Just When You Thought it Was Safe to Go Back to Victorian London

The Legend of Springheel’d Jack – Series II of The Springheel Saga

Once again, Wireless Theatre Company has produced an energising, bewitching, atmospheric piece of radio.  Opening seven years after the end of the last series, we are immediately dropped into the thick of the action and the pace does not let up throughout the three episodes.  The Doctor Who references this time seem to me more subtle, and at the same time wider-reaching.  The sound landscape played a large part in this (I’m sure I heard a tardis at a couple of points!), especially the incidental music provided by Cameron K McEwan.  Without giving too much away, much of the story revolves around a mysterious box, whose origins, it turns out, involve transwarp drive.  The box’s final destination is reminiscent of another cult classic – Raiders of the Lost Ark.

The storytelling remains first-class  Writing for radio holds its own special challenges, as the conversations have to tell most of the story, without being too obvious or lessening the impact of the characters as individuals, and this was managed seemingly effortlessly by Gareth Parker and Robert Valentine.  However, in this series, they have added the device of a narrator, who is also a character in the story (James M. Rymer, wonderfully played by John Holden White) and this proved to be very effective.  As before, the dialogue is outstanding throughout; with priceless lines such as “the tears that rolled down his cheeks behind the large false beard.”

The acting was superb.  Christopher Finney reprised his role of Jonas Smith with aplomb, John Holden White, as James M Rymer, was an excellent addition to the cast, and Nicholas Parson was wonderful as Cuthbert Leach.  However, my personal favourite this time was Josephine Timmons, as Lizzie Coombe.  She was believable on so many different levels (it was a complicated character); totally sympathetic and a pleasure to listen to throughout.  Casting was by Jack Bowman, who also had a small but effective cameo, but whose major contribution is in the production and the superb writing (under his pseudonym of Gareth Parker).  The excellent direction was by co-writer Robert Valentine, who was also part of the production team, along with Mariele Runacre-Temple.

The Legend of Springheel’d Jack is in three episodes: The Terror of London; The Carnival of Horrors and The Engine of Doom.  Each of these can be downloaded from http://www.wirelesstheatrecompany.co.uk.  Series III – The Secret of Springheel’d Jack – is planned for an August/September release.  I’ll be listening!

Previously published in Blogtor Who.

Romantic Fun for Valentine’s Day

She Loves Me at the Landor Theatre

I didn’t notice that Saturday was Valentine’s day when I arranged to go and review She Loves Me on that day. Once I realised, I wondered if I would look a bit strange going to a romantic musical on my own on the day for celebrating the pairing instinct! I needn’t have worried. There were a lot of couples (and quite a bit of hand-holding), but there were also people who had come because they had friends in the cast, so I didn’t stick out like a spare thumb.

Seated at the end of the front row I had a good chance to look at the set (courtesy of designer David Shields and Lighting Designer Richard Lambert) before the performance began. It was wonderful! She Loves Me is based on a play called Parfumerie (by Hungarian author Miklos Laszlo) and most of the action is set in a cosmetics shop. The set was well-designed: bright, cheerful and colourful; as well as being easily adaptable to the requirements of different scenes.

I did have one major gripe about this show, which nagged at me right up until partway through the second half, when I suppose I got used to it. The play is set in Budapest and is being performed in a London theatre. So why is everyone speaking in an American accent? Yes, I know the musical was first produced on Broadway, but that seems insufficient reason to me. And although the accents were, on the whole, excellent, they did slip on the vocal numbers in some cases. Looking at the cast list, I can see that one cast member is from the US and another from Canada. Let them speak in their native accents, and let the rest of the predominantly British cast speak in their own accents. Were an accent change indicated, the only logically choice would be Hungarian, and I don’t believe that would be either practicable or effective.

Accents aside, I really liked She Loves Me. The fourteen-strong cast gave flawless performances with high energy throughout. The songs were exuberant and infectious, and the choreography was of a very high standard – essential when you have such a large cast in such a small space. Credit is due to director Robert McWhir, musical director Iain Vince-Gatt, and choreographer Robbie O’Reilly. The cast were ably support by a trio of musicians whom I can’t seem to find listed in the program and Nina Morley’s costume design and Cecily Rabey’s stage management contributed to the excellent overall look and feel of the piece.

With such a large cast, all of such a high standard, it is hard to pick anyone out for special mention. Lead actors Charlotte Jaconelli and John Sandberg were wonderful, both vocally and in terms of creating believable sympathetic characters. The same could be said Emily Lynne, David Herzog and Matthew Wellman – although without the sympathetic part in his case, as he was playing the villain! I was particularly drawn to Joshua LeClar as the bicycle messenger Arpad and Ian Dring as Mr Maraczek, the elderly shop owner. All of the singing in the show was brilliant, and I particularly enjoyed the chorus numbers (George Mulryan, Rosie Ladkin, Tom Whalley, Olivia Holland Rose, Luke Kelly, Anne Horn and Suzie Chaytow). At 2 ½ hours the show is good value for money, and I can guarantee you will leave with a smile on your face.

She Loves me is at the Landor Theatre until 7 March 2015, Tuesday – Saturday nightly at 7.30pm, with matinees on Saturday and Sunday at 3pm. For more information, visit www.landortheatre.co.uk.

Nobody Does It Better

The Diary of a Nobody at the King’s Head Theatre, 20 January 2015 – 14 February 2014

The Diary of a Nobody, the story of Charles Pooter, was published as a series of articles and illustration in Punch during the late 19th Century, and was written by brothers George and Weedon Grossmith.  There have been numerous stage, screen and radio adaptations over the intervening years, often differing wildly in interpretation, for instance Keith Waterhouse’s play, featuring Judy Dench and Michael Williams, told the story from the point of view of Pooter’s wife Carrie.

As would be expected, Rough Haired Pointer have their own take on the story.  This starts with the design (Karina Nakaninsky and Christopher Hone): both set and costumes are constructed to resemble the black and white drawings in the original work.  Secondly, the adaptation and direction (Mary Franklin) splits the action between four characters in an interesting way (the narration, as Pooter, is shared by all four, for instance), and thirdly the sheer madcap mayhem and silliness of the production was extremely refreshing.

The cast consisted of four male actors, which did add slightly to the Pythonesque atmosphere of the piece, although I’m sure it could work equally well with women also.  Jake Curran played Charles Pooter throughout, which lent a much needed anchor to the play, amidst the constantly changing characters around him.  He did an excellent job of conveying both poignancy and humour.  Jordan Mallory-Skinner played Carrie throughout, although he did morph briefly into three other characters.  Again, he gave a sympathetic and amusing portrayal of the character, and, although not dragged up in any way other than the costume and a pair of earrings, at times I found myself forgetting he was not really a woman!

All the remaining characters were played by Geordie Wright and George Fouracres.  Wright did have a main character of sort, in Sarah, the maid, but he played many others also, and Fouracres was continually changing parts, although perhaps his role as Lupin, the Pooters’ son, is the one that most sticks in my mind.  These two actors contributed a lot of the over-the-top hilarity which was a characteristic of the production, and both displayed great comic flair, as indeed did Curran and Mallory-Skinner.  The chaotic fun was enhanced by the staging: little touches such as having the cast pour glasses of rice from a wine bottle and try to drink it, and the postman carrying a letter box with him as well as a letter to put through it.  There was also some audience participation involved.  In addition, there was quite a bit of corpsing, which strangely just made the play even funnier.

The Diary of a Nobody is closing at the King’s Head tonight, so do pop down and see it if you can, or look out for future productions (the current one is a transfer from the White Bear).  For more information, visit www.kingsheadtheatrepub.co.uk  or www.roughhairedpointer.com.

Photographs courtesy of Rocco Redondo

The Diary of a Nobody

Brilliant Brel

Jacques Brel is Alive and Well and Living in Paris at the Charing Cross Theatre

You probably know more Jacques Brel songs than you think.  Ne Me Quitte Pas, anyone?  How about No Love You’re Not Alone (incorporated in David Bowie’s Rock ‘n’ Roll Suicide)?  Terry Jacks’ Seasons in the Sun was Le Moribond with a new lyric, while Scott Walker had a hit record with Jacky in the late 1960s.

Singer songwriter Brel was born in Belgium in 1929, moving to Paris in 1953 to pursue his career in music.  Although he died young (aged 49) he left a remarkable legacy of chansons behind him, many of which focus on the darker side of life.  “Jacques Brel is Alive and Well and Living in Paris,” a musical revue of his work, was first produced in New York in 1968.  The show reflects his strong anti-war stance, and features songs in English, French and Flemish.

The Charing Cross Theatre production has a heavy cabaret feel to it, which is all to the good.  The first half was enjoyable: Eve Polycarpou opened the show with Le Diable (Ca Va), followed by Daniel Boys and Gina Beck, who made a favourable first impression with If We Only Have Love. Musical Director and Pianist Dean Austin sang a brief solo with Le Moribond, and I particularly liked the closing number Amsterdam, powerfully sung by David Burt, which gave a flavour of what was to come after the interval.  I would have liked to hear some harmonies on The Desperate Ones, which was sung in unison by the full company, but by the time I got to the interval I was already impressed and looking forward to what was to follow.

Despite some feedback problems on the sound front, especially during “Middle Class” (which was a shame, as it was otherwise a very amusing number from David and Daniel), the second half blew me away.  Eve’s Ne Me Quitte Pas was profoundly moving, and Gina’s “My Death” totally rocked.  I’ve been lucky enough to see the wonderfully talented Camille O’Sullivan perform both of these, plus Amsterdam, live on more than one occasion, and Eve, Gina and David’s renditions in no way suffered by comparison.  Daniel Boys also gave a consistently strong performance throughout, with his Next being a particular standout.  Overall, the second half seemed to build to a final crescendo, with the full cast joining in for a reprise of If We Only Have Love at the end.

The four singers were ably supported on stage by band members James Cleeve, Felix Stickland, Doug Grannell and Richard Burden, as well as by Dean Austin as previously mentioned.  This excellent show was directed by Andrew Keates, and is well worth a viewing.

Jacques Brel is Alive and Well and Living in Paris runs until 22 November 2014 at the Charing Cross Theatre, Monday – Saturday 7.45 pm, Saturday matinees 3pm.  Tickets are available from www.charingcrosstheatre.co.uk.

Short but Sweet

The Fat Man's Wife 5 - courtesy Simon AnnandCanal Cafe Theatre presents The Fat Man’s Wife by Tennessee Williams

It is always intriguing to hear about a “new” play from a celebrated dead playwright.  Although written in 1938, The Fat Man’s Wife remained unproduced throughout Williams’ lifetime, having its first staging in New York in 2004.  This is its first UK production.  Despite the excitement of the new, however, there is also slight suspicion – why would the work of an extremely successful and well-regarded writer be so neglected?  It was therefore with curiosity mixed with apprehension that I arrived at the Canal Cafe on Thursday night.

I had never been to this theatre before, but from previous knowledge I had been expecting an arrangement of tables and chair, café- style.  However, the company had decided to perform in traverse, which was an excellent choice, as it really made the best of the space available.  Incorporating an actual window into the set, rather than covering it up was also a good idea.

I was first drawn to Williams’ work after seeing a film version of The Glass Menagerie, featuring Karen Allen as Laura, and this has remained my favourite of his plays.  The Fat Man’s Wife appears to have many similarities with the story of Shakespeare’s sister, in that they are both slightly gentler than much of the writer’s other work, while still containing the sense of claustrophobia and restriction that characterises the majority of his plays.

All three actors did a wonderful job.  Damien Hughes, as Dennis Merriwether, conveyed the exuberance and indestructibility of youth and the frustration when he realises that eagerness and enthusiasm isn’t going to be enough, in a lively, engaging way.  Emma Taylor (Vera) had our sympathy as the middle-aged woman trapped in a loveless marriage, who nevertheless is too scared, or too realistic, to escape.  We could feel her pain, and, even more, her weariness.  Although his part was small, Richard Stephenson Winter, still managed to portray Joe as a figure to be pitied, a victim of his own appetites, and made Vera’s decision to stay with him believable.  The play was ably directed by Russell Lucas, with assistance from Anne Harris.

Without knowing the background of this play, however, it comes across as the first act of a two act play, with the second act missing.  The ending is abrupt, and it feels as if the characters could have done with a lot more development.  But once you take into account the fact that it was one of Tennessee William’s earlier pieces of writing, and look at it as a sort of rehearsal for his later works, it becomes a fascinating piece of theatre, well worth the price of admission.

The Fat Man’s wife is running Thursday – Sunday at the Canal Cafe Theatre, Little Venice until 2 March, Sundays at 7pm, all other shows at 7.30pm.  For tickets and more information, please visit www.canalcafetheatre.com.  Picture by Simon Annand.

Mary Tynan

The Springheel Saga

shj_cryptofevil_large_sml_jackWireless Theatre Company have contacted me with the exciting information that Series Two of the popular Springheel Saga, entitled The Legend of Springheel’d Jack, will be released online on 6 December 2013.  In the meantime, here is a review of Series One to whet your appetites.

The Strange Case of Springheel’d Jack

Wireless Theatre Company’s take on the Spring-Heeled Jack story is an atmospheric, exhilarating, beguiling piece of radio drama.  The writers have taken the known facts of the case and expertly weaved them with a story of devil worship that appears to pay homage to “The Daemons” (the Jon Pertwee Doctor Who story from the 1970s).   Doctor Who influences are everywhere, from the opening music (which also strangely reminds me of “Dallas”), to Julian Glover’s participation as Lord Wayland, to the fact that the lead character is called Jonah Smith.  The eagle-eared among you will spot other parallels as you listen, but I wouldn’t want to give everything away!

Gareth Parker and Robert Valentine’s storytelling is excellent.  The dialogue holds your interest and manages to elucidate the plot expertly, whilst simultaneously depicting and delineating the various characters in a sympathetic manner.  The writing is of a very high standard throughout, with some marvellous lines and phrases which stick in the memory – my favourite being “reform bills that pass like ghosts through Parliament’s bladder!”

The writing is greatly assisted by the sound in all three episodes.  Both Francesco Quadraroupolo’s music and Andrew Swann’s sound effects help to build the atmosphere to the point where you can almost see what is going on.  I could easily imagine myself in Victorian London, and the devil worshipping ceremonies were particularly effective.  Of course, this is also largely due to the quality of the acting; the way that everything is edited together (Andrew Swann again) and the overall production values of the serial.

With a cast of 23, it is impossible for me to mention everyone, suffice it to say that all should be extremely proud of their performances.  Christopher Finney and Matthew Jure gave strong, believable, sympathetic performances as Constables Jonah Smith and Toby Hooks respectively, as did Jessica Dennis in the lead female role of Charlotte Fitzrandolph.  All of the female characters were played very well – I particularly like landlady Mrs Bairstow, played in an amusing and entertaining manner by Lizzie Goodall.  Julian Glover was a marvellously nefarious villain, and Jack Bowman did a wonderful job of portraying the evil and menacing Mr Chough.

The Strange Case of Springheel’d Jack is in three episodes: The Ghost of Clapham Common; The Crypt of Evil and The Face of the Fiend.  Each of these can be downloaded free from www.wirelesstheatrecompany.co.uk.  Further episodes are promised, which I, for one, shall certainly be on the lookout for!

Mary Tynan

First published on Blogtor Who.

Don’t Let it Pass you By

Arion Productions Ltd presents Passing By by Martin Sherman at the Tristan Bates Theatre

Passing By begins, deceptively, with a one-night stand.  A one-night stand that turns into eight weeks and becomes the substance of the play.  Thrown together by circumstances, the two main characters have intensive intimacy forced upon them, which leads to both comic moments and personal revelations.  It is almost like a bubble of unreality, in which normal life is suspended for a period of time.  Naturally, all such bubbles eventually burst.

Toby and Simon meet at the cinema, and then return to Toby’s apartment.  Simon has just arrived in New York from Miami Beach.  The following morning we hear that Toby is about to leave for Paris, so their relationship seems doomed to be a brief one.  Nevertheless, Simon turns up at Toby’s place of work (a wine shop) several days later, and a subsequent discovery of mutual illness, coupled with the fact that Simon has nowhere else to stay, causes them to nurse each other back to health over the next 8 weeks.

This is a well-written, carefully-structured, balanced play.  It has overtones of the type of New York humour found in Woody Allen or Neil Simon, and the contrast between James Cartwright’s portrayal of Olympic diver Simon, and Rik Makarem’s New York Jew Toby adds to the richness of the mix.  Simon is laid-back, confident, physically fit and has never had a day’s illness in his life (until now), whereas Toby is nervous, neurotic and seemingly hypochondriac at the start of the play.

Both actors filled their roles extremely well.  I couldn’t fault the accents, and James Cartwright’s initially relaxed Simon was a good foil to Rik Makarem’s anxious Toby.  However, it was as the play progressed and the roles reversed that the actors came into their own, and the interplay between them was excellent.  The juxtaposition of characters was what made the play, and, to me, was reminiscent of many wonderful similar stories: The Odd Couple; Prick Up Your Ears and even Ernie and Bert!

The resemblance to both the Joe Orton story and the Sesame Street roommates was enhanced by the set (presumably designed by Philip Lindley).  The majority of the play is set in Toby’s bedroom/kitchenette, which is a very good simulation of a 1970s room, with nylon bedspreads, padded headboards and an old-style black dial telephone.  The only false note was a television remote control of a type not in common use until the early 90s – a bit of an anachronism for 1972.  The three other short scenes – in the wine shop; at the cinema; on a bench – were very cleverly fitted into the main set.

The interesting thing about watching a play which was actually written in the early 70s, rather than one written today looking back at the period, is that there is no benefit of hindsight.  There is no dramatic irony, apart from that which the audience themselves experience, and the writer had no knowledge of the vast changes which were to take place in the lives of gay men in New York and elsewhere over the next couple of decades.  This gives a purity to the piece, almost as if we were looking through a window in time and space, that you just don’t get with retrospective writing.  For this, and for many other reasons, I would recommend you catch this play – as it is passing by.

Passing by is at the Tristan Bates Theatre in Covent Garden until 30th November, nightly at 7.30, tickets £14 (£12 concessions).  For booking or more information visit www.tristanbatestheatre.co.uk or telephone 020 7240 6283.  Photos by Scott Rylander.

Mary Tynan

Passing By

Provocative and Razor Sharp Fleabag Punches Way Above it’s Apparent Means

Phoebe Waller-Bridges’s Fleabag, from DryWrite Theatre Company at the Soho Theatre, is a confessional stream of consciousness which combines humour and pathos to elicit a powerful effect.

Fleabag tells her story in a way that is both highly entertaining and deeply thought-provoking. Despite the potentially sordid nature of her revelations, the intimacy and blunt honesty engages the audience, both male and female, drawing our reviewers and at least outwardly the majority of audience into identifying with the character and remarkably even being supportive of or at least understanding of her sometimes bizarre and certainly desperate actions. ‘Raise your hand if you would trade 5 years of your life for the so-called ‘perfect body.’ Fleabag and her sister would, but are alone in their opinion in a room of 400 women, in a moment which grabs the audience’s sympathy. She follows through on her intense yearnings with assorted characters including an elderly cockney customer at her café and a stranger met on a train. The power in her performance is apparent in the fact that we feel we understand her desperation. We don’t immediately assume she needs psychiatric care or that the elderly chap she shocks to is heading off to report her to the police. Something in her painful honesty convinces us that she will have touched them similarly. There is nothing comfortable about this piece, and yet the laughter comes from a place of genuine empathy, as does our compassion during the more poignant moments.

This is a one-woman show, which is stripped back to the bare essentials, thus allowing the smallest of movements, gestures and facial expressions to assume significance. Phoebe’s performance was matter of fact, yet moving, and her timing was excellent. She also interacted very naturally with recorded sound. The narrative flowed seamlessly from hilarious beginning to an almost tragic ending. She seemed to be hitting at aspects of the human condition that are normally hidden by social taboos, and the bravery of the performance appeared to be answered by the audience’s response. Waller-Bridges wrote and performed this; maybe that’s why she presents it with exactly the right level of blunt honesty.

Despite the previously mentioned use of recorded voices, Phoebe does voice many of the other characters in the story herself, including her sister, her father and her Australian boss, demonstrating the breadth of her acting range. The play has a multi-media aspect, utilising mobile phones in different and imaginative ways! Sound effects also add to the overall experience.

One small drawback to the evening’s entertainment was the seating at the venue. Sitting at the end of the third row, the visibility was very poor, and constantly moving about on one’s seat and moving one’s head and shoulders about can detract from the enjoyment of a performance. That said, however, this is a very good show, to be highly recommended. If you are looking for an evening of smutty talk, laughter and life affirmation, plus a hearty dose of honesty, this fits the bill.

Fleabag has now finished its run at the Soho Theatre. For more information, visit www.drywrite.com.

Mary Tynan and Ian Macnaughton

Belfast Girl: A Love Story

As it’s now less than two weeks till opening night, I wanted to let everyone know about Belfast Girl: A Love Story, from London Irish Theatre.

Set in the aftermath of the Good Friday Agreement, Belfast Girl: A Love Story considers the human dimension of the Northern Ireland question, and uncovers the personal costs of political struggle.  Annie is the Belfast Girl of the title: a working class protestant who grew up during the troubles.  Her marriage to Orangeman Billy is on the rocks, and an unexpected visit from English Catholic Dave, her childhood sweetheart who she hasn’t seen since her teens, brings matters to a head in an explosive manner.  The play is written and directed by John Dunne, and features Mary Tynan (me) as Annie and Ian Macnaughton as Dave.

The story of Dave and Annie has been through several incarnations over the years.  The first, titled Belfast, premiered in the 1990s and featured the couple as teenagers, with Tanya Franks as Annie.  I become involved during the second incarnation, Belfast Boy, which was written to be the second play in a double bill with Geraldine Aron’s A Galway Girl, touring in 2009/10.  This was a two hander, with the older Annie and Dave meeting again after many years.  Belfast Girl followed in the summer of 2010, and I played Annie for the second time in a completely new work which also featured Annie’s brother and husband.  This play has recently had a Belfast run, in which the story was expanded to include two further characters.

Belfast Girl: A Love Story returns to the two-handed format, but with a twist.  There may be only two actors, but there are more than two characters!  I’m really looking forward to playing Annie again, and would like to invite readers of Notes From Xanadu to join the audience.  Previous versions Belfast and A Belfast Boy have both received critical acclaim from the press, and Belfast was a Time Out Critic’s Choice.

“John Dunne’s sensitive squint at the Ulster legacy adapts well to the stage.  What’s impressive about the rapid stucco of tense, bite-sized scenes is that they’re eloquently counterpointed by a driving commitment to character development.”  Time Out

“A sharply realistic play still willing to speak for love, however guarded, as the central human value.” City Limits

 “Fantastically gripping.”  What’s On

 “Moving stories in an Irish odyssey.”  Camden New Journal

Belfast Girl: A Love Story is playing on both sides of the Thames this Summer.  It opens on 20August 2013 at the London Theatre, New Cross, running nightly at 8pm until 24 August, with a Sunday matinee on 25 August at 4pm.  It then runs from 27 to 29 August nightly at 7.30pm at the Babble Jar, Stoke Newington and from 30 August to 1 September at the Precinct Theatre, Islington, with all performances there also at 7.30pm.  Tickets can be bought on the door, from the London Theatre Box Office (www.thelondontheatre.com), and from www.irish-theatre.com .

Belfast Girl: A Love Story

 

Well Worth a Visit

Theatre Collection presents The Visit at The Lord Stanley, Camden

The Visit opens with optimism: the citizens of Gullen are looking forward to the arrival of one of their own and hoping she will spread some of her good fortune around her old town.  But, immediately upon her arrival, it becomes apparent that Claire Zachanassian, the richest woman in the world, is used to always getting what she wants – and what she wants now is murder.

Nicholas Humphrey’s thought-provoking direction builds a sense of menace right from the outset, using sound, movement and, in particular, repetition to contribute to the aura of unavoidable impending doom.  The characters of the blind eunuchs (Christopher Dowling and Carlos Mapano) add to this considerably, as does the slightly unusual use of physical theatre, when the actors’ bodies transform but their faces remain very much in character.

Madlena Nedeva, as Claire, gave a credible portrayal of wealth and world-weariness, and Danny Reyntiens, as her old lover Ill, was consistently watchable throughout, especially approaching the end as he became resigned to his fate.  Fiona Watson’s Teacher was particularly sympathetically played, and I would love to have seen more of Erin Siobhan, whose various parts were short but significant.  For my money, the best female performance came from Penelope Day, who maintained a marvellous contrast between the Police Officer and Matilda Ill.

Although there was comedy in the play from the outset (“my father built those public toilets”), particularly in Clive Alexander’s quirky portrayal of husbands 7, 8 and 9, it was mostly overshadowed by the growing sense of claustrophobia.  The main exception was the scene with the reporters in Act II, where Ian MacNaughton excelled.  In contrast to his serious and slightly macabre portrayal of the ex-judge in Act I, Ian’s reporter was fun and lively in a game-show host way, using vocal range, movement and a brilliantly expressive face to give us the funniest scene in the play – just moments before its sinister denouement.

Overall, this is a very good production.  The tension builds exponentially and ends in a dramatic climax.  Nothing is overdone or overstated, and the audience leaves with plenty to talk about!  Try and catch one of the last three performances if you possibly can.

The Visit is at The Lord Stanley, 51 Camden Park Road, NW1 9BH on 14, 20 and 21 May at 7.30pm.  For tickets visit www.theatrecollection.net or call 07966 597190.

Mary Tynan