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Feb 5th

Run the Beast Down at the Finborough Theatre

By Carolin Kopplin

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Ben Aldridge as Charlie

When I looked up, I saw him. Burnt orange, bright against the summer woods. He stood grandly on all fours, the King.

The Finborough Theatre, dedicated to new writing as well as rediscoveries of forgotten classics, presents the first play by writer, director and musician Titas Halder. Run the Beast Down is a fantasia about urban foxes, a surrealistic dream performed by Ben Aldridge, painted in a symphony of sound and lights. 

After being fired from his lucrative city job, Charlie finds his flat in a redeveloped council estate deserted - his girlfriend has left him. Suffering from insomnia after this double blow, Charlie begins to confuse reality and fantasy as he drifts into a world of dreamlike memories and hallucinations.

Charlie first introduces his neighbourhood - the elderly Mrs Winter who is worried about her cat Peter, named after her husband. The cat has disappeared and she fears that the foxes might have got him. But it might have been the feral kids on the estate whose aggression level is so high that they seem capable of anything. When he finds Peter savaged on his doorstep, Charlie starts to investigate and meets the Silver Man, Mrs Winter's brother. We also learn about Charlie's life as a banker - his mates and their local watering hole, a pub decorated with stuffed wildlife. An internal investigation ends Charlie's career.

As Charlie's sanity begins to deteriorate, he sees Mrs Winter's cat as a reincarnation of her husband, and even the stuffed animals in the pub gain special significance. He keeps contacting his ex-girlfriend assuming that she needs his help, which shows a somewhat obsessive behaviour. Eventually, the protagonist, who believes that he once met the King of the Foxes in the forest, starts identifying with the urban foxes, who have lost their natural shyness yet retained part of their feral nature as their disturbing shrieks echo through the night.

Under Hannah Price's creative direction, Ben Aldridge begins his performance at a leisurely pace, increasing the suspense and speed as the intense drama reaches its climax. He plays all the characters in his story including Mrs Winter and the King of Foxes. An online DJ, Chris Bartholomew, provides the musical soundscape, designed by ANoR (Andy & Fraser) and the inventive lighting design by Rob Mills and Robbie Butler add to the narrative.

A unique production that should not be missed.  

By Carolin Kopplin

Until 25th February 2017

Finborough Theatre

118 Finborough Road, London SW10 9ED

Box office: 020 7244 7439

e-mail admin@finboroughtheatre.co.uk

Running time: 70 minutes with no interval.

Image by Billy Rickarts.

Jan 30th

The One Festival at The Space - Progamme E

By Carolin Kopplin

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What reconciles me to my own death more than anything else is the image of a place: a place where your bones and mine are buried, thrown, uncovered, together. They are strewn there pell-mell. One of your ribs leans against my skull. A metacarpal of my left hand lies inside your pelvis. (Against my broken ribs your breast like a flower.) (John Berger)

The Space is an exciting venue on the Isle of Dogs featuring mainly new writing but also offering daring new productions of the classics. The One Festival, now in its fifth year, accommodates five programmes over three weeks, entailing a variety of stories that have  one thing in common - they are performed by only one actor.

Programme E includes one 50 minute play and three short plays with a running time of 15 minutes each. Searching Shadows, written and performed by Emily Orley, is structured like a scientific lecture. Emily Orley combines the biography of her grandfather, a radiologist from Bialystok who moved to a variety of European countries and the US before eventually emigrating to Britain, with the history of radiology and the reception of this new science.

Directed by Christopher Heighes, this multi-media show employs a slide projector to display x-ray photographs and photographs of Orley's grandfather and family to illustrate her narrative, an ancient record player and a tape recorder to provide various sound effects, particularly whenever Emily Orley is quoting from her grandfather's journal and letters.

This is an intriguing performance, providing a plethora of information about society's fascination with radiology 100 years ago as well as retelling Dr Orley's story. The show is a bit slow-paced at times and somewhat repetitive, the John Berger quote is used three times, but it remains a fascinating piece of work.

After the interval, the programme continued with three shorter plays. If the Shoe Fits, written and performed by Cheryl Walker and directed by Simone Watson is a delightful play about a young Londoner with a Jamaican background who travels to Jamaica for the first time to celebrate her great-grandfather's 100th birthday and ends up learning much about herself.   

Cornet Solo by Ben Francis and performed by Silas John Hawkins deals with the owner of an ice cream van. Business has been slow and this is one the last hot days of the year. Yet on this particular day the queue at Ianto's van is never ending. His customers are enjoying a special spectacle - a potential suicide who is standing at the ledge of a high building. Hawkins inhabits his role as the seasoned ice cream seller as the story reaches an unexpected climax.

The final play of the evening is Among the Missing, written and directed by Niamh de Valera, Artistic Director of the Blue Elephant Theatre, and performed by Jess Neale. A recent graduate is taking a "gap year" working as a barrista in a coffee shop when she meets the perfect student, obviously on the road to success. Immaculately styled and enjoying her exciting internship at a local gallery, Jess Neale's frequent customer is an object of envy for the hapless barrista. But one day her customer disappears and it turns out that her situation was quite different - "appearances can be deceptive". An intriguing play with a surprise ending that makes one think. 

These very different plays are well acted, well written and provide a thought-provoking experience and an entertaining evening.

By Carolin Kopplin

Running time: 2 hours including one interval

The run has now ended.

Jan 29th

A Lesson from Auschwitz

By Carolin Kopplin

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Will you allow it to happen again?

I still remember seeing images of Rudolf Höss (not to be confused with Hitler's deputy Rudolf Hess) and his staff celebrating the successful murder of hundreds of thousands of Hungarian Jews - the so-called "Ungarn-Aktion". They were part of the "Höcker-Album", a collection of photographs collected by SS officer Karl-Friedrich Höcker, illustrating the lives and living conditions of the officers and administrators who ran the Auschwitz-Birkenau concentration camp complex and an important document of the Holocaust. Höss was the longest-serving commandant of Auschwitz and is shown in many of Höcker's photos, often together with Josef Mengele. Höss was the most successful commandant of Auschwitz and the man who introduced Zyklon B to murder Europe's Jews more efficiently and in far greater numbers.

James Hyland is trying to shed light on the mentality of this mass murderer and the other perpetrators in his disturbing play that focusses on a secret meeting of Höss and his SS personnel in 1941. Purpose of the meeting was the introduction of Zyklon B, a more efficient method than mass shootings.

As the play begins, Abraham Könisberg (Michael Shon) a Jewish prisoner, who has been badly beaten, is standing on stage, wearing a blackboard with the words "Ich bin zurück" (I am back) around his neck. Höss treats him with condescension from the start and interrogates him personally about his escape, using him as an object to prove his inhuman theories whilst spreading the typical anti-semitic slander. The prisoner tries to keep his dignity despite the terrible abuse and humiliation he is subjected to.

Höss marches across the stage, clicking his heels before addressing his personnel, meaning to intimidate and demonstrate who is in charge. He also proves a master of rhetoric and manipulation. From the start, he makes them complicit: "There is no turning back now, gentlemen." Coaxing and threatening the soldiers in equal measure, he tries to turn them into effective killing tools who will obey all orders unquestioningly and abandon any human emotions such as mercy as this "weakness" helped the prisoner escape. Höss makes it quite clear that there is no room for weaklings.

James Hyland's portrayal of Höss is frightening - a sadist and a manipulative bully who seems capable of any atrocity. His rhetoric style reminds me of Roland Freisler, a Nazi judge who completely perverted his office. Michael Shon impresses as Abraham Könisberg, a man who tries to keep his dignity in this hell.

Directed, written and produced by James Hyland, this production should be seen by all - especially in the light of recent events.

By Carolin Kopplin

Running time: 60 minutes with no interval.

Recommended for ages 14+

Next performance:

FEB 25 @ 7.30pm

KETTERING - KETTERING ARTS CENTRE

St Andrew's Vicarage, Lindsay St, Kettering NN16 8RG

01536 513 858 www.ketteringartscentre.com

The play is dedicated to all victims of the Holocaust: those who were murdered and those who survived.

Proceeds will be donated to charity

 
 
Jan 23rd

Richard III at the Rosemary Branch Theatre

By Carolin Kopplin

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This is the winter of our discontent...

When the late great Ian Richardson played Francis Urquhart in the original "House of Cards" in the 1990s, he based his character on Richard III, speaking directly to the camera, seducing the audience and making them complicit. Years later, a U.S. remake starring Kevin Spacey as Frank Underwood hit Netflix and found a new audience. Inspired by the U.S. remake, Theatre company GODOT's WATCH returns to the original Richard, presenting an energetic modern dress production including smartphones, references to videogames, and cocaine.

Sam Coulson's Richard is not deformed except for a dark red birthmark covering the left side of his face, which would probably be enough to keep him in obscurity in a world where young children already worry about their looks and normal people have cosmetic surgery to look like filmstars. But if Richard does not have the looks, he certainly has the drive to become King of England. Charming and deceitful in equal measure, he surpasses his obstacles, and if they don't yield, they will lose life and limb.

Directed by Sean Aydon, this high voltage production is fast-paced and intense. Sometimes the speed is almost too fast and certain aspects of the play are only touched upon, and the ending is somewhat abrupt. The emphasis of this cut down production is on the scenes between Richard and the female charaters, notably Lady Anne and Queen Elizabeth. The cast of eight is predominantly female with some of the actors playing two or three parts. Sam Coulson is an energetic and demonic Richard and Elena Clements is his intriguing counterpart as the cold and calculating Buckingham. Sophie Ormond impresses as the young Prince Edward and his murderer Tyrell, which is clever casting indeed. The cast is very young and although I enjoy the cross-gender casting I wish there had been some room for older actors as well.

The stage is dominated by a massive golden throne, source of envy and constant reminder of what Richard strives for. The punchy sound design by Daniel Harmer including a variety of musical styles and the trendy neon lights in different colours (lighting design by Jack Channer) add to the contemporary setting of the production.

An exciting production with some daring casting choices.

By Carolin Kopplin 

Until 29th January 2017

Rosemary Branch Theatre

Box office: 020 7704 6665

Running time: 2 hours 15 minutes including one interval. 

 

Jan 22nd

Out There on Fried Meat Ridge Road at the White Bear Theatre

By Carolin Kopplin

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Flip (Michael Wade), Mitch (Robert Moloney) and J.D. (Keith Stevenson)

Noam Chomsky is the Jerry Lewis from West Virginia.

This was my first visit to the White Bear Pub and Theatre in Kennington after it had been refurbished and redecorated. It seemed far more spacious and brighter than before and made patrons feel welcome. The theatre is now upstairs and remains an intimate stage, about the size of a living room, which especially benefits this production, the European premiere of Keith Stevenson's hilarious comedy.

Set in a shabby motel room on Fried Meat Ridge Rd. in West Virginia, the play focuses on the hapless Mitch (Robert Moloney) from Maine who, after moving down South, has lost his job, his girlfriend, and his apartment. Now he cannot even sleep in his car because it was torched in front of a Girls' Reform School. Desperate for shelter, he answers an ad for a roommate and finds himself walking all the way to a backwoods motel on Fried Meat Ridge Road. His future roommate turns out to be the amicable hillbilly JD (Keith Stevenson) who surprisingly knows Latin but has never heard of Maine. Before Mitch even has time to digest this upsetting news. Mitch's neighbours begin invading the small room - bigotted motel owner Flip (Michael Wade), the meth-head artiste Marlene (Melanie Gray), and her volatile poet lover Tommy (Dan Hildebrand).

Robert Moloney's Mitch is a neurotic character, very much like one of Woody Allen's creations, who throws up whenever he is upset and suffers from an unusual condition that cost him his job. The laid-back JD, portrayed by playwright Keith Stevenson, is your picture book hillbilly who turns out to be the hub of the motel community, being the go-to guy for everybody in need of help. Yet this should not be too surprising, considering his parentage. Melanie Gray's Marlene and her hot-headed boyfriend Tommy straight out of New Jersey, played with the unpredictablity of a loose-cannon by Dan Hildebrand, are the perfect ill-fitted couple who react to each other "like fire and gasoline". Michael Wade lends credibility to the gruff redneck Flip who has a treasure trove of insults for almost any ethnicity.

The approximately one-hour long play, directed by Harry Burton, is very much like a TV comedy show featuring a host of outrageous characters. After it opened in L.A. in 2012, it soon became a cult hit and two sequels followed.

This is a highly entertaining show with a good cast and a surprise ending.

A fun night out.

By Carolin Kopplin

Until 4th February 2017

White Bear Theatre

Running time: 65 minutes

Photograph by Gavin Watson.

Jan 11th

Veteran's Day at the Finborough Theatre

By Carolin Kopplin

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Colonel Kercelik (Charlie de Bromhead) and Sergeant Butts (Craig Pinder)

All they ever cared about was each other and the hell they'd been through.

Originally produced in Denver and Los Angeles, Veterans Day by political playwright Donald Freed was last seen in the UK at the Theatre Royal Haymarket, London, in 1990, with Jack Lemmon, Michael Gambon and Robert Flemyng. The London critics loved Jack Lemmon but hated the play, which might be one reason why there hasn't been a revival as yet. Marooned Productions in association with the Finborough now provides the opportunity to see this play after almost thirty years.

Three American war veterans meet at a Veterans Administration Hospital just before a remembrance ceremony where two of them are going to be decorated by the commander-in-chief himself: Private Leslie R. Holloway (Roger Braban), veteran of the First World War, in a wheelchair and in an almost catatonic state; John MacCormick Butts (Craig Pinder), a Sergeant in the Second World War; and Colonel Walter Kercelik (Charlie de Bromhead), the most highly decorated soldier of the Vietnam War with the looks and demeanour of an All-American hero.

The enervatingly chatty John Butts, who makes his living as a used-car salesman, contrasts nicely with the quiet authority of Colonel Kercelik, a teacher at West Point. Private Holloway's presence, though almost entirely silent, adds to the anti-war message of this play. As the evening progresses, the characters begin to talk about their experiences and it becomes clear that all three of them have been badly damaged by their experience although the ever jolly John Butts states: "In terms of fun, nothing ever comes even close to the war." Employed in an administrative function, Butts was mainly responsible for providing the big brass with a fresh supply of young girls. He returned from the war with a defective digestive system and a grudge against the Japanese who, after losing the war, now seemed to win the peace with their car industry. Private Holloway is forever trapped in a world of his own "where the dead murder the living". The calm Colonel Kercelik, a picture book soldier, turns out to be a sociopath who intends to assassinate the President as a representative of all the commanders-in-chief who have sent soldiers into the hell of war, leaving many of them dead, mutilated or badly traumatised - either by the deeds of others or their own crimes. 

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Private Holloway (Roger Braban) and Colonel Kercelik (Charlie de Bromhead)

This is the part where the drama stops working. After making valid points about the horrors of war and the appalling treatment of the veterans, the play takes a sharp turn into implausibility and becomes an absurd melodrama. After Kercelik informs Butts of his plans to assassinate the President including the catatonic soldier as a preposterous element, Butts does not even try to prevent the assassination attempt although Kercelik does not have a weapon or pose a threat - except to the President. The confrontation between Butts and Kercelik is rather one-sided and the outcome seems clear from the start because Butts is so weakly written that he is not a suitable antagonist for the deranged but strong and persuasive Kercelik who bombards Butts with conspiracy theories.

Hannah Boland Moore's production benefits from an outstanding cast who are sadly let down by a dramaturgically faulty play. Military marches and popular war songs throughout the 20th century, forcefully played on the piano by Craig Pinder, add to the authenticity of the production which is skilfully designed by Liam Bunster - a canvas splattered with blood and dirt covering the back wall and a sundry of props on the floor, including a defective gumball machine.

By Carolin Kopplin 

Until 24th January 2016

Finborough Theatre

Box office: 0844-847 1652

Running time: 85 minutes without an interval

Photographs by Scott Rylander.

Jan 6th

The Trackers of Oxyrhynchus at the Finborough Theatre

By Carolin Kopplin

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Apollo (Tom Purbeck) and two sartyrs (James Rigby and Dannie Pye)

You need no consolations of high art,
Your human pain's cancelled by your horse / goat part.

Poet and playwright Tony Harrison's 1990 verse play is partially based on Ichneutae (The Trackers), a satyr play by Sophocles, which was found in fragments at the Egyptian city of Oxyrhynchus. It is also a dramatised account of the discovery of the papyrus fragments of Sophocles' play by Bernard Grenfell and Arthur Hunt.

Originally written for one performance only in the ancient stadium of Delphi in 1988 with a cast including Jack Shepherd, Barrie Rutter and Juliet Stevenson, and subsequently presented at the National Theatre in 1990, the play now sees its first London production in nearly 30 years at the Finborough Theatre.

Oxyrynchus, Egypt, 1907. Oxford dons Grenfell (Tom Purbeck) and Hunt (Richard Glaves) are searching for Sophocles's lost masterpiece in a pile of rubbish but all they can find are petitions. Fellaheen workers help put all the papyri in boxes to ship them to Oxford before the natives use the historically valuable papyri as compost or burn them instead of studying them. At long last the two archaeologists find a fragment of a Sophoclean satyr play.

Grenfell is so dedicated to finding the rest of the manuscript that he becomes possessed by the Greek god Apollo who, after having been buried for 2000 years, demands that the missing text be found. Hunt has also changed into Silenus, leader of the satyrs. As the audience is asked to chant verses from the fragment along with the satyrs, we are taken back to Mount Cyllene, in the 5th century BC and into Sophocles' missing satyr play.

Apollo's herd has been stolen and he expects the satyrs to find them, promising them gold and their freedom. When the satyrs find the herd along with a lyre, built by Hermes, they want to keep the beautiful musical instrument along with the gold but Apollo refuses and retreats into a "clogless, desatyrized zone" to enjoy music and poetry, which is not meant for satyrs.

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Silenus (Richard Glaves)

Jimmy Walters' intriguing production benefits from Phil Lindley's set design featuring Greek columns and placards with Greek writing, boxes and papyri scattered across the stage. Tom Purbeck and Richard Glaves convince as the dedicated archaeologists and excel as the arrogant god Apollo and Silenus, the leader of the satyrs - dressed in furry trousers with prominent phalluses. Peta Cornish as the delicate nymph Kyllene is not amused by the noisy stomping satyrs who indulge in drinking, sex and coarse jokes but helps them nonetheless to find the lost herd. The intimacy of the staging draws the audience into the performance even before the chant-along to revive the lost satyr play.

Tony Harrison's multi-layered drama that creates an arc from the satyr play to contemporary London criticizes the exclusion of the lower classes from the fine arts. Just like the satyrs, who turn into modern day hooligans in the course of the play, they are scorned and deemed too ignorant to understand high tragedy, poetry or serious music. The story of the satyr Marsyas, who challenged Apollo in a musical competition and was cruelly punished serves as a warning that improvement is not desired by the rulers.

An extraordinary and unusual play that should not be missed. 

By Carolin Kopplin

Until 28th January 2017

Finborough Theatre

118 Finborough Road, London SW10 9ED

Telephone 020 7244 7439

Running time: 80 minutes

Photographs by Samuel Taylor.

Dec 17th

Candid at the Blue Elephant Theatre

By Carolin Kopplin

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We are abandoned in this empty land. At dawn, we are given the spell. Tied together in our bond, we will grow older and older in the same position. We will never question if it's worth it...

CANDID is a ‘performance-ritual’ devised, written and performed by Tania Batzoglou and Vanio Papadelli. Frustrated with the stereotypical representation of female friendships, this project was launched in 2013 and is performed at least once per year, changing with the performers and the space where it is presented. 

Before the show, the audience is invited to explore various "stations" about friendship in the theatre foyer or bar. One can listen to interviews about female friendship, answer questions about oneself and one's friend in a guestbook, or eat a fruit. What does friendship mean to you? The audience is invited to experience, comtemplate and celebrate long friendships as opposed to modern day short-term friends and pretend-friends of the social media culture.

As we enter the auditorium, we are welcomed by the performers, both dressed in grey, holding honeydew melons: "Please take your seat and settle in." The stage is bare but there is an abundance of fruit dangling from the ceiling, some of which will be eaten or employed for other purposes. Using movement as well as words, Batzoglou and Papadelli tell the story of two friends - showing their closeness, their love for each other as well as their rivalry and irritation with their friend's flaws. Using phrases from the guest book, they define their friendship before they begin to play Truth or Dare, a revealing game that entails intense physicality and forces the characters to intimate confessions that eventually lead to unwanted hurtful comments and a temporary falling out.

Episodic scenes paint a picture of what friendship can include, from shared intimacy and deep trust to rivalry, jealousy and the fear of loneliness caused by the pregnancy of one friend as their friendship will change once the child has been born. There are intense moments when the characters erupt into open hostility. Yet a real friend will forgive and your friendship will endure.

An intriguing project that offers some interesting ideas on the nature of female friendship, beautiful images as well as slapstick entertainment.

By Carolin Kopplin

Candid was shown on 14 December at the Blue Elephant Theatre.

Running time: 45 minutes without an interval

Further information: www.projectcandid.co.uk

 

Dec 13th

New Spring Season at the Finborough Theatre

By Carolin Kopplin

The new Spring Season at the Finborough Theatre features three rediscoveries by Arthur MillerB. S. Johnson and Victorian theatrical revolutionary T. W. Robertson, as well as three brand new plays including Dubailand which has just won the Finborough Theatre its tenth Channel 4 Playwrights Scheme Playwright in Residence Bursary, supported by the Peggy Ramsay Foundation, for new playwright Carmen Nasr

The season opens with two world premieres. Titas Halder’s debut play Run The Beast Down plays for a four week limited season from 31 January-25 February 2017, alongside Carmen Nasr’s award-winning Dubailand. The UK premiere of the Off Broadway hit, Halley Feiffer’s award-nominated black comedy I’m Gonna Pray For You So Hard,plays from 28 February-25 March 2017 and runs concurrently with B. S. Johnson’s You’re Human Like The Rest Of Them, an evening of three short plays receiving their first UK productions in over 40 years plus a world stage premiere, playing Sunday and Monday evenings and Tuesday matinees between 5-21 March 2017.

The season comes to and end with two unique rediscoveries. Arthur Miller’s Incident at Vichy in its first professional London production in over 50 years, runs from 28 March-22 April 2017 alongside the first UK production in over 20 years of T.W. Robertson’s Caste, marking the 150th anniversary of the Victorian classic.

For full information, please visit the Finborough website here

Finborough Theatre, 118 Finborough Road, London SW10 9ED

Book Online here | Box Office 0844 847 1652 (Calls will cost 7ppm plus your network access charge.

Dec 11th

Benighted by J. B. Priestley at the Old Red Lion Theatre

By Carolin Kopplin

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A Dark Night's Adventure...

After the highly successful 2015 Arthur Miller premiere No Villain, the Old Red Lion Theatre now presents the world premiere of Duncan Gates' stage adaptation of J. B. Priestley's novel. Benighted was brought to the screen by famed horror director James Whale as the 1932 classic The Old Dark House, one of the first films dealing with the theme of spooky houses in forlorn places.

Like in The Rocky Horror Show a couple is stranded in the countryside during a heavy thunderstorm. Margaret (Harrie Hayes) and Philip Waverton (Tom Machell) and their cheerful friend Roger Penderel (Matt Maltby) make their way to a dilipidated house on a hill to seek refuge from the inclement weather. Their welcome by the eccentric Mr Femm (Michael Sadler) and his even stranger sister Rebecca (Ross Forder) is as frosty as the house is uninviting. Despite a sip of gin and a change of clothes, the guests begin to feel increasingly uncomfortable in the ramshackle building. When they are joined by another couple, Sir William Porterhouse (Ross Forder) and his companion, a revue girl named Gladys Du Cane (Jessica Bay), they all agree that something is not quite right in the Femm residence. 

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Michael Sadler as Mr Femm

Created when J. B. Priestley was still a struggling writer, Benighted already shows the social conscience of the lifelong socialist as his characters, thrown together in the middle of nowhere, ponder moral questions. All of the characters are burdened with their own little unpleasant secrets, particulary jokester Roger Pendrell, who is still struggling with his traumatic experiences of World War I. The Great War plays an important part in Priestley's story, written only nine years after it ended, and still influencing the lives of those who survived it.

Adapting Priestley's novel that includes a good deal of soul searching and long monologues within the framework of a horror story is no mean feat and Duncan Gates has succeeded in creating a reasonable balance, making for an exciting and meaningful play featuring an impressive cast.

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Harrie Hayes as Margaret Waverton

Yet Stephen Whitson's production cannot quite decide whether it wants to be a serious drama or a comedy. The tone swerves between moralistic discussion and comical horror story. At some point the characters become so nervous that they even jump when somebody is not present. The fight scene in slow motion complete with strobe lights is pure slapstick. These scenes jar somewhat with the serious tone of other parts of the play. The ending of the 80-minute play is rather abrupt and makes one wonder if there is more to come.

Gregor Donnelly's set design, an expressionistic vision of a haunted house, all angles and gloominess, dominated by a grandfather clock, and David Gregor's spine-tingling sound design greatly add to the spooky atmosphere of the production and the important themes of reality and illusion. 

An enjoyable, atmospheric production despite some minor flaws.

By Carolin Kopplin

Until 7th January 2017

Old Red Lion Theatre

418 St John Street, London, EC1V 4NJ

Tickets: http://www.oldredliontheatre.co.uk/benighted.html

Box Office: 0844 412 4307

Tuesday - Sunday at 7:30pm
Saturday & Sunday matinees 2.30pm
Tuesday matinee 27th December & 3rd January at 2.30pm, Wednesday matinee 4th January at 2.30pm
Thursday & Friday matinees 29th & 30th December, 5th & 6th January 2.30pm
No performances 12th, 19th, 24th & 25th December & 2nd January

Post-Show Discussions (Free to ticket holders) 

Tuesday 13th December - Join the adaptor of J.B. Priestley's "Benighted" Duncan Gates in a post show discussion with Actor Paul Shelly.

Running time: 80 minutes without an interval

Photographs by Chris Gardner.