'No Villain' Old Red Lion Theatre ****

Rediscovered pieces of dramatic art, either a play or musical is without any shadow of a doubt an exhilarating prospect especially if it’s a world premiere performance of a famous playwright’s first play. The Old Red Lion Theatre’s production of Arthur Miller’s very first play, ‘No Villain’ which was written in his sophomore year at college in 1936 was categorically a miraculous presentation of the illustrious writer’s first play, to boot; the representations were exceedingly heavenly throughout.

‘No Villain’ is set in New York City, 1936 where we’re introduced to the Simon family who’s apartment is really crowded and seem to be living on top of one another and are becoming poor due to the Great Depression. The father, Abe who owns a clothing business is facing a radical decline in trade, as well as, a strike is currently occurring which meant that distribution of his garments is almost impossible. His parenting style appears too magisterial where his son, Ben was forced to leave college and work for his father, paradoxically, Ben’s youngest brother, Arnold “Arnie” (Adam Harley) is at university studying writing who has become an admirer of Communism.  Arnie is about to return to his parent’s home which leads to his mother, Esther and sister, Maxine (Helen Coles) becoming slightly anxious as Abe doesn’t approve of Arnie’s life choices.  We see that Abe is desperate for Arnie to leave university and pursue a career in the family business, on the other hand, Ben is hell-bent determined to stop his father ruining his life just he had done so to his.  When Arnie arrives Esther and Maxine are thrilled to see him, however, as the apartment is overcrowded he has to sleep on the armchair in the living area.  At Abe’s shop, trade is immensely slow and Abe’s employee, Frank (Anton Gross) has to battle his way through the picket line and with racial prejudice’s ever present it’s a challenging time for all concerned. Over the course of the performance, the Simon family face an enormous of tests  as Grandpa Barnett (Kenneth Jay) is having serious health problems and with Abe’s frequent pressures when he declares that Grandpa Barnett has to contribute or he will have to leave causes Grandpa Barnett to suffer a mammoth stroke. In the period of a few visits, the Doc (Steven Omer) has to break the very sad news that Grandpa Barnett has died. The entire Simon family are left devastated. Abe demands to Arnie that he has to work at his shop or there may be severe consequences. At the finale, Ben’s emotions take its toll and he throws all the guests at the wake out of the apartment and informs Abe that he has been an awful father and that he was the cause of Grandpa Barnett’s death.  Miller’s narrative is shipshape as we’re given the impression that Abe’s ideas of what his two sons and daughter should be doing has caused the family a long time of pain and frustration, furthermore, this concept of the arduous father figure can be seen by those in other works i.e. ‘Death of a Salesman’ and ‘A View from The Bridge’. 

One found the performances by the company of, ‘No Villain’ to be spectacularly depicted though outstanding American accents and movements that was tremendously realistic. David Bromley is glowing as father, Abe; centrally when he is always facing trials and tribulations in both his personal and professional life, nonetheless, the his relationship with Ben and Arnie is fraught and this is due to his begrudging personality. Neba Grenshaw is magnifico as Abe’s wife, Esther; in particular where she is so please to have all her children back under one roof but this pleasure soon deteriorates as Abe is making the whole reunion to go beyond the pale and force their sons to pull away from the father and causes upset from her side.  George Turvey is lustrous as the Simon’s eldest son, Ben; fundamentally, how you can see that he doesn’t really like working at his father’s clothing business and this transpires to him to pluck up the courage to tell his father what his actions are doing to Arnie and himself and that he resents him for this. 

Sean Turner’s direction is resplendent here as he has brought to light a play that has finally been given a production that established many of Miller’s techniques that has been continually used in his work after this play. Moreover, he has captured the uneasy atmosphere that has been put to the fore from a difficult man who really does not know how to be with children who are moving on with their lives. Max Dorey’s set and costumes are ornate as with the intimate space of the Old Red Lion Theatre we feel as if we are intruding or being a voyeur delving into the struggles that the Simon family are experiencing. Also, the scenic art and construction is pretty good as it shows how money is a problem for this family now due to the Great Depression. Overall, the experience of, ‘No Villain’ was a really impressive and a total privilege to witness the first ever production of Arthur Miller’s first play.

'Hapgood' Hampstead Theatre ****

Espionage and the microcosm of spying is brimming full of traitors and double agents where deception is a big factor to that occupation where anyone is a pawn in their own game and with the woman progressing into the managerial roles, can a woman really succeed in a male dominated industry? The Hampstead Theatre’s current production of Tom Stoppard’s 1988 play, ‘Hapgood’ was a refreshing and thought-provoking performance about the spy environment where characters such as Judi Dench’s M in the James Bond franchise were not even considered, additionally, the executions were splendidly characterised.

‘Hapgood’ is set in 1988 where the Cold War is nearing its final curtain and we are habituated with British female spymaster, Elisabeth Hapgood where she is finding juggling her career with her role as a mother to a young boy. The play commences with a spoof imitation of a spy scenario as a conveyer belt of dubious people enter a male changing room at a swimming pool in which they swap attaché cases . Conspiracy theories are a foot when vital information has been sent to the Russians and defector; Joseph Kerner and Ridley (Gerald Kyd) are the prime suspects. Hapgood tries her level best to get Kerner removed as a suspect and when, Blair a high-ranking British intelligence meets Hapgood at St. Christopher’s School where she is watching her son, Joe (Sacha Gray/Adam Cansfield) playing rugby, yet, he still suspects Kerner is partly responsible.  He soon informs her that Ridley has been working for the KGB as a double-agent. Suspicion arrives when Wates (Gary Beadle) as he soon suspects that both Ridley and Hapgood as a transmitter found in one of the brief cases suddenly switches itself on in Hapgood’s office; as such he has Hapgood followed.  In addition to this, Hapgood and her fellow colleagues, Merryweather (Edward Hancock) and Maggs (Nick Blakeley) decide to set a trap for Ridley where she meets him at a shooting range. Moreover, Blair remains wary that the briefcase that Kerner was holding had a photo of Joe cleverly placed inside of it.  There is a reason for this as we are informed that Joe is in fact his son.  Joe is kidnapped because of Kerner’s defection and Hapgood’s somewhat meddling and a disk is precisely what the KGB want and when Ridley meets Hapgood’s twin sister, Mrs Newton at her photographic studio he states that she needs to become involved as her nephew is missing and when she knows of this information she says she’ll do her duty to help search for the disk. Over the course of the performance, we learn that equivocation is at the forefront of this industry as Mrs Newton is not real and is actually Hapgood herself and that Blair is behind Joe’s kidnapping so that it doesn’t land into the KGB’s hands.  At the finale with Ridley’s plan in tatters and in police custody, Hapgood and Kerner meet for one last time at their son’s rugby match and he says that he is going to be returning to Russia as his career in spying is over and it appears that the KBG already knew about him being Joe’s father. Stoppard’s narrative is inquisitive as you are constantly wondering what the disk actually contains and his decision to have a female head of secret service conveyed the importance of the progression of women moving into managerial positions.

One found the performances by the company of, ‘Hapgood’ to be wonderfully portrayed; for example how the other characters communicate with one another and the smaller roles such as The Russian (Joe Evans) helped this. Lisa Dillon is admirable as central protagonist, Elisabeth Hapgood; chiefly where her jobs as the head of the secret services and a mother really shows how her personal life is non-existent, nonetheless , the scenes with her son Joe and ex-lover, Kerner captures a different side of her.  Alec Newman is first-class as Russian defector, Joseph Kerner; expressly the moment when he comes into contact with his son for the first time and the slight upset you can see on his face as he realises that he has missed his opportunity of being a father which means he has no other purpose.  Tim McMullen is remarkable as high-ranking intelligence officer, Blair; first and foremost, how his frequent suspicion of Hapgood’s involvement with Kerner encapsulates that no one in the same workplace can physically have a private life and his involvement with Joe’s hostage is mean and cruel.

Howard Davies’ direction is exceptional here as he has been able to formulate a really captivating show about an organisation like the MI5 and MI6 and what cases that could be going on, furthermore, the interpretations from the entire company were well explained and with superb and amazing voice work and movement sequences.  Ashley Martin Davis’ set and costumes were fitting to the environment that the play is set around and with Ian William Galloway’s video designs and installation of 100 screens compresses the poignancy of technology in espionage and what is required to investigate villainous individuals. Overall, the experience of, ‘Hapgood’ was a bit like a theatrical interpretation of a James Bond story and as one likes James Bond films then this is probably why I liked the show.

'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.

'Pig Farm' St James Theatre ****

Running any business will inevitably have its high and low points in the seasons, and this includes the farming trade where farmers’ animals are their business and economical driving force, although what transpires when an annual inspection goes hook line and sinker wrong, what impact will this cause a farm? The St James Theatre’s present production of Greg Kotis’ 2006 play, ‘Pig Farm’ was a really original piece on the world of pig farming in the United States, what is more, the performances were gleaming all round.

‘Pig Farm’ is set in the kitchen of farmer, Tom and his wife, Tina’s farm house where the farm in at the crux of being declared bankrupt so they are busy getting ready for an inspection by the Environmental Protection Agency.  Even though they are struggling to make ends meet they have employed recent release from juvenile detention centre, Tim to be Tom’s apprentice as this is a part of the conditions Tim has in not being sent back to the centre. Tom has problems with intoxication and is particularly violent to Tim as he has just dumped some manure onto two teenagers by the stream who are having a sexual experience. As such this is causing troubles with his and Tina’s marriage and he is unaware that Tina has been having an affair with Tim behind his back as Tom is not providing her with the love she most desires. Tim becomes besotted by Tina and this is somewhat reciprocated but ever so slightly. Tina is frantic to become a mother yet Tom is not so keen to be a parent due to his insecurities. Over the course of the performance, Tom and Tim are trembling about the outcome of the pig count and when Tom learns that the neighbouring farm has been forced to close due to the fact that the farmer has too many pigs that is allowed for a farm of that size, this understandably set some alarm bells ringing in his ears. However, when Teddy from the EPA arrives with his team to inspect the farm and the numbers of the pigs, Tim is told that as Tom is comfortable with being a father, this upsets Tim and he is ready to conjure up some revenge as he is in love with Tina. This is completed when Tim drives a tractor into the pig shed and all of the pigs try to escape and run all around the farm. Tim all battered and bruised is brought into the kitchen by Tom and Tina, but Teddy informs Tom that the pig count was under counted and it is Tim who has done this. Tom is furious about this and requests that Tim leaves, but he doesn’t. Teddy states that the farm will have to be closed as they have broken the rules and regulations. Tom then turbulently unleashes some violent force on Tim as he has ruined his business and in unfixable and he learns of Tina indiscretions. At the finale, Teddy makes Tom an offer on the farm as he feels that he will do a much better job in which he pressurises Tom and Tina to think about what is best for their future and they do so as they are thinking of starting a family. Kotis’ narrative is grand as we can see how the agricultural industries have always battled against the technical advancements and with someone double-crossing the farm from inside the unit, is the farming industry dead in the water?

One found the performances by the company of, ‘Pig Farm’ to be illustriously depicted by pretty good accent Southern American accents throughout and impeccable characterisations at all times in the show. Dan Fredenburgh is delightful as farmer, Tom; especially when he is endeavouring to fight for his career against a ferocious system and how he becomes morose as he tries to explain why he dumped all the manure on the teenagers as that was the spot where he and Tina made love as teenagers. Eric Odom is tasteful as scallywag hired-hand, Tim; mainly how he is becomes emotionally broken as Tina has lead him along a path that he will not be successful in finishing, furthermore at the end of the play where he is beaten to near death by Tom he presents some real comic flair as he comes back to life. Charlotte Parry is wonderful as Tom’s wife, Tina; mainly where we see how keen she is to be pregnant and to be a mother, moreover we see her despondence by the fact that she has to perform all the household chores and this leads her to not doing Tom’s washing where he only has a pair of old dungarees available to wear. Stephen Tompkinson is superb as EPA inspector, Teddy; expressly where we see how he is in fact a hands on person who becomes very dirty due to the fact that the pigs have shattered all across the farm and this instigates him wanting to be the owner of the farm. 

Katharine Farmer’s direction is majestic here as she has been able to engross us into how all forms of work have a duty and a purpose in the world and how Kotis’ plotline conveys that dysfunctionality between Tom, Tina and Tim suggests how the farm and their unit will only survive if they work together properly and efficiently. Carla Goodman’s set and costume designs are gob-smackingly good as we have been transported to the environment of an American pig farm with such precision and ease to brilliant scenic construct and effortless scenic art, you can imagine what it would be like in such atmospheres. Overall, the experience of, ‘Pig Farm’ was an intriguing take on how farming is like any other industry where anything is not stable in a precarious world where anything can happen.