Friday 28 September 2012

Onions Cry Too, Lowry Studio, 28-9-12


Yet another trip to my second home, The Lowry Studio, to see brand new play Onions Cry Too, by Jayne Marshall. Reading the programme, the writer and I have something in common; she was inspired to become a playwright after seeing On the Shore of the Wide World, by Simon Stephens (staged by the Royal Exchange in 2006). That was the first play I ever went to on my own, and realised that no-one gives solo theatre goers a second glance. I then went from a theatre lover to a theatre obsessive, and she became a very promising new writer.

‘Onions’ is a very original and intriguing play. It focusses on four characters in what appears to be a nursing home, but you soon realise that there is something else going on here, although what is kept tantalisingly out of reach for almost the whole of the performance. It’s quite a brave decision to keep so much back from the audience for such a long time, by the interval I still hadn’t got a clue what was going on. But it does keep your attention as you are constantly thinking about whom these people are, what is really happening, what game is being played and who really has the power.

I found the pace somewhat stilted at times, especially in the opening scene, and I do think that its overall impact could benefit from a little tightening of the pace, and some careful editing to ensure the balance is right between intrigue and moving the action forward. And at times the cast didn’t seem to have fully settled into their roles, but at other times they delivered some lovely and very affecting scenes. In the second act I felt the play started to hit its stride more, and it did have some extremely moving elements.

I especially liked the characters of Alfred (Eryl Lloyd Parry) and Bertie (David Milne), who formed a lively partnership with some good comedy moments. In the second act they both also gave very touching and convincing performances, as they learnt some essential truths about themselves, their relationships and the path their lives had taken.

Arthur Bostrom as Charles had some nice moments of quite wicked comedy which were well delivered, but I found his the hardest character to actually understand. I never really felt I got to the bottom of whom or what the character represented, or what his real motivation was. The cast was completed by Bob Young as Donald, a character that by the end of the play was much easier to understand and delivered some very wry life lessons.
All in all, a play that kept my attention, made me think, moved me and kept me guessing, but one that could do with a few tweaks as and when it develops further.

Wednesday 26 September 2012

The Country Wife, Royal Exchange Manchester 22-9-12


The Royal Exchange’s season opener is The Country Wife, written by William Wycherley in the 1600’s. A bawdy restoration comedy, considered so rude by some that it was not performed in its original form for almost 200 years from the mid-18th Century.

There are two main strands to the story. The first concerns the lothario Harry Horner, who persuades his Doctor to spread the rumour that he has been rendered impotent, therefore convincing the men of the town that he is no threat to any respectable society lady. He uses this cover story to work his charms on said ladies and have his wicked way with them, often with their husband’s unwitting collusion. The second strand concerns the Country Wife of the title. Jack Pinchwife, unaware of the false rumour, has returned from the country newly married, and wanting to keep his innocent wife Margery away from the corrupting influences of modern society, especially the notorious Horner.

The set that has been created for the performance is sparse and effective, although I am not sure I approve of the decision to have floor to ceiling scaffolding poles skirting the stage at intervals, perhaps suggesting the metaphorical cage that Pinchwife wishes to keep his wife in. Sightlines must be a difficult thing to judge in theatre in the round, and it’s an area that the Royal Exchange usually addresses very well, but sitting directly behind one of these poles was a little distracting to start with, although the mirror that completely blocked my view of the actors in the first scene was thankfully removed after that.

Whilst there are some darker complexities to this play, this production was very much played for bawdy laughs and it definitely delivered on that respect. However, especially in the earlier parts of the play, I did find that the text was delivered at such an energetic pace it was occasionally difficult to keep up. As the play progressed though, I found a lot to enjoy, with the second half being particularly strong.

The character of Mr Pinchwife I found to be the most interesting, and it was played well by Nick Fletcher. It must be quite a complex role to perform, initially we see the insecure side of his character, and you do have some sympathy for him, but in the later stage his neurotic jealously, controlling nature and cruelty become more apparent. 

Oliver Gomm, fast becoming a Royal Exchange regular, as always delivered brilliantly on his comedic role as the foppish Mr Sparkish, owning the stage whenever he appeared. Amy Morgan was an excellent Margery Pinchwife, lively and engaging, really bringing out the less innocent and submissive elements of the character, and she had some nice asides to the audience that worked well without detracting from the main action. I also really enjoyed Maggie Service’s very humorous portrayal of Lady Fidget, the not so ‘respectable’ wife.

On reflection, I would have welcomed a few more elements of light and shade to balance the comedy with darker themes of the text, especially those of Mr Pinchwife’s character and actions. However, with lashings of bawdy humour enthusiastically delivered by an excellent cast, as a comedic outing I really enjoyed this performance, a solid season opener and an interesting choice.

Saturday 8 September 2012

You Once Said Yes, The Lowry (and elsewhere!) 8/9/12


As someone who quite likes the anonymity provided by a darkened theatre auditorium, I did find myself before this show wondering why exactly I had signed up to take part in a show where you are the only audience member for your time slot, and you are required to engage with events as they unfold. 

You Once said Yes, by Look Left Look Right theatre company , has had previous successful runs at both Edinburgh and Camden, and has now been adapted for Salford as part of the In On The Act festival. Previous participants have, in the main, been very good about not revealing details regarding the experience, so it was with some level of trepidation our merry band of adventurers waited in the Lowry’s foyer to be called forward one by one to start our experience.

After briefly handing over our belongings and being wished well, we were sent on our way, and had a series of ‘random’, but cleverly organised encounters, in various settings around the Quays across the next hour and a half. As far as detail as to what those encounters consisted of, that’s all you are getting, as having experienced it, part of the magic of the event is not knowing what happens next (although I will say you develop a healthy suspicion for innocent members of the public carrying mobile phones.)

However, what I can tell you is how the experience was for me. I think my biggest fear before the show started was the ‘what if’ factor, especially if there was any chance of being humiliated in public. But from the start this is just a lovely, fascinating and unique experience. It’s actually quite touching at times as you share a glimpse of other’s lives, and there is a great deal of humour built in to the story as well. In fact I think I smiled all the way round. 

Looking back on the encounters, it does make you think about how you interact with strangers on a day to day basis, and the stories of those you just walk by. And your journey is rounded off by a simply lovely finale that turns the focus of the experience back on you. 

A cleverly constructed, original and really quite touching piece of ‘theatre’ in its broadest sense, I was so glad I had the courage to say Yes. It is on until 16th September, and if you can get a ticket I would encourage you to say Yes too.