'Hangmen' Wyndhams Theatre *****

Hanging was seen as a public event, but when hanging was kept off the record and prison officers and management executed the miscreants in such a barbarous manner without prior confirmation, what would transpire if an innocent man was hanged without a professional investigation? The West End transfer of Martin McDonagh’s play, ‘Hangmen’ which sold out in its run at the Royal Court was an unparalleled marvel of show, not to mention, the depictions were transcendently stunning.   

‘Hangmen’ is located in a small Oldham pub where we are familiarised with pub landlord, Harry who was infamous as the second-best hangman in England. The reason why he became a pub landlord was due to the fact that he and his colleagues wrongly hanged an innocent man by the name of, Hennessy (Josef Davies) for a crime he didn’t commit. Two years later, he along with his wife, Alice and daughter, Shirley (Bronwyn James) have adjusted to their new lives with an array of devoted locals such as; Bill (Tony Hirst), Arthur (Simon Rouse) and Charlie (Ryan Pope)who appear to spend their time sipping beer and chomping on peanuts at the same time, seven days a week.  They are informed that there is a serial killer on the loose and Harry’s former assistant, Syd (Andy Newman) explains that the serial killer is the same man who they were supposed to have hanged two years ago. When peculiar and youthful male, Peter Mooney arrives on the scene, people become suspicious of his presence, on the contrary, Harry’s daughter, Shirley seems drawn to him and as he gives her some level of affection, which she rarely receives. This gives Peter the perfect opportunity to manipulate her without her knowing this in such a cunning manner and as the days plod on by where Peter has become a regular of the pub and when he and Shirley are left on their own he invites her to go to the beach.  Alice is obviously concerned that he could be using her daughter just to have his wicked way with her. When Shirley doesn’t come home Harry and Alice are really worried and as Peter took Shirley to the beach, he becomes the foremost suspect and over the course of the performance, they are informed that their daughter has been murdered in a garage which is right by the seaside. Understandably, Harry is incensed and is sought out to cause Peter an immense amount of pain and when Peter returns to the pub in the hope of renting a room in the flat upstairs he is perplexed by Alice’s defensiveness.  Harry, when he sets his sights on Peter, he goes ballistic and with the help of Syd and the pub’s locals, they kill Peter or so they think but when Inspector Fry (Craig Parkinson) and Albert Pierrepoint (John Hodgkinson) are inspecting the local area, they are none the wiser that Mooney is currently hanging behind a closed curtain in an area of the pub, Unfortunately, Pierrepoint removes a chair that Peter is standing on and he is coldly murdered and at the finale, it is known that they have found the serial killer and it was not Peter, so it seems that they have exterminated the wrong man, once again for Harry and Syd.  McDonagh’s narrative is stupendous as this black comedy combines both the obvious humour with the serious moments as the story about the abolition of hanging and how those involved in it have to re-acclimatise to the  circumstance and with a serial killer about, could they find him and be forgiven? 

One found the performances by the company of, ‘Hangmen’ to be amazing as the camaraderie of the actors were terrific, as well as, their vocal projection travelled right through the entire auditorium without any fluffed lines and the choreographed fight sequences  were astonishing. David Morrissey is marvellous as central protagonist, Harry; expressly how he seems somewhat unable to modify his life in which in order to earn a living he has had to re-train and manage a business which is polar opposite to his previous occupation as the country’s second-best hangmen so it must be difficult. Johnny Flynn is hilariously chilling as freakish, Peter Mooney; principally how he can make a group of people in a pub immediately turn around to look at him which means he is unwanted or unwelcome as he is not a regular, furthermore, his facial expressions in some aspects  were particularly unnerving which was brilliant to see. Sally Rogers is glorious as Harry’s wife, Alice; mainly how a like she is to the stereotypical landladies you would find in soap operas i.e. Bet Lynch, Angie Watts, Peggy Mitchell and Chastity Dingle, in addition, the devotion she has to her husband was quite pleasant to see. 

Matthew Dunster’s direction is awe-inspiring here as he has been able to shape a production that centres around the black humour that has been missing in theatrical art for some time, moreover, the show really captures the bleak and distressing atmosphere of a serial killer that is on the loose and the end of hanging and people’s jobs are at risk. Anna Fleischle’s set and costume designs are magnificently charming as the set of a prison interrogation room which then rises up like hanging is about to rise to a heavenly place to a typical Victorian pub in seconds shows how rousing her set is, what is more, the scenic construction and scenic art is impressive. Overall, the experience of, ‘Hangmen’ was an outstanding new play with a sort of re-invigoration of dark comic plays to today’s audiences.

'Waste' National Theatre, Lyttelton ****

A hung parliament in any notion can ascertain a significant level of problems as some actions could be quite tricky for its people to distinguish which ideas belong to which party, in addition to this, how controversial bills can be agreed to be materialised by the MP’s and to King/Queen him/herself? The National Theatre’s production of Harley Granville Barker’s 1920’s notoriously banned play, ‘Waste’ enables us to explore the backstage events of the inception of orders within two parties, and furthermore the performances were gleaming throughout.

‘Waste’ is set in London and the outskirts of London where we are acquainted with Independent MP, Henry Trebell who is at present proposing an arrangement with the Tories to enable a bill where he hopes to extinguish the Church from the State and to convert the building into new schools. However, there could be problems as Henry has had an affair with a married woman by the name of Amy O’Connell who is now pregnant with his child after they met at the house of Lady Julia Farrant (Lucy Robinson) whose guests included the doddery Lady Mortimer (Doreen Mantle). Amy’s husband, Jamie O’Connell (Paul Harley) a Fenian activist who is just been interned by the incoming Prime Minister informs that his wife has died due to the fact that she has had a butchered “criminal” abortion and states that the baby was not his. As you’d envisage from this, Henry’s plans are beginning to unravel as this would cause immeasurable controversy at the affair could be exposed by the British Press, as such; a meeting is set to discuss this by those who Henry is trying to convince to side with him on this bill. This included Cryril Horsham (Michael Elwyn), Sir Gilbert Wedgecroft (Andrew Havill), Russell Blackborough (Louis Hilyer), Lord Charles Cantiilupe (Gerrard McArthur) and Jamie O’Connell. They are concerned that if they collaborate with Henry and if the situation of the affair with Amy O’Connell is written about in the paper, then their careers could be ruined, so a lengthy meeting goes on. The outcome is not what Henry wants because there is a unanimous “no” vote to work alongside him and Henry knows his career is finished before it has really started. Moreover, as he hasn’t slept that whole night he becomes increasingly depressed. Over the course of this period, Henry’s sister, Frances Trebell endeavours to help her brother through this. On the other hand, it appears that Henry cannot move on from this and when he goes to his bedroom, he shuts the door, locks it and commits suicide as he must have been in such pain and sorrow. At the finale, Henry’s secretary and assistant, Walter Kent (Hubert Burton) is exceedingly emotional where he cries at his desk as he saw Henry as a male role model,  with this, he and Frances switch off the lights in a bleak and gloomy empty office and consider if Henry’s legacy will ever be noticed or not. Granville Barker’s narrative is educationally energizing as we are trying to figure out whether Henry could be forgiven for his appalling behaviour and how politician’s personal lives are not exactly private and that they should think of this before they do things.

One found the performances by the company of, ‘Waste’ to be stimulating as there is an effortless amount of clear vocal delivery and sensible movements by the whole company. I’d also like to commend Wendy Spon’s casting as the actors seemed to fit the roles with such tenacity. Charles Edwards is wonderful as disgraced Independent MP, Henry Trebell; especially how his vision for the eradication of the Church of England falters because of his affair with a married woman and getting her pregnant ultimately leads to his demise. Sylvestra Le Touzel is swell as Henry’s sister, Frances; specially to role she plays on her brother’s life in which it is quite strong and as she strenuously tries to prevent her brother from hurting himself you can see that it’s going to be a difficult task, furthermore, this relationship is moving from to start to finish. Olivia Williams is pleasing as Henry’s conquest, Amy O’Connell; chiefly when she is sat in Henry’s office crying as she knows what having a baby out of wed-lock at this time was understood as deplorable and worse of all, having a child in an affair scenario was regarded as sickening and barbaric. 

Roger Mitchell’s direction is peachy here as he has conveyed a production that focusses on how we as individuals should remember on our responsibility as professionals and that your personal life can immediately destroy your career as it has done with Henry Trebell, plus, the characterisations were extremely polished. Hildergard Bechtler’s design are interesting as the magnitude of the simplicity of locations for example a stately country house to an office/home of a politician captures the troublesome aspects of Henry’s career departure,  as well as, the scenic construction really connects with the dark lighting design by Rick Fisher with panache. Overall, the experience of, Waste’ was a grand one as we can see how theatre censorship and the role of the Lord Chamberlain affected theatre until its untimely death in 1968.

'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.