'Juno and the Paycock' review - charming, funny and bleakly tragic all in one

Juno and the Paycock

Written by Sean O'Casey

Lyttleton Theatre, the National Theatre (a coproduction with the Abbey Theatre, Dublin)

15th January 2012

Sean O'Casey's Juno and the Paycock is a renowned and well-respected play looking at life in a crowded Dublin tenement in the early 1920s. First performed in 1924, it has since become a regular star of the Irish stage. Telling the tale of Jack Boyle, an Irishman determined to stay out of work, his wife Juno who battles unrelentingly to keep her family afloat, and their two children, Mary and Johnny, it is a comic but bleak portryal of Irish life during the harsh times of the civil war.

The staging, in my eyes, was this production's first great success. Having studied this play as part of my dissertation, I had always understood O'Casey's tenements to be loud and claustrophobic. Howard Davies' production however, with its high ceiling and vast spaces between sparse amounts of furniture, highlighted more poignently the material and financial emptiness that is the reality of this family's life. That said, footsteps and voices still rang out through the house as a reminder of the lack of privacy in this shared and poverty-stricken space.

Juno's feisty character was played with conviction by Sinead Cusack and her playful personality was married beautifully with the more serious and sombre moments in the script. It was this performance by Cusack that was responsible for the feelings of utter injustice and sympathy that the audience experience at the climax of the play. A true star was Clare Dunne who played the doomed Mary, a character that represents the very image of failed potential. An intelligent, hardworking girl led astray, she (and Juno) must bear the brunt of her mistake more harshly than either Johnny or his wayward father who rely on the women in their family to clear up the carnage that they constantly seem to leave in their wake. Johnny, a character scarred and impaired by his fights for the IRA, was played as a twitchy, nervous and psychologically-damaged boy by Ronan Raftery. His experience in the adult world seems to have permanently confined him to a life of bitter dependence on his mother, not made easier by the fact that he strugggles to walk and has even "lost an arm for Ireland".

Ciaran Hinds as Jack Boyle was a delight, if a little mumbly at times. A convincing drunk, funny but for the most part an ignorant and idiotic man, he is simultaneously a joy to watch and a man you'd like to slap. Though he marches around in his Captain's cap (having only actually been on a boat once, to Liverpool!) his sense of self-importance doesn't translate into any sense of responsibility for his family, his friends or his country. Unlike the noble Juno.

Ultimately, this was a great production, with barely a flaw at all - the only downside was that some lines were a little incomprehensible (which may be in part to O'Casey's beautiful use of the Irish working class language) and the youngsters Raftery and Dunne should be commended for their clarity and strength of character onstage. The wonderful comedy of the play was beautifully matched with the bleak image of a lonely Jack sat in an even emptier room at the play's climax, the tragi-comedy that O'Casey is so known and loved for. Having studied this play, it was fantastic to see it finally mapped out on stage and serves as a harsh reminder of the difficulties that most ordinary families will face in the aftermath of so many of the recent revolutions as they attempt to keep their homelives intact amidst an increasingly fractured world.

Please comment if you have anything to add to this review of 'Juno and the Paycock'.

Flying high with 'Bluebird'

Bluebird by Simon Stephens

The Cockpit Theatre, London (23/11/2010)

Directed by Andrew Whyment

Vibrant, fast-paced and perfectly poised on the see-saw between abstract and reality, this performance of Bluebird brought to life the dirty depths of London with a fantastically fresh display of young talent. Tracking taxi driver Jimmy as he makes his way across the capital for one night, we begin to understand the world through the words of his ‘fares’ and learn the dark truth of our protagonist’s past.

The first striking thing about the performance is the set. Rubbish piled high amongst odd possessions and car parts topped with a single car seat make for Jimmy’s taxi – the taxi light above his head indicating whether it is occupied or not. Simple and unique, the set not only allowed the intimate space of the car to be opened up to the whole auditorium, it became the perfect metaphor for Jimmy’s life and proverbial baggage.

Each scene was interspersed with vivid scenes of city life. Flashing lights, high-tempo music and fast-paced movements from the cast reminded us of the world outside the taxi – while Jimmy contemplates his past, present and future, the rest of the world goes on without him. A clear indication that time was progressing, these interludes were entertaining, brilliantly choreographed and fitted naturally and neatly into the performance.

The cast captured their characters to their core. Each portraying a different aspect of London life, they all painted a poignant picture of troubled minds behind the exterior of routine and daily life. Garry Jenkins as Jimmy was brilliant at taking us through his complex emotions and his meeting with former wife Clare (Juliet Turner) provoked a particularly touching atmosphere that I’m sure was felt amongst many in the audience.

Adam Loxley should also be praised in his role as Richard, a London Underground engineer. His performance was one of the most natural and affecting throughout, whilst Rachel Chambers as Angela was vivid and entertaining and Michael Roebuck provided a funny and disturbing performance as Billy. Not forgetting director Andrew Whyment, a former student of the University of Reading, who showed real talent in pulling all the elements together in such an impressively imaginative way.

The first London revival of this play since its debut in 1998, Bluebird was a whirlwind of emotional highs and lows. From the bleak reality of city-life to moments of genuine (if dark) humour, this was one of the most impressive, entertaining and exciting performances of the recent stage.

Please comment if you have anything to add to this review of 'Bluebird'.

Krapp's Last Tape

Written by Samuel Beckett

The Duchess Theatre, London (18/11/2010)

The story of an old man, alone and decrepit, bitter about but longing for his younger self by listening to the sound of his own voice. These are the bare essentials of Krapp's Last Tape. Painstakingly slow and strangely unsettling, the leading and only man onstage, Krapp (Michael Gambon) revisits his past by listening to his own taped diary entries.

The stage is virtually bare - just a desk with a single bulb above an old man's wiry haired head. Collapsed across the desk is Krapp. He remains there for so long that you begin to wonder whether the character is alive or dead. The silence is so unbearable you want to laugh. And this is how the first half of the play pans out. No speech, just Gambon as he moves about the stage as if witnessing it for the first time.

There are some hilarious moments with some bananas, as in a puerile and monkey-like manner, this old man finds some immature pleasure in the phallic fruit. Well.. don't we all! Gambon is magnificent in the role, creating incredible tension amidst the audience interspersed with moments of genuine laughter and others of something close to fear.

The performance is dark, with minimal light creating the sense of that inevitable darkness that will soon smother the ageing Krapp. The recordings of his younger self reveal someone more lively but almost equally troubled. As past and present play out in front of us, it's apparent that Krapp was doomed to become lost and alone. True to Beckett, you could say nothing happens in this short 45 minute performance. But you could also say that crammed into it, everything happens.

We hear a young man and see the old man that he has become and in that witness some 30 years of his life. And within that, we see the next 30 - his spools of tape evidently his last remaining comfort for a man stuck in routine, waiting for the lights to go out.

Please comment if you have anything to add to this review of 'Krapp's Last Tape'.

Local heroes of the community stage

Dad's Army
A stage production by Rye Players (15/07/10)
Rye Community Centre, Rye, East Sussex

Last week, Rye Players brought to life one of Britain's best loved comedies - Dad's Army. The company performed three episodes from the hit TV series, with all the well known characters present. There was a lot to live up to in recreating such a popular programme, but Rye Players did well, with many of the actors looking and performing like their cherished originals.

The first of the three episodes, 'The Deadly Attachment' was a chance to see the main characters at their best. Andy Godfrey stepped into his own as the authoritarian idiot, Captain Mainwaring, with Ian Saxton's charming Sergeant Wilson silently saving the day. Richard Whymark was also on form as the loveable Private Pike, getting many laughs throughout the evening.

One stand-out player was Aubrey Sinden as Lance Corporal Jones, who shone throughout the show as the enthusiastic war veteran. Sinden not only looked and sounded much like the character we all know, but he made Jones his own by delivering his lines with conviction and superb comic timing to create that bumbling bravery that the Lance Corporal is famous for. His performance was funny and charismatic and it was a joy to watch.

Peter Spencer also excelled as Private Frazer. Spencer's mannerisms captured the strangeness of the Scottish soldier, and even if you couldn't quite understand what he'd said those weird and wild eyes were enough to make you giggle!

The ladies had a chance to showcase their talent in the Players' second episode, 'Mum's Army'. They all performed well, but Amy Shortman was particularly delightful as Mrs Gray and the bolshy Mrs Fox was wonderfully played by Clare Murray.

Praise goes to all the actors and crew for creating a great evening of entertainment. Well done especially to director, Carol Prior, for managing to recreate the old favourites on a small community stage. Credit also goes to whoever made Wilson's horse, which very nearly stole the show!

Please comment if you have anything to add to this review of 'Dad's Army'.
'Rye Observer' 23/07/10

It's the end of the world and it's great

A Thousand Stars Explode in the Sky - Simon Stephens, David Eldridge and Robert Holman
Directed by Sean Holmes
Lyric Hammersmith, London (15/05/2010)

The Lyric Hammersmith's latest production is a unique collaboration of three successful modern playwrights. The voices of Simon Stephens, David Eldridge and Robert Holman blend wonderfully to create a simple, stylish and raw new play that looks at the impact of the end of the world on an increasingly disparate family. Fusing moments of chilling discomfort with heart-wrenching warmth, this albeit slightly odd production presents a refreshing display of optimism that is rarely seen on the modern stage.

First of all, I've often found 'end-of-the-world' stories a little bit disappointing. They either portray absolute mass human hysteria, sometimes pacified by a sort of alien intervention, or handle it in a comic 'and then I woke up and it was all a dream' kind of way. Well, this time it really does happen. A cosmic strip has been identified by physicists who have confirmed that the earth will be destroyed in three weeks time. The idea is simple, slightly beyond comprehension but believable and gives the playwrights enough time to really explore the effects of such a disaster.

The scene is modern England and five brothers ranging from grandad to schoolboy face the reality of the end of the world. But, the physics is not important, nor is the effect on the globe. Rightly, the focus is on the family and the five brothers. Fortunately the five actors playing the roles gave perfect performances. Harry McEntire as the young Philip was one of the best - his cheeky and optimistic character added a certain warmth to the otherwise darkly disturbed family. Another young actor, Rupert Simonian, was equally bright and compelling as another brother's grandson.

A weak spot in the play came with the strange mix of flashback and time travel that Philip seemed to undergo at times. It was unclear whether he was psychic, dreaming or just plain loopy but the weird addition of historic adultery amongst the family ancestors was disorientating to say the least. The outbursts of anger from the mother of the family played by Ann Mitchell also felt awkward and out of character.

That said, overall the play dealt with the family in a poignant and moving manner. And instead of an explosive end, the final scene was a more suitable sedate affair that nevertheless hit just as hard. The bare stage and raw performances showed the writers doing what they do best - A Thousand Stars Explode in the Sky is about the words and the people, not the show.

Please comment if you have anything to add to this review of 'A Thousand Stars Explode in the Sky'.

A cracking evening of Ayckbourn

Intimate Exchanges - 'A Gardener in Love'

Alan Ayckbourn

The Progress Theatre, Reading (24/04/10)

Intimate Exchanges is a remarkable piece of drama with a series of comic scenes leading to a total of 16 different possible endings. In this play, Ayckbourn highlights how the minor decisions we make in our lives can have much greater consequences. The Progress Theatre chose to perform two different situations; 'A Gardener in Love' and 'The Self-Improving Woman' and although I only saw the first of the two, I've no doubt they were both equally brilliant.

'A Gardener in Love' focuses on Mrs Celia Teasdale, stuck with an inattentive, ungrateful husband whilst being relentlessly pursued by her young gardener. It is a comic tale, despite the dark undertones, with hilarious dialogue and lively, likeable characters.

Two actors took on the four roles in this production and they certainly pulled it off! Tonya Walton was fabulously on form as the neurotic, self-conscious middle-aged woman Celia, as well as the grumpy, young girl Sylvie Bell. She effortlessly slipped in and out of the two characters that were polar opposites of one another. Her role as Celia demanded a batch of ill-timed hiccups and eating a lot of sandwiches amongst other things, all of which she handled wonderfully, as well as creating comedy in all the right moments.

Dan Clarke was both Celia's husband and the eponymous gardener in love, Lionel Hepplewick. Clarke was exceptional in both roles, creating a distinct 20 year age gap between his two characters that led to many audience members not recognising that he was the same person. His role as Toby Teasdale was incredibly funny and he must be commended for an amazingly well-delivered rant on ten things that can drive a man to drink! Clarke had the audience laughing for the majority of his time onstage as Toby - the frustrated, middle-class character was truly entertaining to watch.

With just two actors performing there were inevitably some quick costume changes, but they were swift and effective (except for the odd forgivable pause). The costume itself included a couple of oddly obvious wigs but even they seemed to suit the actors well - Walton's big hair was a great compliment to Sylvie's girl-with-an-attitude character. However, the real quality came from the acting as both Walton and Clarke proved they had the ability to carry off diverse characters, living up to all the demands of an unusual and challenging play.

It was obvious that director Geoff Dallimore had managed to pick out the best of Ayckbourn's comedy, and it shone through the two actors. Progress Theatre's version of Intimate Exchanges was a great evening's entertainment and, depsite a somewhat saddening ending, the show was full of enough laughs to send you home with a smile. I can't urge you enough to go and see a show at the Progress, they always surprise and haven't disappointed me yet.

Please comment if you have anything to add to this review of 'Intimate Exchanges'.

Welcome to Your Nightmare

The Armature of the Absolute, The Buchinger’s Boot Marionettes

The Barbican Theatre 15/01/09

It was another one of those evenings. I hop on the train to London whilst my friends settle for the pub - again. So, making my way to the Barbican Theatre, homemade sandwich in hand (£3.99 for one in London - are they made of gold?), I prepare myself to soak up a bit of culture. However, on this particular trip, I didn’t feel like I acquired much culture at all, and I certainly wasn’t prepared for what I was about to see.

The Armature of the Absolute is a play depicting the life and works of Alfred Jarry, a French playwright from the late 19^th century. Don’t know Alfred Jarry? Well, he hated hierarchical society, rode bicycles more recklessly than your stupid younger brother and fuelled his body with arsenic - and when he ran out, he drank ink. In short, he was mad. He wrote a series of plays called The Ubu Plays, which caused outrage in the theatres of 1896 with some not so cleverly disguised swearwords.

Compared to the paintings of Salvador Dalí, this puppet performance can only be described as a living nightmare. If you don’t like puppets, then watching this would be like going to a puppet-only boarding school, then coming home one weekend to find that Pinocchio is your long lost brother and your mum’s making you share a room. The design of these puppets ranged from a baboon with teeth on its big, pink bum, a Mr Wobbly cross dinosaur on roller skates and a Pope-bashing Punch (from the Punch and Judy shows). They were grotesque, disturbing and watching them evoked a similar sentiment to that of watching The X Files as a 9-year old.

Perhaps you want to know exactly what this play was about - frankly, so do I. There was a sort of narrator, dressed like a puppet with a half masked face. However, with a heavy accent and a Stephen Hawking voice effect, understanding him was nigh impossible. Therefore, the play seemed to have no through line, no plot and seemingly the only beginnings and ends were life and death and then death as a metaphor for life and… oh, I lost track of all the skeletons, eggs and disturbing puppet-going-through-painful-child-birth scenes (by child I mean lizard/skeleton).

The show is part of the London Mime Festival and sold out in its short time at the Barbican, and despite my disgust I can see why. Whilst watching the performance, I was outraged, repulsed and little bit mentally scarred, but that’s what it was supposed to do. It was a recreation of the outrage Jarry originally caused his poor, unsuspecting, upper class French audience in 1896.

By the end of the show, some people sat and clapped uncomfortably, others sat in bitter defiance with their arms crossed, and some had already walked out. There were some that loved it (each to their own) and they clapped vigorously, but I was one of the uncomfortable ones. Still, as I walked back to the underground station pondering an angry ‘what were you thinking?’ letter to someone high up, I found myself needing to talk about what I’d seen. Not in an ‘I need therapy’ way (surprisingly) but I needed to complain about the defecation, the phallic imagery and the utterly disturbing nature of the piece. How could that show possibly belong in a theatre? But that’s just it, I suppose – why shouldn’t it?

This show broke every taboo in the book. With skilled puppetry, a completely baffling set of scenes and some chilling music, the Buchinger’s Boot Marionettes managed to create something unimaginable; not just the physical performance but the same, or at least similar, feeling felt by an audience of over one hundred years ago. It might not be my cup of tea, but these guys, despite the deep trauma they may have caused, do deserve some praise for a performance beyond even your wildest nightmares.

Please comment if you have anything to add to this review of 'The Armature of the Absolute'.