warns her husband that she doesn’t want to see or speak to him when he is there, however, Gabe thinks it is best to hear his side of the story to see what could be done to fix their marriage. Throughout the performance, we are given the opportunity to see how Tom and Beth met each other and how they met was through a blind date that was organised by Gabe and Karen, but the date does not go that smoothly as Tom thinks that Beth’s hippy persona is far too strange for him and when they have an accident the two develop feeling for each other.  As the play progresses, with Tom and Beth living new lives and Beth has a new man who makes her really exultant, on the other hand, when Karen and Beth are having lunch together conflict arises when Karen makes it clear to Beth that she does not approve of her friends new relationship.  In a similar instance to Beth, Tom is having a much cheerier time with the woman with whom he cheated on Beth with, nonetheless, when Tom meets Gabe in a bar it appears that Gabe is not adjusting to the change. He specifies that he no longer recognises him as the friend he made at university years and years ago and states to Tom that their friendship will not be the same again. At the finale, in Gabe and Karen’s bedroom, the two of two contemplate on the state of their marriage as they really do not want to get into a similar situation to that of Tom and Beth as they are so in love with one another. When they discuss this they declare that their nuptials will last forever. Margulies’ narrative is intuitive as we are allowed to see the impact of friendships where one couple are going through the divorce proceedings causes the loved-up couple to re-evaluate where their marriage is going. 

One found the performances by the company of, ‘Dinner With Friends’ to be exceedingly convincing of how one couple are serene and one are at each other’s throats with well-established diction and intonation. Hari Dhillon is tremendous as dishonest, Tom; explicitly where he has the audacity to justify the reasons for him cheating on his wife, plus, the part where he speaks to Gabe about his new life and sex drive has made him feel younger suggests that he may be going through a mid-life crisis. Shaun Dooley is brilliant a contented and devoted husband, Gabe; chiefly where you see how disappointed he is with the realisation that Tom and Beth will never rekindle their love for each other, moreover, the relationship between him and wife, Karen is so sweet and conveys that relationships in the modern world can survive.  Sara Stewart is grandiose as Gabe’s loving wife, Karen; particularly where her displeasure at knowing that Beth is having a new relationship portrays how change can cause strains in relationships that are as close as Karen and Beth and it shows how friends need to remain supportive at all times. Finty Williams is fantastic as Tom’s suffering wife, Beth; notably where you can see how her new lease of life with her new man can be seen with how fresh her face looks and her outlook on life is been reverted in a positive way, furthermore, that being separated from Tom has been quite good for her. 

Tom Attenborough’s direction is transcendent here as he has been able to construct a really fruitful revival of a play that could become a soap opera with a longer existence and how the change of friendships and the environment of the situation can cause mammoth battles along the way in a divorce process. David Woodhead’s set and costume designs are wondrous as I was immediately engrossed into this state of the US where divorce and friendships are put to the test, in addition to this, the costumes depicted the characters characteristics in such a simplistic but exciting manner which was awesome. Overall, the experience of, ‘Dinner With Friends’ to be brilliantly created in such a moving and educational way.

'Sparks' Old Red Lion Theatre ****

Siblings can either be vastly similar or absolutely opposite with regards to their interests, all the same what affects could transpire when a sibling just appears into their lives? The Old Red Lion Theatre’s production of Simon Longman’s newest play, ‘Sparks’ was an extraordinarily compelling two hander about troubling sisterly relationships, furthermore, the performances were amazingly portrayed.

‘Sparks’ is set in a town by the river in the Midlands where we’re introduced to sisters Sarah and Jess. Sarah the youngest is speechless that her older sister, Jess is standing outside of her front door soaking with only a rucksack and fish bowl with her. At first, Sarah is not really pleased by Jess’ presence as she disappeared twelve years ago which caused Sarah some trauma when she was a teenager, in addition to this, Jess appears to think that she can stay at her sister’s flat which is in the process of being redecorated. Jess begins to empty her rucksack that seems to be full of alcohol and she soon forms a pop-up pub to celebrate hers and Sarah’s reunion, on the other hand, does Jess realise what her disappearance due to her sister’s mood? Throughout the show, we learn that Jess has seen Sarah in town but found it increasingly challenging to talk to her as she didn’t know what to say to her as it had been such a long time since they last spoke. It is evident that both Sarah and Jess have such love for one another that time has stopped due to the fact that Jess ran away. Over the course of the performance, we are informed with what Jess has been doing for twelve years and that is that she has been moving up and down the country, on such place is that she stayed above a fish and chip shop near the sea where she worked in the shop downstairs to earn money.  It seems that Sarah is finding it hard to speak to Jess as she finds it to tough that her sister is back in her life after more than a decade and is not in the mood to drink with her sort of alcoholic sister, Jess.  The atmosphere softens as the two drinks together to try and resolve their issues, yet the next morning is upon the Midlands where Jess decides that she’ll leave her sister once again, but for her to care for her son, Sam (Flynn Dennison/Chi Thomas-Hockey). At the finale, as Jess is about to depart Sarah’s life again she still does not fathom how irresponsible she is and that leaving her son with his aunt is not precisely appropriate. Longman’s narrative is splendid as the story about two sisters who haven’t seen or spoken to each other for twelve years and how you can see what a sibling means to someone, what is more, this is realistic as having a sibling is vital to your life and the absence of one is painful.

One found the performances by the company of, ‘Sparks’ to be staggeringly chivalric through intriguing moments of both humour and commanding elements. Sophie Steer is grand as the disappearing sister, Jess; expressly where she presumes that reappearing into her sister’s life after twelve years is okay and not taking responsibilities for her actions shows a real lack of maturity and her somewhat alcoholism is quite frightening.  Sally Hodgkiss is excellent as shy young sister, Sarah; mainly where her quite nature enables us to see what her life has become due to the fact that her sister abandoned her all those years ago, as well as, the moment where she confronts Jess depicts a really strong person behind the exterior. 

Clive Judd’s direction is wonderful here as he has created an awe-inspiring production that really captivates how a fraught sisterly relationship has framed how Jess and Sarah have become for more than a decade, plus, the characterisations were well developed at all times and this is tremendous. Jemima Robinson’s set and costume designs are scintillating as the ripped wallpaper of the children’s wallpaper to the adulthood  one allows us to see how destroyed Sarah is because of Jess and the poor conditions she is living in somewhat. Overall, the experience of, ‘Sparks’ was an beguiling and radiant selection for the Old Red Lion Theatre’s programme of work for this year and rather lovely too.

'A Wolf in Snakeskin Shoes' Tricycle Theatre ****

At times there are moments where contextualisation’s or reworking’s of classical texts can be detrimental to the work of the genuine writers’ vision, however, some modifications can actually prove quite successful? The Tricycle Theatre’s production of Marcus Gardley’s play, ‘A Wolf in Snakeskin Shoes’ which derives from Molière’s ‘Tartuffe’ is a delectable adaptation, moreover, the interpretations were extremely well depicted.  

‘A Wolf in Snakeskin Shoes’ is set in Atlanta, Georgia where we’re familiarised with a church congregation who are being preached by The Righteous Reverend Prelate Prophetic Apostle Tardimus Tito Jermaine Toof who is somewhat manipulative with how he minister’s his church congregation and with his private meetings where he asks to be paid for his services. His wife, First Lady Loretta Toof is always anxious that her husband could be cheating on her so when she catches him with Maxine (Michelle Bonnard), but Loretta gets the wrong end of the stick as he frequently tries to pull himself away from her. As such; his wife is suffering slightly as he has cheated on her before. When Mother Organdy (Angela Wynter) informs that her son the multimillionaire tycoon, Archibald Beaurgard Ichabad Organdy is at the end of his days, Toof has been called to see him. Also he is depressed which is causing problems with his relationships; such as with his fiancée, Peaches (Adjoa Andoh) and his son, Gumper (Karl Queensborough) who is in fact gay. Over the course of the performance, Toof has been bombarding Organdy with an intense amount of sermonizing and when Organdy’s daughter, Africa (Ayesha Antoine) returns after a long absence is pleased that her father is seeking salvation from God, nonetheless, is Toof’s teachings really helping him or is he is in fact interfering his mind? Like most sibling relationships, Gumper and Africa are constantly squabbling and when Gumper reveals that he wants to be a flight attendant and announces that he’s gay, his father is disgusted and demands that he goes through a course of therapy to get rid of the gayness. On the other hand, Peaches is worried that because of Toof’s meddling may harm Organdy’s relationship with his children and is he making life hell for them as Toof is ruining the family. It appears that Gumper is desperate to satisfy his father’s needs and requests to he goes through the aversion therapy and promises that he’ll manage the business when he dies. After this time, Africa is irate as she no longer recognises her family. At the finale, the cracks are beginning to arise with Toof’s and First Lady’s marriage as they are quarrelling about how Toof doesn’t appreciate her whatsoever. Gardley’s narrative is meritorious as this contemporary altered copy does work wonders as today’s religion has endeavoured to push people into scenarios that people don’t want to be in, plus how the characters interconnect with one another i.e. in the church congregation environment. 

One found the performances by the company of, ‘A Wolf in Snakeskin Shoes’ to be exceedingly excellent as the gospel elements in the play were vastly joyous and the camaraderie between the company was visible to see at all times. Lucian Msamati is terrific as Apostle Toof; especially how his constant snooping into the Organdy family results in them fighting amongst themselves shows how ministers can over step their welcome and how his methods are seriously outdated i.e. aversion therapy for Gumper. Sharon D. Clarke is first-class as Toof’s afflicted wife, Lady Loretta; chiefly where you can see how apprehensive she is by what her husband could be doing, furthermore, as you’d expect from Clarke her vocal abilities are second to none and highly infectious as her voice is simply dreamy. Will Johnson is brilliant as soon to be deceased tycoon, Organdy; specifically how startling it is to realise to he’ll shun his son due to his sexuality and if he doesn’t go through the therapy that he’ll be dead to him  and this makes you question does he love his children or not and if not why?

Indhu Rabasingham’s direction is dynamite here as she has captured how devout Christian communities will come together with enthralling music that makes you want to join them in a dance, as well as, the characterisations of buffoon Toof and Organdy are phenomenally out of date with their views. Tom Piper’s set design is bravura as the transitions from church office to Orandy’s home was tremendously well stylised and worked, in addition to this, the scenic elements e.g. scenic art and construction was grand and not ostentatious at all. Overall, the experience of, ‘A Wolf in Snakeskin Shoes’ was a marvellous performance and enjoyable throughout.