A matter of life and death… Handel’s Messiah, The Little Orchestra, Porchester Hall

The Little Orchestra promised a different take on Handel’s masterpiece and they didn’t disappoint, with conductor/compere Nicholas Little not only deconstructing the many working parts of this mighty, mystical engine but also explaining the story behind the piece itself.

The Messiah has a special significance as it was one of my mother’s favourites and she’d watch it every year played by her brother’s old band, the Royal Liverpool Philharmonic. Needless to say I didn’t make it past the second bar of the overture without welling up – this is powerful, resonant music with huge dynamics and emotional intelligence: almost unimaginable creative time travel from a composer way ahead of his century.

For all of Charles Jennens’ words, it’s the music that really moves you and Handel is so fluent in expressing the emotional narrative with a directness that belies the uncanny craft he deploys. It’s music that is positively cinematic, conjuring a response through power and subtlety.

Nicholas Little, Past Production Image, The Little Orchestra (by Annabelle Staff)

Mr Little’s orchestra is far from small, there were 17 singers, two actors for the spoken parts and two dozen players all bringing the noise to this 200-year old epic. The Porchester Hall had been decked out with a twisting cloud-like installation that divided the room between the performance area and a cocktail bar. The mixologist who served us had over 500 cocktails in his head whilst opera singers kept the music flowing after the main event had finished; this was a well thought out and richly rewarding cultural experience.

The LO had previously played part one at the Hall last Christmas and so it was the power of the choir that did for me as they sang Behold the Lamb of God at the beginning of part two. The choir was arranged chromatically from sopranos to bass, almost like a human pianoforte and with four excellent soloists performing the composers’ mix of leading line and chorus to perfection.

In between each segment of “songs” Nicholas would explain the background to the meaning and how contemporary audiences would have responded. He also gave context to the work, explaining that it was basically propaganda for English Protestantism with Jennens quoting liberally from the King James bible at a time when Catholicism had been firmly dislodged among the ruling elites. Not unlike our current debate on Europe, the split in Christianity had preoccupied the  country for a long time and now the battle had been won, it needed to establish its own legend.

This was also the time of The Grand Tour when noblemen would travel Europe in their early years to experience the culture and gain enlightenment – imagine that! Whilst many spent far too much time behaving badly, enough found their way to Italy to be impressed with the emerging forms of opera. The German-born Handel had travelled extensively himself and knew how to compose in this style, he also developed “English oratorio…” a form all of his own making involving a mix of spoken word, grandiose orchestrations and thematic collections of “songs”.

Jennens’s libretto may have been influenced by the suicide of his brother who lost his faith studying at Oxford and took his own life. As with many in a time of fragile mortality, the writer looked to the life beyond for comfort.

His script for Messiah therefore focused on the divine resurrection and the ultimate defeat of death… precisely what people wanted to hear, not just from a human point of view but also from the perspective of their religion; Protestants were the new “chosen people” and the English were on the right side of immortality as well as history.

The bands-eye view

Ithankyou Rating: ***** An evening rich in discovery and emotion, Little managing skilfully to inform and explain without deadening the impact of the music.

Catch The Little Orchestra if you can – details are on their website.

There was an intriguing display in the bar area... all connected to the scriptures?

All killer, no filler... Thrill Me: The Leopold & Loeb Story, Hope Theatre

The upstairs room of The Hope and Anchor is always the extra character in every play I’ve seen, it’s like a sentient being in an Alan Moore fantasy, one that is haunted by the intentions of stage and lightning designers and the stories they tell. Tonight, the room was working overtime as artistic director Matthew Parker’s flair for movement and space brought out new and genuinely shocking dimensions as it always does.

Leopold and Loeb, the two “thrill-killers” suddenly feel the Police closing in and the nervy Leopold swings a torch around revealing a wall plastered with photographs and cuttings from the original murder in 1924. These are all linked together by red cord which criss-crosses the walls and the space above our heads; we’re in an incident room and a young boy has just been horribly murdered by two hyper-intelligent sociopaths.

The two men were saw themselves as Nietzschean supermen, whose superior intellects should allow them to rise above the laws of common men, they began to indulge in criminal exercises just for the hell of it and again, there’s a particularly visceral sequence in which they torch a warehouse and Loeb’s face is lit bright red as he revels in the transgressive destruction and sings, Nothing Like a Fire. There is also a powerful sexual connection between the men and their deeds with Loeb, always the master, making sex conditional on their escapades and passions run alarmingly high after each crime.

Jack Reitman. All photos credit lhphotoshots

Parker doesn’t hold back and before you know it the audience is complicit in the relationship and the tragic attractions of this deadly pursuit, I’ve seen a lot of excellent shows at this venue and Thrill Me is surely one of the most intimately engaging: we’re dared to look into the hearts of men who committed the most appalling of acts, killers who Leopold later said were only human. This is a musical but of the most challenging and ultimately rewarding kind.

For all this to work, you need exceptional leading men and in Bart Lambert and Jack Reitman, Parker has found actors who not only look the part but have West-End power to their vocals as well as nuanced emotional control. As the dominant Richard Loeb, Reitman’s film-star looks are backed up by subtle reading of his character; yes, Loeb is the most overtly sociopathic and daring of the couple but he is also allowed chinks of vulnerability that show he needs his lover as much, perhaps, as he is needed.

Bart Lambert imbues Nathan Leopold with a febrile uncertainty, driven by an obsessive love for Richard and the constant cruelty pushed his way – Loeb calls him “Babe” but only sparingly as he knows he likes it… he undermines at every turn but perhaps he needs the lift?

Bart Lambert. Photo lhphotoshots

Together they drive each other on as the two law students think of ever more thrilling ways to break the rules they have studied - both still aspiring to be lawyers "after".

Stephen Dolginoff’s musical was originally staged in 2003 and tells the story in flashback from Leopold’s parole hearing in 1958 with the narrative switching back and forth to key moments in the men’s relationship. The songs are strong and allow both voices to shine as they sing about subjects that by all rights should be too complex, Richard’s singing about luring their murder victim to his car in Roadster is quite the most disturbing song I’ve heard all year and yet it’s pitched just right; you feel terrible and yet there’s a glimpse of the motivation behind this horrific act.

Tim Shaw sits behind the keyboards, accompanying in fine style, at first noticeable and then fading into the background - in the best possible way - as the story takes hold.

Chris McDonnell lighting design is exceptional as is Rachel Ryan's design and you get a sense of the team ethic of Mr Parker’s Hope which drives the theatre onwards with every new show. Thrill Me is a remarkable show and I if you’re looking for an adventure into the genuinely unexpected, take a walk on the wild side and book with confidence… you’ll still be feeling the show in the days that follow.

IthankyouTheatre rating: ***** For those who don’t believe that musical theatre can tackle complicated real-life stories this is unmissable; it’s an adventure into the lives and love of two killers that fearlessly asks “why?”

Thrill Me, plays at the Hope Theatre until 20th April, full details on the website.  

Declan and Libby aren’t dead… Mouthpiece, Soho Theatre

“Cause it’s all very well wanting to be a voice for the voiceless, eh. Until you find oot the voiceless have a fucking voice and mibbe they might want tay use it.” 

My father was a novelist and had 23 novels published from the seventies to the eighties; he always told me to write about what I knew and for him, after work as a policeman from Wavertree in Liverpool, he had plenty to draw on. But at what point does a writer become like an actor, performing a role as much as any of their characters and, are these characters “self-determining” based on the conscious or unconscious sympathies of the person creating their narrative?

Playwright Kieran Hurley’s Mouthpiece literally features a playwright within a play and the stage design has a proscenium arch set diagonally across the playing area to make sure we’re all of us urging on the same compromises his made-up creator is facing. It’s a tricky one; how do you write about poverty without having experienced it? And, do you really have a duty to only write about what you can fully understand: are there any half-measure of compassion?

Neve McIntosh, credit Neve McIntosh

Hurley’s writer is Libby who is superbly played by Neve McIntosh, an actor I’ve followed since her quite remarkable turn as Fuchsia in BBC’s Gormenghast (2001). She has an unique presence and intensity and does not disappoint as the worn-out writer who ran out of things to say in her twenties and now, returned from London to live with her mother, drifts deeper into alcoholic self-pity, shorn of any real purpose.

She’s up in the crags outside Edinburgh and is trying, perhaps, to goad herself into jumping off the edge, self-slaughter one of her diminishing heroic options. Function is smothered in surmise just long enough for a young man in as shell-suit to pull her back from the brink. He is Declan – a frankly astonishing Lorn Macdonald – who has come to his favourite spot for some solitude and self-help, drawing away his many demons and escaping the hell of his home life.

There’s a cautious connection between the two as Libby admires one of his drawings, seeing things in it that Declan perhaps hadn’t intended… But this isn’t A Star is Born, this is real life or at least as far as “just fantasy” will allow.

Lorn Macdonald - credit Roberto Ricciuti

Libby gets Declan to sign his picture and finds out about his sister, his mother and the monster of a man she clings onto, even at the expense of her family’s happiness. Measured against this is a writer’s block, a fall from the grace of the Groucho Club, and a mother who let’s her daughter stay under sufferance, the odd huff and puff, no actual violence.

Libby takes Declan to the modern art gallery and blows his mind and she introduces him to the post-grunge of Hole whose lead singer, Courtney Love, declared that when she felt at a loss as a front-woman, she imagined herself as REM's Michael Stipe. None of this means much to the youngster but he gets the drift and dances along in wildly different style to Libby who, like us all, is aghast at anyone not knowing who Stipe or Love are.

It's half time, and Libby breaks her (imaginary) fourth wall to remark, if characters are getting on well it tends to indicate a story arc that will end up with the opposite results. But who knows?

Soon, after Declan asks to be taken to the theatre, Libby starts to write again, she’s so inspired by her young friend’s story she wants to capture it or should that be capture him? She starts to quote verbatim and the lines are illuminated on the back wall to reinforce how much she is taking from Declan. After things take a turn for the worse at home when the 17-year old stands up to his step-father, Libby steps over the mark and has to write her subject out of her life. She is happy to resent his story but unwilling to really help him… is writing about a problem enough to absolve yourself of the need to help?

Hurley doesn’t fall into any obvious ruts in an edgy narrative that strikes true and is also very, very funny. There’s a great comic as well as dramatic relationship between the two leads, and they riff off each other as well as the script to deliver a genuinely funny take on the most serious of topics: that’s writing about what you know; human warmth and connection despite of background class and education. And this is what keeps your heart in your mouth when our friends begin to fall out and “success” puts a real strain on steadfast trust.

Director Orla O’Loughlin uses every inch of the sparse setting and pulls the performers out from that stage-on-the-stage literally into our faces: as Declan rages beside and as part of the audience, we feel the need to examine our own conscience and our own honesty of expression.

Libby and Declan dance to Hole's Malibu

It's powerful, visceral indeed, and yet, even during the explosive finale, there is still humour, people lost and trying to control their fears…  I won’t give further details, just go and see it!

IthankYouTheatre Rating: ***** A standing ovation: this is a fast-paced, innovative play that isn’t afraid of making you laugh just as it challenges your perceptions. It also features two tremendous performances and the play’s incendiary anger stays with you long after you leave the theatre.

Mouthpiece runs at the Soho Theatre until 4th May - not to be missed!

We are family… Mary’s Babies, Jermyn Street Theatre

“When the facts that you think you know turn out to be lies it’s a little like an earthquake…. These buildings need to be rebuilt from the foundations. Proper facts… Solid enough to build a Life on.”

Maud Dromgoole’s startling new play is inspired by the story of Mary Barton and her husband, Bertold Wiesner who used the latter’s sperm to artificially inseminate up to a thousand women before destroying the evidence.

Now you can only guess at what made the Wiesners want to do such a thing but you imagine the dilution this would have of the concept of son, sibling or indeed father? Dromgoole uses this to hold a mirror to the nature of all kinds of relationships with just two actors, Emma Fielding and Katy Stephens, playing all of the parts. They’re both outstanding as men, women, lovers, sisters, man and wife, ventriloquist, registrar and candlestick maker (probably) and in a bewildering switch from character to character the names are illuminated on the wall behind to help us work out our Greta from our Gertie and our Sarah from our Susan. In all there are 41 parts and it’s a tribute to Emma and Katy that you begin to recognise them one by one, like streetlights, illuminating the narrative.

It’s quite a feat and whilst I’ve seen many a one person show with multiple characters, playing 18 vs 23 takes so much skill and trust; like the two mimes at the end of Antonioni’s Blow Up who play tennis; they both have to keep their eye on the ball. Gradually you become involved in the key relationships as the nature of paternity, “relationship” and being a “sib” of this “father” is uncovered. 

Katy Stephens (Photo Robert Workman)

Normal rules fall away, even our urge to follow the path of parenting is revealed as a choice when the most important thing in all of this is love; the love that never entitled the sneaky sperm donor to claim parenthood for any save his only children with Barton, Ruth and Jonathan.

It’s hard not to feel resentful about a man who placed his own genetic inheritance so highly in other’s lives and who never acted as the third party is presented himself to be. The Wiesner’s practice was based in London and from the late thirties until the sixties they provided artificial insemination services for childless couples and it was only in 2007 when DNA analysis of a sample provided by Jonathan enabled the first people to identify him as their genetic father.

This “Barton Brood” forms the basis of the play as they uncover their relationships years after the “Daddy” destroyed the evidence. Set in 2007 it has characters aged between forty and eighty, a remarkable legacy of deceived humanity gradually discovering the truth and their enduring qualities.

It starts with Kieran, adopted son of Karen who has just died of breast cancer. He now knows that his “cornerstone”, the relationship between his birth mother, Beatrice, and his father, was laid in a west London clinic and not in the bounds of normal intimacy. Beatrice’s husband, Samuel, could not bear the fact of his origins and he was abandoned and brought up by Karen; more his real parent than any of those involved in the biological process.

Emma Fielding (Photo Robert Workman)

Then there’s Bret and Caroline whose halting intercourse is interrupted when she spots that he’s got an extra digit on his right hand… genetics? Gracie and Ethel are a more committed couple but Gracie’s search for her true parentage threatens to undermine their balance… reaching out for more family, Gracie wants considers having her own with Ethel but is she merely compensating; putting some right to her wrong and morphing her relationship into something more normative as a result?

For everyone, the discovery of their empty father unsettles and leads them on to analyse their definition of love.

Kieran meets Rota his half-sister, test-tube removed… while we discover Gracie’s backstory as her father lies seriously ill in hospital with Huntington’s were Caroline (yes, that one… the characters cross over with bewildering ease) works. There’s Bret, who thought he was the son of another one of the Barton’s circle – a surgeon – who has grown up anti-Semitic: he may good genes but that doesn’t guarantee personality and judgment. Sadly for Bret it turns out he’s actually one of Wiesner’s: a Jew.

So it goes, as Dromgoole toys with preconceptions and deftly shifts her narrative through characters without losing pace or tone. With one of life’s greatest certainties – our “Cornerstone” – in doubt we’re left to find new meanings and a new basis for love. The play doesn’t let us down and delivers the satisfying emotional crescendo we need and it’s also very funny throughout.

Credit to Tatty Hennesy’s direction which fully embraces the challenges of the writing, and to the energy of the two leads: they never let up and richly deserved the rapturous applause at the close.

Mary's Babies continues at the Jermyn Street Theatre until 13th April, details on their website.

Ithankyou Rating: **** This is an outstanding play that makes light work of its heart-rending subject matter, it puts so much faith in the audience and we are rewarded with love and light.

Tainted love… Medea Electronica, Pleasance Theatre

"I grieve for the woman I once was, naïve, open-hearted…”

Part gig, part theatre, the electro-musical Greek tragedy we’ve all been waiting for even though we never expected it… Mella Faye blew our socks off and set them alight as we watched in stunned silence. Like so much of London’s “fringe” theatre the Pleasance specialises in surprise and invention unfettered by the same commercial concerns of the West End – not that they don’t need a plentiful paying audience! But it’s the spectacularly unusual shows such as Pecho Mama's Medea Electronica that will ensure that the theatrically-curious will find their way to this superb complex nestled between Camden and Islington.

The play combined the buzz of both – a knowing and expertly-constructed musical populated by the kind of rare grooves you could have heard in the Electric Ballroom or Dingwalls, coupled with the theatrical verve of Upper Street.  Mella Faye’s voice carries a deliciously folky catch in the throat and is like a rougher-edged Liz Fraser, especially with ethereal double-tracking as she emotes over Alex Stanford synths and Sam Cox’s electric percussion. The three are indeed a band, called Pecho Mama, and to prove it they were even selling t-shirts and CDs afterwards.

Their music is so precisely of a period that I’d guess at 1982-85 even though I’d been expecting something a little more 1989, this was a deep groove to explore from an era when synth pop re-invented the torch song with vocalists such as Marc Almond, Alison Moyet and Phil Oakey… full disclosure; I saw Heaven 17 a few weeks ago and they’re still mighty.

Alex Stanford, Mella Faye and Sam Cox - photo Katrina Quinn

This period synth pop reflects the placing of Euripides' 431BC play in Thatcher’s Britain and the greed-is-good mentality of Medea’s husband, Jason East, who seems to have gone off the rails following the death of his father. He spends an increasing amount of time away from home, working long hours and supposedly dealing with his grief.

The family had moved from London to Bedfordshire and Medea has her hands full with their two young children Michael and Peter, especially the former who struggles to adapt to his new school. There’s a lot of love on show and the sound design from Simon Booth is superb as Mella Faye acts to disembodied pre-recorded voices with seamless conviction.

Jason’s true reasons for his absence are soon painfully evident as is his plan to disengage his wife from his life and family… but, this is a play based on a Greek tragedy and his wife, as she warns, will make him wish he’d never met her.

Mella Faye, photo Katrina Quinn

It’s a simple but powerful story that is told boldly and with so much invention, working as an electro-pop-opera with fascinating music as well as drama - a splendid platform for Mella Faye’s singing, acting and mime. It’s a primeval storyline with no modern compromise but, as Faye says, it invites the audience to be on Medea’s side and, despite the things she does, we do indeed want “to will her on, and to want her to succeed.” Is that just the music talking or are we still emotionally “Greek” in response to base betrayal?

Medea Electronica runs at the Pleasance until Sunday 23rd February 2019 before continuing elsewhere in the UK and abroad - full details are on the band/theatre company’s website.

IThankYou Theatre rating: ***** You won’t see anything quite like this all year: dramatically different and you will want to buy the album too!

Distant voices, still lives… Agnes Colander - An Attempt at Life, Jermyn Street Theatre

This is only the second time Harley Granville Barker’s play has been performed with his intention of addressing gender politics, relationships and "The Sex Question", possibly persuading the 20-year old, that it was too frank to go public. Agnes Colander is woman seeking artistic independence but also a “marriage” that will allow her to realise that ambition.  That she keeps on defining these ambitions in the context of a relationship with a man says more about the era in which this play was written than anything else: Agnes cannot operate in society without a man to fund her and, more importantly to give her social standing.

Trevor Nunn will have addressed the question of sex frequently in the 37 Shakespeare plays he has overseen (that's the full set) and here his direction ensures that the play moves purposefully and with convincing performances. But it cannot escape the limits of its original construction, confounding our modern expectations with social compromises that are archaic now. That said, Barker is pushing the boundaries and some scenes are positively shocking for a play written in 1900 and there is a sensibility that would find fuller expression with The Voysey Inheritance (1905), about financial immorality, and Waste (1907). Seemingly he abandoned the play over fears of censorship and audience disapproval and when he re-read it in 1929, he made a note on the manuscript that it was “very poor”.

The only known copy of the play was by Colin Chambers in the British Library, and the American playwright Richard Nelson to revise before Nunn debuted it in Bath last year. It still feels a little uneven but there are some stunning passages that make the jaw drop – Agnes is not just a blue stocking she’s a seeker after truth and self-actualisation many decades before any of that became a woman’s right.

Naomi Frederick - all photographs from Robert Workman

At the start of the play, Agnes played by the magnetic Naomi Frederick, is found in her studio mulling over a work that she swiftly hides and replaces with a blander one when she hears a knock on her door – we don’t see the subject until the last moments of the play but it’s clear from the off that she is creatively frustrated. Her door is opened by the bear-like Danish painter Otto (Matthew Flynn) a curiously abrupt man who is purely dedicated to his art in a way Agnes can only dream of. He has the freedom to be himself – accepted by society even as his outspokenness veers towards cruelty and rudeness.

He has brought news of a telegram from Agnes’ estranged husband who wants her back. He is much older and their union was “arranged” but, stifled, she left to pursue her dream of being “more herself…”. But this dream has not worked, she is reduced to painting within the lines of expectation: producing the merely beautiful without saying anything… She is tempted to give it all up and return to the comforts of the rich man but, decides to follow her heart after Otto “proposes” – in his way, and the two move to France to love and to paint.

This is after a young man, Alexander Flint (Harry Lister Smith), who has been employed by her husband to keep a watch, also declares his love… he’s too young and too late, as Agnes is distracted by the thoughts of the splash of Otto’s paint and the firm line of his charcoal.

Naomi Frederick and Sally Scott- all photographs from Robert Workman

Over in France, the couple have the most artistic of arrangements – Otto does not want to marry and Agnes only wants to paint in the same animalistic way as he. But it’s not that simple and, once again, Agnes finds herself more muse than master. Is she being dominated by Otto and suppressed by his ferocity and simplicity in the same way as, over dinner, he pulls at the bread and mauls the chicken with his bare hands as she politely picks away…?

In the end Agnes must decide to break free on her own or to pin her hopes and talent onto the inconsistent attentions of Otto… cue a rather surprising denouement… ultimately it’s about The Sex Question and the play is rather coy on the answers as it had to be in 1900.

Frederick acts with fluidity and convinces as much as these lines will allow whilst Matthew Flynn gets a lot of the laughs as the freely-expressive Danish draughtsman. There’s good support too from Cindy-Jane Armbruster as Agnes’ long-suffering lady-servants, Lister-Smith as the wholesome Alexander and Sally Scott gives a buzzy cameo as expat Emmeline Majoribanks who is there to remind Agnes of social convention even when she enjoys breaking it by snogging Otto; perhaps “Emmeline” is there to contraindicate the importance of independent spirit?

A tip of the hat to Robert Jones’s stage design which has us right in the heart of things in both London and France; removed in space and time.

Agnes Colander runs at Jermyn Street until 16^th March, tickets and further details all at the box office.

IThankYouTheatre Rating: *** A fascinating adaptation of an important, if unfinished, play that has much to say about “the sex question” from a 1900’s male point of view.

Up Against It… The Ruffian on the Stair (2019), Hope Theatre

“They think because you’re a criminal they can treat you like dirt…”

What is it about the Hope Theatre that guarantees an evening free from thoughts of the dreary daytime, tax returns and conveyancing fees? I think the place is haunted by the punks below and, increasingly by the ghosts of actors above, for I have never seen a bad play here.

Tonight, was yet another delight and Lucy Benjamin was outrageously outstanding as Joyce the reformed sex worker now dedicated to looking after her man. She radiates believability and a powerful emotional coherence throughout, handling Orton’s tricky, multi-levelled dialogue with naturalistic ease even in the midst of a scribbling cauldron of critics and, the potentially distracting presence of the genuinely great Kenneth Cranham.

Mr Cranham was only 18 when Orton cast him as the “ruffian” in the Radio 4 broadcast of the play and, he later also performed it at The Royal Court, he knew the playwright very well having starred in Loot for over 400 times so… a little more pressure on the cast tonight than having just your usual theatrical genius in the room!

To a man, well to a Lucy, Adam and Gary, they met the challenge and produced a perfectly choreographed dance of delusion and despair. Joyce (Lucy) lives with her man Mike (Gary Webster), an ex-boxer full of pride but also deeply troubled by the cards he has been dealt; he works as a hired hand, “fixing” things such as over-due financial transactions and third-party retributions.

Gary Webster amd Lucy Benjamin, photos all from Anthony Orme

He talks of meeting men in Kings Cross toilets and anyone who has read the Orton Diaries can only think of one reason but, as it legally had to be, Orton’s text is never specific, which makes it even funnier… for that brief and brilliant period in the mid-sixties, Joe ran rings around the powers that were, running his words off beneath their belts and over their heads. Orton was even asked to write a film for the Fab Four, Up Against It, which the lads would have loved had it not offered too difficult a sub-text for Brian and EMI.

One day while Mike is out working, a young man Wilson (Adam Buchanan) comes a knocking about a “room for rent” … Joyce is confused as there is no room for rent, but it soon becomes clear that the “ruffian” is a bereaved man who’s brother has recently been killed. Wilson’s appearance is entirely strange, this is An Inspector Calls on Valium washed down with rum and coke… and he asks whether Joyce’s man is the vengeful type and presses her into showing him his revolver.

Paul Clayton directs with an actor's instinct and intimate knowledge of this febrile venue. There’s always more than meets the eye and I love the playful way Orton juggles his narrative mystery knowing, with full confidence, that everything will not only fall into place but make absolute, devastating, sense in the end.

Lucy Benjamin and Adam Buchanan, photo by Anthony Orme

Soon Wilson calls when Mike is home and the real connections begin to be made clearer… In this brief but powerful play, love is stringer than hate and there’s an uncanny beauty in the central premise that is far from laughed away by the play’s hilarious final lines.

We cheered and we whooped, Ken looked happy and the three took prolonged applause.

In truth it’s not fair to single out Lucy alone for Gary Webster is also consummately at ease in this role with his every mannerism giving eloquent voice to his character, a man of pride but also with secret passions and a deep love for the “wife” he relies on so much he has to hide it through insults and everyday nit-picking: his ego is so fragile… what would he be without her?

And then young Adam is superb as the unsettling yet fragile ruffian intent on settling his score but in his own way. If this is a play of domestic invasion, it is also atypical for this lose “genre”: Wilson isn’t there to change their lives but to make sense of his own to pay a tribute beyond their ken… so many layers obscured by off-beat dialogue that moves parallel and at strange angles to the narrative… half a century later Ken’s mate Joe is still startlingly fresh and challenging.

Tickets from the Hope Box Office and you better be QUICK!!

IThankYouTheatre Rating: **** A reminder that the sixties weren’t all flower power but a time of huge social and artistic change; this play still cuts us to the raw and the acting is top notch. What a cast!!