The Line - The Arcola Theatre, London

The Line
Writer: Timberlake Wertenbaker

Director: Matthew Lloyd

Reviewer: Honour Bayes

Timberlake Wertenbaker’s The Line should to all intents and purposes be an engaging and enthralling drama. Based on the tempestuous relationship of a fiery and sexy woman and her infamous teacher, Edgar Degas, Line could have been a vibrant and passionate exploration of the master, pupil relationship or furthermore questioned the ideas of art itself. Instead what results is a tedious repetition of conflict and resolution which carries neither party further forward apart from in years.

Edgar Degas is a crotchety but deeply admired artist whose fierce house keeper, Zoe, keeps an iron grip on those people allowed to visit her precious artist in residence. Enter the spirited Suzanne Valadon, a model and ‘muse’ of such greats as Toulouse-Lautrec, and somewhat of an artist herself it transpires as she reveals her drawings to Degas. Degas, though reluctant at first, soon falls under Valadon’s spell and takes her on as a pupil in the beginning of a relationship that is to span the rest of his life and hugely influence the course of hers.

Degas is a deeply complex character who worked with and influenced some of the greatest artists in the 20th Century and Henry Goodman gives an admirable performance in the role. His is a man conflicted; an artist whose stringent beliefs lead him to cultivate the reputation as a ‘misanthropic bachelor’ that perhaps did not come as naturally to him as he wanted others to think. But he is not helped by a cumbersome script which gives him chunky passages of art theory or disconnected moments of ethereal prophetic ‘wisdom’. As he imparts these to his wilful charge, it is hard not to feel slightly cringy because they seem to come out of nowhere; would a real person speak like that?

As the charge Sarah Smart is suitably alluring although she seems to be constantly pushing too hard which lends her performance the appearance of slight desperation. Selina Cadell forms the third in this holy trinity of art with a solid turn as the sturdy Zoe but any moments of promise allowed to this wonderful actress are also kyboshed by a stodgy script. The cast though strong individually seem to find no flow collectively and the whole thing has a stuttering sense to it. Matthew Lloyd struggles to bring a continuous arc to a piece which stops and starts continuously and the whole thing feels very long.

At least William Dudley’s design is beautiful enough to distract for moments as it delicately encases the audience in Degas’ images. Translucent sheets hang everywhere, so that his voluptuous woman embrace us all with a lightness and fluidity which is so lacking from the production at hand.

For a play about a bohemian artist the whole thing feels very middle class and at times like a BBC sitcom and although there are points when Wertenbaker’s undeniable style and flair shines through, overall this is a very fudged line indeed.

Photo: Tristram Kenton

Runs until Dec 12

Confessions of a City - Sheffield Crucible Theatre

Confessions of a City
Writer: Richard Hurford
Director: Ruth Carney
Reviewer: Sarah Lyth

How well do you know the city you live in? How do you know?

I came to Sheffield a decade a ago not knowing that I would fall in love. Yes, I’ve had personal experiences of heart ache and heart break, but it was Richard Hurford’s Confessions of a City, performed in the new look Crucible Theatre, that made me recognise exactly what it is that makes Sheffield irresistible to those born here, and to newcomers like me. Sheffield is both a normal city and an extraordinary one that glitters with a dark underbelly.

Literally travelling around the theatre, able to glimpse normally unseen parts such as the Green Room that are usually out of bounds, the audience were invited to participate in the revelations made by each of the principal characters of the piece. Coming from a range of experiences within Sheffield, the people shocked, repulsed, amused and moved their audience in turn. The four included a homeless young man, an elderly resident who hailed from Crookes, a Burmese immigrant and a Polish woman trusting in the power of love. The close proximity to the actors, and the placing of the audience actually within the scenes themselves, made for an intimate and profoundly challenging experience. I heard fellow audience members discussing their relation to the homeless and to the immigrants on our streets in a new light as I sat on the bus home.

Set within the context of a tram journey around the city, we were welcomed through the new automatic doors of the Crucible by our guides. There were never any clues as to what to expect, the actors simply welcomed the audience as new members of the scene and continued on with the stories, whether it was into a party disco atmosphere or into an eerie forbidden room that wouldn’t have been out of place in a James Bond movie.

The Company portrayed a rich and diverse city, impregnated with magic, mystery and power. At times frighteningly dark and disturbing, at times beautifully heart warming and nostalgic, Confessions of a City challenged the audience to view their personal part in the daily life of the city of Sheffield. We are all intertwined and we all contribute to its essence, no matter how or who we are. Ciaran Dowd as Leonardo brutally forced us to engage with the devestation of addiction and shot it through with a colourful ray of hope. Sally Evans encouraged us to recognise that the human heart can overcome all with its trust in the power of love. Fiz Marcus’ Rita led us into a rediscovery of the power of memory within each of us, and the impact this has on our daily lives. As the immigrant Quack, Alex Tilouche guided his audience into a recognition of the blessings many of us have in having the simple gift of freedom to live without fear simply because we were born UK residents.

As the journey ended and the tram tannoy guided the audience along to one last stop, I found myself walking along towards the famous Crucible stage. We had an actor’s eye view underneath the twinkling lights of the iconic stage out towards the seats in the round. We celebrated the characters of the confessions we had experienced and they in turn celebrated the rich diversity of people in the Steel City with applause.

A truly magical experience, in a truly magical theatre, in a tuly magnificent city. Bravo Sheffield!

Confessions of a City runs at the Crucible Theatre in Sheffield until Sunday 29th November 2009.

The Devil Has Quentins Heart - Birmingham Rep

The Devil has Quentin's Heart

Devised and written by Benji Reid, Peader Kirk and Ray Shell

Reviewer: Helen Chapman

A one-man musical (or perhaps dance-ical) telling the story of a Wall Street alcoholic waiting for Satan to arrive – sound bizarre? Perhaps. But it works. Very well.

The Devil Has Quentin’s Heart combines storytelling, theatre and dance in a modern tragedy, based on the Ray Shell’s novel Iced. It tells the tale of Quentin, a high flying Wall Street city boy who is desperate for success, and achieves it but at the price of his heart, and ultimately his soul. After being framed for fraud, he finds himself losing everything he has held so dearly, and struggles to hold himself together as an alcoholic living rough. The play explores his feelings of desire, greed, despair and loss, and begins to uncover the roots of his need to achieve success, with occasional insights into his upbringing and relationship with his father.

I can honestly say I have never seen a play of this kind – not just because of its original storyline. Benji Reid, partly responsible for writing the play gives an incredible performance as Quentin, portraying almost every emotion from anguish to elation. His ability to engage the audience, without a supporting cast, is impressive to say the least. Add to that the ease with which he flits between comedy and tragedy, monologue and dance, and things are even more impressive. Reid is one of the UK pioneers of hip hop theatre, and he demonstrates in this play how dance can be used to add depth as well as humour. The play isn’t particularly fast moving and there is no advancement in the plot, the variety of styles in the play however keeps you engaged. And a treat to see a quality hip hop dancer on stage.

New to me was the presence of the sound desk on the stage. Andrew Wong, responsible for the music composition, cleverly used a mix of sounds, noises and well known songs to bring the play alive. The set was otherwise fairly simple, just one room in Quentin’s house, but this in itself reflected the anxiety and claustrophobia he was feeling on his demise, the use of props highlighting the sad reality of the life of an alcoholic. A poignant scene for me was Quentin with a birthday cake, celebrating his birthday with three imaginary guests. The Devil Has Quentin’s Heart speaks pretty clearly: money isn’t everything. In fact in Quentin’s case, it amounted to nothing.

Breaking Cycles presents here an original play that will grip you, shock you and make you laugh.

Days of Significance - Lowry Theatre

Days of Significance
Writer: Roy Williams
Director: Maria Aberg
Reviewer: Clare Howdon

Roy William’s blisteringly topical play ‘Days of Significance’ first opened at the Swan Theatre, Stratford upon Avon in 2007, four years after the war in Iraq began. The Royal Shakespeare Company has now embarked upon a nationwide tour of the piece (with a few re-workings by the playwright – notably to the third act) and thanks to the withdrawal of troops from Iraq earlier this year, ‘Days of Significance’ remains a relevant and stimulating way to spend a cold November evening.

‘Days of Significance’ is not your typical war play and it covers a variety of modern-day issues but William’s writing is at its most effective when questioning the impact that war has on the grass-root members of society (whether soldiers or civilians) as opposed to the politicians; the young boys who fight in a war they barely comprehend and are ill-equipped to deal with the horrors and eventual repercussions they will undoubtedly experience. William’s brings the piece bitingly up to date with a commentary on who exactly is to blame for the illegal war crimes in Iraq whilst juxtaposing this with some nice classical parallels from Shakespeare’s ‘Much Ado About Nothing’ namely in the relationship between Ben and Trish, a Benedict and Beatrice for the binge drinking generation.

This is certainly a play of three acts, and whilst the booze-soaked town-centre location of Act One is as far away from Basra as one can possibly comprehend, a short second act powerfully and harrowingly displays to us the first-hand account of the war in Iraq whilst Act Three deals with the aftermath of the young soldiers and their loved ones experiences.

William’s complex and highly empathetically characters are certainly brought to life by a strong cast. Joanna Horton’s subtle portrayal as Hannah is beautifully measured and there are some moments of lovely tenderness and chemistry between her and Jamie (played with electrifying intensity by George Rainsford). David Kennedy also turns in a compassionate performance as Hannah’s step dad Lenny and the delivery of his line ‘Hannah, you’re breaking my heart’, the upshot of a very uncomfortable proposition by his daughter, is a moment of real show-stopping emotion.

Lizzie Clachan’s imposing set is also complimented wonderfully by a rousing lighting and sound design by David Holmes and Carolyn Downing, which coupled with a superb fight sequence by Malcolm Ranson created one of the most gripping and exciting opening sequences I have seen in the theatre in a long time.

Maria Aberg’s direction is also slick and the well paced dialogue creates a lightning-fast dramatic force which sits well in a piece of this nature, whilst effectively choreographed moments of calm (Jamie and Hannah’s alcohol fuelled slow dance outside Len’s chip shop being a prime example) punctuate this and bring a much needed element of tranquillity to what is ultimately an exhausting and tense 110 minutes of theatre.

There are moments of the production that feel less effective, for example the filmic elements, which despite being visually dynamic, do seem a little gratuitous and don’t add a massive amount more to the narrative context of an already lengthy piece. Nonetheless, this is an important piece of writing brought to life by a talented and passionate cast and crew, and its merits certainly outweigh its flaws.

Runs until Sat 28th Nov

Pride & Prejudice - Richmond Theatre

Pride & Prejudice
Writer: Jane Austen

Adaptor: Simon Reade

Director: Toby Frow
Reviewer: Diane Higgins

Simon Reade's adaptation directed by Toby Frow, brings together the classic text of Austen's work, with all her well loved characters plus music (Richard Hammarton) and dance (Sam Spencer-Lane).

The set design by Christopher Woods was minimal. Its raised and angled circular platform, few pieces of furniture and chandelier relied totally on the actors to set the scenes and create the action/atmosphere of the late 1790's.

The opening dance and music introduced us to the plays many Characters with Mary Bennet playing solo violin. The first scene introduces us to Longbourn house, home of the Bennet family. Susan Hampshire was entirely plausible as the neurotic Mrs Bennet, anxious to marry off her daughters with Peter Ellis as the long suffering Mr Bennet resigned to being the father of five silly daughters. His eldest daughter Jane was convincingly played by Violet Ryder, whilst his acknowledged favourite the feisty Elizabeth was played by Katie Lightfoot in a very creditable professional theatre debut.

The other sisters being a predictably quiet and musical Mary (actor/musician Victoria Hamnet) and Leah Whitaker and Lydia Larson as the youngest Bennets. Nicholas Taylor was a haughty Darcy with Alex Felton and Leo Staar as Bingley and Wickham. Carolyn Pickles was an imperious Lady Catherine de Bourgh. Tom Mothersdale as the obsequious Mr Collins seemed to somehow overplay the role with his stiff comedic actions, when Austen's words would have sufficed.

The comedy aspect of this whole adaptation has been given a much greater emphasis. Austen's Novel is full of subtle humour, but with hobby horses, chairs framing Pemblerly portraits, scuttling around with props and the general noise it has a feeling that is a cross between an 15 minute version of an Austen play with a splash of panto.

I think it can be universally acknowledged that this is a very successful production as this Richmond audience were enjoying every minute with anticipatory laughter before the words had even been uttered. Jane Austen fans were here in force and appreciated this bold new adaptation.

Runs until 28th November

Mrs Warrens Profession - Chichester Festival Theatre

Mrs Warren's Profession
Writrt: George Bernard Shaw
Director: Michael Rudman
Reviewer: Elizabeth Vile

Mrs Warren’s Profession was first written in 1894 and the content so shocked the press that it wasn’t performed publicly till 1925. Victorian audiences were unable to cope with Shaw’s frank and honest portrayal of a woman who chose prostitution over starvation. This choice is seen only as a business venture by Mrs Warren and her partner in the business Sir Croft, but it is not so black and white to her daughter Vivien.

The production at Chichester Festival Theatre followed the original script and went for realism at all times.

Felicity Kendal and Lucy Briggs-Owen were very strong in the roles of Mrs Warren and Vivie Warren respectively. Their powerful characterisations and emotional depth of performance meant the audience felt truly sympathetic towards the pair as they tried to rescue their fragile relationship. Max Bennet in the role of Frank was enjoyable to watch but also slightly irritating. This mix of tenderness and childishness was well balanced and allowed the audience to sympathise with his sadness of loosing Vivie but to also understand Vivie’s reasons for refusing him. I felt Praed and Crofts characters were slightly underplayed. Mark Tandy’s speech needed a little bit more colour in it as it was in danger of becoming monotonous, while it took me a while to realise the true viciousness behind David Yelland’s character.

The costumes were beautiful and very authentic to the era, as was the set. Although the set added to the realism and it was lovely to look at it did have its disadvantages. The long black outs during scene changes slowed down the momentum of the play too much. The audience were left sitting in darkness for minutes at a time while recorded classical music was played at a level that I felt was slightly too loud to be comfortable. The scene changes also seemed to be long for no reason, with gaps between each item being placed on stage.

This production was of a high quality and kept the audience interested in the plight of the characters right till the final blackout. I only wish there was a wider age range in the audience as this production has characters and a strong message that society as a whole should listen to and understand.

Runs until Sat 28th Nov

When Henri Met Oscar - Barons Court Theatre, London

When Henri Met Oscar
Writer: Michael Gannon
Director: Sinead Kent
Reviewer: Deborah Klayman

This new play is an examination of the friendships between the artistic elite in 1890s Paris and the characters’ subsequent fall from grace and favour. Oscar Wilde visits the rooms of the post-impressionist painted Henri Toulouse-Lautrec, and also meets his companions: the prostitutes Marie and Yvette, Fouché (the brothel owner), and La Goulue (darling of the Moulin Rouge and creator of the ‘Can-Can’).

The audience enters to Henri painting the lovers, Marie and Yvette, as they pose for him in his rooms at a high-class brothel in Paris. The two actresses looked uncomfortable with touching each other, and this in turn was uncomfortable to watch, however their relationship became marginally more believable as the scene progressed. Henri (Steven Rodgers) was well played, with an intensity and integrity that made him extremely watchable, and he dominated the opening, setting up the physical challenges that the character had to live with and his aggressive temperament (Henri was beset with illness as a child and was left with under-developed legs and grew to only 5ft tall). We also discover that he has contracted Syphilis, a condition that noticeably worsens in the second act, with Rodgers amping up the bitterness the character feels and skillfully showing his slide into insanity.

The entrance of Oscar Wilde (Adrian Francis) was a strange affair. Sporting discoloured teeth (despite the prostitutes having clean white teeth), he was introduced as being an Irishman who had lost his accent. Presenting neither the expected RP nor a credible Irish accent (though a teeth-clenching one was attempted), Francis set forth - with a distinctly Midlands accent - to squash the vowels of some of the best prose and poetry in the English language. Despite this I sympathised with him as he was terribly miscast, and was certainly listening and reacting nicely. The main issue is that Oscar Wilde was known as a genius with a biting wit - a real raconteur - and Francis’ performance gave none of this. His Wilde lacked charisma and he, like many of the actors, lacked conviction and pace while speaking.

The scene between Francoise (played by Sinead Kent, who also directed) and The Client (John Mcleod) was extremely uncomfortable to watch, partly because Mcleod is clearly not an actor, and partly because it was poorly directed - perhaps a result of having the director in the scene – and included a cringeworthy nod from Francoise ‘through the 4th wall’. Mcleod also played Michel and Edward Carson, roles he was hugely underequipped to play.

Eamon Griffin gave a slightly shaky performance as Fouché in the opening scene, however he soon redeemed himself with a strong portrayal of the lecherous priest Father Murphy, and the waiter in the final scene. Despite my misgivings at the opening, both Marie (Amy Malherbe) and Yvette (Liz Balmford) developed as characters, and both actresses gave stronger, more believable performances in the second act, with Balmford making a pithy final speech and a splendid exit.

Literally bursting onto the stage in act one, Jessica Martenson breathed some much needed life and energy into the piece just at the time it was beginning to stagnate. Portraying the outrageous, audacious La Goulue, Martenson showed a star at the top of her popularity, just as arrogant and pompous as the two men, and even threw in a ‘Can-Can’ and the splits to top it off. In direct contrast, this larger than life character reappears in the second act, drunk and disheveled, depressed and virtually penniless. Although Henri and Oscar have suffered similar twists of fortune (Toulouse-Lautrec has been institutionalised and Wilde incarcerated), it is hard to feel any sympathy for their characters, yet the change in La Goulue was sensitively and subtley played, and brought the first genuine, heartfelt emotion to the stage.

The Barons Court Theatre is a small thrust space, so was always going to pose a challenge for the director, and by and large the actors were well placed to allow the majority of the audience a clear view. The closing tableaux was beautifully set, but the play should have finished on La Goulue’s final, poignant line, rather than through a narration that felt tacked on to the rest of the production. The script held promise, as did some of the performances, but overall the pace and energy of the piece were lacking and made large sections feel superfluous, or worse, tedious. The production needed stronger direction within the scenes, rather than just attention to the overall picture, and with more appropriate casting could have been a far better piece than the play that was presented.

Runs until Sun 29th Nov

Jump! - Live Theatre, Newcastle upon Tyne

Jump!
Writer: Lisa McGee
Director: Max Roberts
Reviewer: Ian Cain

The English premiere of ‘Jump!’ – it has previously been performed in Northern Ireland and New York – is billed as ‘a fast-paced dark comedy . . . played out like a Tarantino movie.’The action takes place during New Year’s Eve on Tyneside. Ross (Harry Hepple) and Johnny (James Baxter), a pair of small-time crooks and novice hit-men meet for a pint as they prepare for a one-off contract killing to settle a gambling debt that they are unable to pay back.
Meanwhile, good-time girls Marie (Vicky Elliott), Dara (Laura Norton) and Hannah (Bronagh Taggart) are lining the drinks up, ready to celebrate a big night out on the town. And, on the High Level Bridge, two strangers, Pearce (Neil Grainger) and Greta (Frances McNamee), who are both intent on committing suicide, encounter each other and consider their fates.

As the plot moves along, we find out that the lives of these seven desperate characters are intertwined through a series of coincidental moments and that, during the course of the evening, each of their lives will be changed forever. The writing is fast-paced and the dialogue punchy, although there’s a considerable amount of unnecessary bad language.

With the crème-de-la-crème of talented young North-east actors taking on the roles, the performances – as you would expect – are of a high standard. Elliott, Norton and Taggart rub along wonderfully as they bicker, bitch and backbite, whilst Grainger and McNamee both give taut and edgy performances as they teeter on the ledge of the bridge. The least convincing performances came from Baxter and Hepple, who both seem to try to manufacture an onstage chemistry that didn’t occur organically.

Isla Shaw is to be commended for her set design, particularly the eerily realistic portion of the High Level Bridge that looms over the rest of the stage. The two-tier set dominates the intimate main theatre, providing the audience with an increased sense of involvement. James Whiteside’s lighting design and Martin Hodgson’s sound design reinforce this, too.

There are some gaffes in the script with relation to geography that should have been picked up during the rehearsal process. Anyone from Newcastle or the surrounding area will confirm that when you cross the High Level Bridge, from whichever direction, you do not end up in Byker.

Although ‘Jump!’ is not the best thing that I have seen at Live Theatre – it follows productions including ‘The Pitmen Painters’, ‘Looking For Buddy’, ‘Me & Cilla’ and ‘You Couldn’t Make It Up’ – it is, nevertheless, a piece that contains some nice moments of black humour, numerous twists, and some lovely one-liners. That said, the success of the play on press night, I felt, owed more to the overall quality of the performances than it did to the brilliance of the writing.

‘Jump’ runs until Sat 5th Dec

The Pub - The Royal Exchange Studio, Manchester

Pub
Producer: Richard Morgan
Reviewer: John Roberts

Something interesting and unique is taking place in the Studio at the Royal Exchange Theatre, an original and entertaining way of showcasing some of the best new writing and talent that the local areas has to offer. Studio producer Richard Morgan has delivered the concept of turning the studio space into a fully working and authentic Pub with its own bar and yes they are serving drinks. Through the evening various pieces of new writing is performed around the space. Every week is a new programme and promises something for everyone throughout its run.

I reviewed this production on the 18th November, which had three pieces being performed, interlinked by some lines of dialogue from our resident Landlord played by TV regular James Quinn, although I felt more could have been made of the role on the evening. A bit more mingling with his customers and sharing a landlord anecdote or two, instead of sitting on a stool by the bar texting all night might have lifted the evening a bit more.

You Do It All Again by Ben Fowler and Yann Seabra

This is a fast paced and witty look at the effects of alcohol during a first date, Tom and Anna, (played by Tom Hall and Anna McSweeny) have only just met – although they have swapped photos and exchanged numerous messages through the internet, what is slowly revealed through this piece is how each of them use alcohol to release built in tension and to really find themselves.

There are some interesting ideas used in the piece, especially the use of contemporary dance as an inner monologue for the physical effects the alcohol has on each of the characters, but one couldn’t help be distracted by several moments where bizarre changes in the direction take place, but this can be overlooked as the performances although slightly overplayed for such an intimate space were on the whole excellent.

If I Could Show You by Act One

This was perhaps for me the highlight of the evening, running at just 15 minutes this group of 16-21 year olds working with the Education Department of the Royal Exchange created a poignant and personal insight of a group of friends meeting at the Local for a goodbye party as they all head off into the big bad world of work and university.

Using the whole space throughout helped make the audience really feel part of the action, There was not one weak member of the cast, each shining in various ways throughout, but Jenny Campbell’s larger than life character and booming voice stood out proud. Harry Egan as his rolex watch wearing suit provided many moments of laughter and performed with real comic panache, and Josh Goulding also provided a more subtle and calmer performance with his Greek Mythology loving student, there are some definite stars of the future in amongst this group.

All Right by Copland Smith and Directed by Rebecca Courtney

Unfortunately this is the damp squib in what otherwise was an excellent evening – the script is littered with highly witty observations of two males meeting in the pub, being observed by a Psychologist, where the performance falls flat is the delivery of the material, it seemed being right next to them, that 95% of the laughter of this piece came from the directors friends and not those sat bemused around the space.

Courtney makes some strange directorial decisions having the Psychologist portrayed as a pointed and more hard edged David Attenbourgh only serves to put the audience on edge and grate throughout, but the saving grace comes from the physical performances of the two males played by Guy Hepworth and Michael Peace.
In Summery The Pub is a conceptual success and provides a unique atmosphere to enjoy material which we perhaps wouldn’t normally see, but the success lies in the material that is put on and this unfortunately ranges quite considerably.

The Pub runs Weds-Sat 7pm-10:30pm until the 5th Dec for more on what is being performed click here

Scouts in Bondage - Kings Head Theatre. London

Scouts In Bondage

Writer: Glenn Chandler
Director: Terence Barton
Reviewer: James Higgins

A directorial debut from Terence Barton promised camp fun filled satire. Written by Glenn Chandler, author of the record breaking TV Detective series Taggart this is the second boys own style adventure he has brought to the King's Head after the acclaimed Boys Of The Empire last year.

This time round the setting is 1935 and 1st Little Poddington Scout Troop have assembled at Croydon Airport about to embark on the Adventure of a lifetime. They are to fly Imperial Airways to the Kingdom of Mystic India, a journey some 18 refueling stops away. It all starts off in Jovial mood as the troop say goodbye to their leader and banter with flying ace Captain Curruthers but there is danger on the horizon. Things take a dastardly turn for the worst and before you can say dib dib they have crash landed into the hostile environs of Afghanistan. Soon they realise that they are in a hostile wilderness where friend and foe are hard to tell apart but all seem intent on plotting against the Raj.

The backdrop (designed by Mike Lees) of a map of The British Empire crudely drawn with a line to plot their adventure does the job and also provides additional stage exits. Narration is provided by the talented Mark Farelly who as the Editor of Scout Magazine is fed up with the tedium of his job and the pedantic letters from pestering Scouts. He also seemed unamused with a smug heckler sat in the front row whom seem intent on disrupting the performance. The Editor stayed in character whilst delivering the ultimate putdown: Sir what is your name ? Heckler then replied 'Ian" The Editor then said 'That's funny, Ian ? I looked at you at the start of the show and thought you looked more like a Dick' cue hilarious laughter from the audience and no more unfunny quips from 'Ian'

Stephen Fry provided the voice of the Chief Scout and Christopher Timothy the voice of Kipling. There were very good performances from all the cast with Brage Bang convincing as the sole German member of the troop Henry Schmit, Christopher Finn was entertaining as the blundering Donald Pretty as too was Alastair Mavor as the awkward Lance Featherstone. Dick Greenways (Christopher Birks) made a very good Head Scout and provided a level of seriousness to counter the tomfoolery.

Timothy Welling was excellent playing multiple roles seemlessly as he convinced first as dastardly Russian Yuri Andropovitich then hilariously depicted tribal leader Ali Ban Bagar in a Carry On style send up before returning as Scout leader (Mr Dent)Despite all this it was still Farelly that stole the show, not only thrilling as The Editor with magnificent improvisation but playing the Intelligence Officer (Stiffy Malarkey) with comedic aplomb.

The storyline was good but could have been better for I feel that it had something deeper to say and some of the subtexts weren't exploited fully. There were some serious points to be made about Colonialism, British Imperialism and the ongoing nightmare that is the barren land of Afghanistan where still we have still not learned the lessons from history. This was touched on at the end but in a crude somewhat sloppy way. That said this was an thoroughly entertaining show from start to finish that was laugh out loud funny and full of double entendre and satire throughout. If you find yourself at loose end and have the Winter blues then gather round the campfire chums for a real cheerful tonic.

Runs until 10th January

Secrets - The Cock Tavern, London

Secrets

A devised show

Director: Danielle Coleman

Reviewer: Evelyn Downing

The evening started quite promisingly; I found the Cock Tavern and the box office was obvious even if the entrance to the theatre was less so. As we entered the theatre the actors were all on stage waiting. So far so good, I thought. Some stylisation makes for good theatre.

It turns out you need to see how many actors there are because you don't actually meet some of them again for another 20 or so minutes. Which isn't necessarily a problem except I was wondering all of that time when the play was going to get going. It turns out it doesn't.

The premise of this devised piece is that it works with the idea of secrets, the secrets we keep and share, even the nature of secrecy itself. After a few rambling scenes full of scripted 'ums' and 'ers' and awkward conversation however there is still no sign of any kind of plot emerging. The vague connection between characters provides a path but no driving story leaving nothing to engage with and noone to empathise with.

There are too many stories to keep track of, none of which are given time to fully develop. The thread through the first act provided by the psychologist who doesn't know how to connect with people soon becomes repetitive and is too obvious a devise for a play about revealing hidden parts of ourselves.

The continual scene changing and clumsy use of props and a multipurpose table and chairs also becomes very tiring. There was one occasion where a character swapped over two identical chairs during a scene change for no apparent reason. A montage of headlines and graffitti at the back of the stage was never referred to and seemed a bit gratuitous. The atmosphere was broken continually by noise floating up from the pub below, glasses being knocked over, even what sounded like scripts being dropped at the lighting/sound desk.

That said, there are some wonderful scenes including a particularly touching and humorous couple sat on medicine balls chatting online, which incidentally features the two stand out performers of the piece. Shireen Walton and James Dutton both give wonderfully natural, and in the case of Walton incredibly moving, perfomances in all the characters played.

In fact, it is overall a very strong cast, and they need to be strong to sustain the amount of monologues and drawn out passages in this overly wordy script. A lot of the dialogue is beautifully natural and contrasts sharply with the more 'staged' scenes, attributable perhaps to the devised nature of the piece.

There are some lovely ideas in this play, some touching scenes, some great little snippets that mirror life beautifully. There are perhaps enough ideas to sustain a pretty good one act play for about 6 characters. As it is the piece meanders through two acts with very little direction or dramatic purpose and I walked away feeling bombarded, confused and very unsatisfied.

Runs until Sat 5th Dec

Vakomana Vaviri Ve Zimbabwe (Two Gentlemen of Verona) - Contact Theatre, Manchester

Vakomana Vaviri Ve Zimbabwe (Two Gentlemen of Verona)

Writer: William Shakespeare.
Director: Arne Pohlmeier
Reviewer: Dave Cunningham

‘Two Gentlemen of Verona’ is one of Shakespeare’s earliest plays – possibly even his first. The plot provides a prototype for his later works featuring friends driven apart by jealousy and cross-dressing heroines. The two gentlemen of the title are friends Proteus and Valentine. Because Proteus is in love with Julia he remains in Verona when his friend sets off to see the world. Proteus later joins his friend only to fall in love with Silvia whom Valentine plans to marry. After many twists and turns they are joined by Julia, disguised as a man, who forces Proteus to accept that he has betrayed his friend.

The relative lack of sophistication in the play makes it suitable for radical interpretations. That is certainly what the audience gets from director Arne Pohlmeier’s production .It is not that the play is set in Zimbabwe which is audacious but rather that all 15 characters (and a dog) are played by just two Zimbabwean actors - Denton Chikura and Tonderai Monyevu – with a minimum of props and a certain number of anachronistic references. It sounds like a recipe for disaster yet this is a completely satisfying production.

A particular success is the way in which the young audience is involved by way of a number of ad-libbed modern references. Julia is introduced singing a Bangles song and David Beckham is invoked as an example of male perfection. Members of the audience are also used, puppet-like, to swell the cast when an outlaw gang is required. Throughout the show the cast pause and check whether the audience is following the plot (at one point Chikura admits he has got lost). These techniques do not pander to the audience but rather makes them participants and secures their immersion in the play so that a sexual assault towards the end draws an audible response.

Some of the supporting characters are sketchily drawn but this is as much the fault of the author as the cast. Chikura and Monvevu create vivid interpretations of the treacherous Proteus (who seems to be deceiving even himself) and the decent but increasingly desperate Valentine. We are also given tyrannical parents and mischievous servants. The verse of the play is beautifully spoken with Chikura particularly moving when, in the role of Lance, he tells of the time he accepted a beating on behalf of his dog.

Allison Drewitt’s set is wonderfully basic. The cast transform themselves using scraps of costumes arranged on a washing line across the rear of the stage. The trunk from which the costumes are taken is utilised in a variety of ways including a bath and a stage from which a lover is serenaded.

Vakomana Vaviri Ve Zimbabwe demonstrates what can be achieved in the theatre with a minimum amount of finance and a maximum level of talent and imagination.

Runs until the 18th - then on tour for more info click here

Dial M for Murder - Theatre Royal, Brighton

Dial M for Murder

Writer: Frederick Knott
Director: Lucy Bailey
Designer: Mike Britton
Reviewer: Bill Avenell

Perhaps surprisingly, because of my age and the reputation of the work, I have never seen Hitchcock’s famous film of this play by Frederick Knott.

Although made world famous by Hitchcock, this piece started life as a popular BBC ‘Play of the Week’ and a successful West End production and Lucy Bailey’s direction remains true to its mid 20th century stage origins.

How much better as a theatrical device is the old fashioned telephone compared to the mobile? A ‘we know whodunnit’ (from pretty early on at least) rather than the MIdsommer Murders variety, the play contains a number of really clever twists and, as Hitchcock obviously foresaw, is capable of keeping the audience in suspense even though they really know what is going to happen. Would Tony come in by the window at the end? I was desperately hoping he wouldn’t but…

Apparently written as a one room piece, Mike Britton’s set manages to include just the right amount of detail to portray the setting while creating an undercurrent of menace incorporating a sinister flowing curtain and an intriguing ‘now you see it now you don’t’ back wall which really helps in the denouement. I feel that the rotating stage is confusing rather insightful but perhaps it adds to the suspense. The clever (red changing to white) lighting set of Chris Davey and the atmospheric music from Mic Pool, including that barely audible but insinuating high pitched tone as crises approach, make the whole production an ideal back drop for the actors and I was amazed at the end of the play to find that the I had been watching a cast that was only 5 strong. All down to the set and the use of that phone again.

Although the programme tries to tell me otherwise, I feel that the strength of the piece is in the plot rather than the characterization, but Richard Lintern as the scheming Tony Wendice gives a well balanced performance moving believably from smooth sophistication to outbursts of petulance and maintaining a real undertone of menace. Des McAteer ,as the inspector , stays just the right side of the plodding copper role he could easily have portrayed and Daniel Hill, Nick Fletcher and Aislin McGuckin give able support to ensure that there isn’t a weak performance in the show.

The Theatre Royal has a really genuine feel to it, complete with wonderful ceiling, and if the ‘hum’ of the audience in the interval and again queuing up at the pay station in the car park afterwards(park in Church Street NCP and get a discount in the Theatre foyer) was anything to go by, I was not the only one who had a really good evening.
I must get out the DVD and see whether Hitchcock makes as good a job of it as Lucy Bailey and her cast.

Photos: Manuel Harlan
Runs until Sat 21st of Nov

Pride & Prejudice - Chichester Festival Theartre

Pride and Prejudice
Writer: Jane Austen
Adaptor: Simon Reade
Music: Richard Hammerton
Director: Tony Frow
Reviewer: Ann Bawtree

This entrancing production is the result of the ambitious but wholly successful adaptation by Simon Reade of Jane Austen’s most famous novel. It was a dangerous project to bring to life on stage such a well known saga familiar not only in book form but also on screens large and small over decades. It has been entirely successful.

Toby Frow’s almost balletic direction with the choreography of Sam Spencer-Lane enchants from the start. The main characters enter to the music of a solo violin played on stage by Victoria Hamnett, Mary in the story. Jane’s original Mary played the piano but unlike Miss Hamnett, not very well.

Designer Christopher Woods, clothes the Bennet girls in subtle shades of cream with Elizabeth alone standing out in the early scenes in palest blue. Even Susan Hampshire as Mrs Bennet tones in, in shades of russet brown. And how steadily we grew to view her unsympathetically until at last we laughed heartlessly at her fit of the vapours over the elopement of silly little Lydia, (Lydia Larson). She is scarcely more likeable that her greedy sister Kitty (Leah Whitaker). Long suffering Mr Bennet (Peter Ellis) is his usual grouchy self but at last we realise the pathos of his sadly self inflicted woes.

Rarely can a set have been a source of amusement but this one, comprised only of a collection of chairs and a sofa or two, all had parts to play. The arrival of the dining room table and the transformation into a picture gallery raised well deserved rounds of delighted applause. The clever lighting, too, of Johanna Town, gives us shadow characters on the back drop.

The saintly Jane Bennet (Violet Ryder) recovers from her feverish cold in a vertical bed and two pianos are played in mime, needing careful co-ordination with the sound department of Richard Hammarton. Here again were more jokes, the clip clop of coconut shells, a bird whistle to denote an outdoor scene and the gentle fading in and out of the dance music to allow us to overhear the conversations. Frequently the audience felt included in the eavesdropping of characters upon one another.

Fleur Chandler makes a kindly, well to do Aunt Gardiner who widens Elizabeth’s horizons with travel and Elizabeth herself (Katie Lightfoot, making her professional debut) develops from spirited girl to confident young woman who knows her own mind.

Emily Wachter appears briefly as the teenage Georgina Darcy and also as the mature Charlotte Lucas. The latter is portrayed here as something of a gold digger, unlike the more traditional view of her as the victim of a society for whom the only way into proper adulthood for a plain and penniless girl was marriage, however unsatisfactory.

David Beames plays her father and also the good hearted Mr Reynolds of Mr Darcy’s household. Natalie Burt also plays two contrasting parts, the silent, shy and possibly rather backward Annabelle de Bourgh and the definitely forward, flashy Caroline Bingley. The former’s terrifying mother, Lady Catherine (Carolyn Pickles) sees herself as the local Queen of Sheba.

Other men of the cast are suitably dashing and in turn haughty, (the brooding Nicholas Taylor as Mr Darcy) charming (Alex Felton as Mr Bingley) and villainous (Leo Staar as Mr Wickham). Various handsome officers flash in and out, the only one named being Peter Stickney. That leaves the dreadful Reverend Mr Collins (Tom Mothersdale) and a bigger argument for the ordination of women it would be difficult to find.

runs until Sat 21st Nov

Contradictions - Contact Theatre, Manchester

Contradictions
Creators: Sharpening Sawds
Reviewer: Clare Howdon

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‘Contradictions’ by Sharpening Sawds Hip Hop Collective is a one-man show which explores the many paradoxes in British society and takes a brutal and frank look at prejudice and bigotry. Manchester’s infamous number 42 bus becomes a microcosm of society and introduces us to a myriad of contrasting characters (7 in total)

‘Contradictions’ is undeniably an autobiographical piece and performer Ali Gadema bravely explores his own past intolerances, and on some levels this works as a theatrical questioning of the regional social order in which we live.

Gadema is an engaging and engaged performer and his versatility skills and on-stage presence certainly brings the juxta-posed characters to life. His assured and confident connection with the audience is also effective and he is undoubtedly a story-teller of some talent. Like with any show of this ilk, certain characters are more convincing than others. The bus driver is particularly successful and the lead character creates some moments of complexity and tragedy which goes some way to explain his rather abrupt suicide at the end of the play. Additionally the fleeting yet strong homo-erotic subtext of one gang member when beating a young gay man on Canal Street is delivered with subtlety.

Sharpening Sawds also make full use of a multi – functional set design and scene and character changes are swift, keeping the piece well paced. The use of some beautiful poetry, lyricism and beat-boxing along with endearing child-like shadow puppetry and multi-media effects also keeps this 50 minute performance varied and lightning fast.

However, although the presentation of this piece is successful and accessible, the actual content and message of Gadema’s personal story is more questionable and inconsistent. Whilst Gadema certainly makes his audience laugh through his larger than life characters and scenario’s, more time needed to be dedicated to what the creators wanted their audience to take away from this piece, as the message became a little muddled and over-faced as more and more layers were added. There is certainly potential in ‘Contradictions’ but the prejudices raised need to be explored and broken down rather than merely addressed, in order to make this a truly didactic piece of theatre.

Marilyn & Ella - Apollo Theatre, London

Marilyn & Ella

Writer: Bonnie Greer

Director: Colin McFarlane

Musical Director: Warren Wills

Reviewer: Ian Foster

After a run last year at the Theatre Royal Stratford, Marilyn & Ella arrives in the West End, playing for five shows over three consecutive Sundays at the Apollo Theatre. Written by Bonnie Greer, recently seen giving Nick Griffin short shrift on BBC 1’s Question Time, this is essentially a two-hander which explores the friendship and connections between Marilyn Monroe and Ella Fitzgerald. This revival is also quite timely as this month marks the 75th anniversary of Fitzgerald’s debut in a theatre in Harlem which lead to a long, illustrious career.

In 1955, Marilyn Monroe was responsible for convincing the owners of a major Hollywood nightclub, the Mocambo, to book Ella Fitzgerald for a five night run at a time when racial segregation was still the norm. A friendship was thus born and parallels are drawn, if not always successfully, between each woman’s struggles: Monroe’s efforts to reinvent herself as a serious actor and Ella’s daily battles against racism. The play is mostly delivered in monologues by each character, with only a few scenes in the second half played together, perhaps betraying this play’s roots in radio. The action is interspersed with songs from the Great American Songbook, which sometimes served to illustrate the action but also sometimes seemed randomly selected in order to shoehorn in a well-known song (see ‘The Lady Is A Tramp’).

The staging is minimal with just two chairs, and a large mounted picture frame on the rear wall, which changes once to indicate the location and then finally to reveal a real photograph of the two legends. However, Warren Wills’ jazz quartet are also placed onstage which adds a vital energy to the show, under Wills’ superb musical direction. There’s some great arrangements of the classic songs which add freshness to some well-worn old favourites, but the band also provide some beautiful incidental music throughout, and the most incredibly authentic sounding phone ringing, as played on the piano, which has to be heard to be believed.

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Hope Augustus’ Ella Fitzgerald is the main star of the show: she has the lion’s share of the performances, a beautiful rendition of ‘Bewitched, Bothered and Bewildered’, and the famous improv around ‘Mack The Knife’ were the highlights of the whole evening, and Augustus wisely steered clear of straight impersonations, instead allowing for her own interpretations to be sufficiently inspired by Fitzgerald. She does however also appear onstage intermittently throughout the show as herself, commenting on Ella’s situation, a device which as well as being completely unnecessary, was very clumsily directed by Colin McFarlane as it was never immediately apparent when these sections started or ended.

Suzie Kennedy’s Marilyn Monroe felt underpowered by comparison, her musical numbers were competent, but lacked the oomph to match her fellow performer. And whilst her portrayal of Monroe is uncanny, or maybe even because of this, she struggled to give Marilyn any real dramatic impact onstage, especially when espousing on civil rights issues. In their main scene together though, their first ever meeting, they spark off each other showing the two all-too-human figures behind the showbiz legends to great effect, and it is a shame that in a play about their friendship, this is one of the few times their characters actually interact.

An unexpected addition was Stephen Triffitt as Frank Sinatra. Originally slated to provide pre-show entertainment, he took the stage to give us a number that introduced the show, reappeared in the show introducing Ella’s first show after singing a song himself, and then reappeared once more for a rendition of ‘New York, New York’ at the finale which was little short of cringeworthy, especially as he hogged all the vocals. In a show which is called Marilyn & Ella, Sinatra’s presence on stage ended up feeling very intrusive.

The publicity for this play clearly identifies it as a “play with songs” and the inherent snobbery contained therein identifies the main problem with this play. As a straight drama, it simply isn’t strong or substantial enough, and Greer’s unwillingness to fashion a proper musical out of this material, despite utilising some of the best known songs of the era, left this viewer disappointed on both fronts.

Marilyn & Ella runs at the Apollo Theatre until Sunday 29th November, more information at

www.marilynandella.com

The Making of Moo – Orange Tree Theatre, Richmond

The Making of Moo
Writer: Nigel Dennis
Director: Sam Walters
Reviewer: Ann Bawtree

In 1957 when this play had its first performance it was probably considered shocking but now, with the likes of Richard Dawkins and Christopher Hitchens sounding out the atheist trumpet at every turn it loses any impact. What did the author hope to achieve? That every Christian from the Archbishop of Canterbury down to me would see it and immediately renounce the faith? To do that would take more than an unsubtle parody. Did he believe that if all religion were to be abolished the human race would live together in a spirit of justice and peace? However every cliché raises an indulgent smile as they pour from the characters who feel they have to invent their own god and its theology to replace a river-god destroyed by the building of a dam.

Directed by Sam Walters, the play begins in the colonial days of Africa with the ceremonial completion of this project which started all the trouble. The three main characters, the engineer in charge of the project, (Philip York) his longsuffering wife (Amanda Royle) and their assistant, the Old Africa Hand (Duncan Wisbey) play their stereotypical parts well but Ben Onwukwe who plays the general factotum, William, is an actor who can speak volumes with his eyes alone.

Also admirable were Christopher Staines who doubles as an ancient and, in the circumstances, understandably nervous, solicitor in one scene only to reappear as a bombastic philanthropist in the next. Equally versatile is James Woolley, verbose and confident first as Christopher Staines’ partner and then as the cold and harshly adherent adult son.

The remaining three cast members (Stuart Burgess, Jermaine Dominique and Joel Kangudi also double first as scene setters in the opening fight, admirably arranged by Philip D’Orleans, and later as mad acolytes and musicians in Act II. Stuart Burgess is also the Stage Manager and deftly organises the atmospheric sets of Tim Meacok and Robyn Wilson.

John Harris’s lighting, hot African sun, spinning during the opening chaos and blood red in the “worship” add to the drama but the music and sound of Matthew Strachan are even more important and almost ever present. The costumes by Katy Mills reflect the period well and are suitably improvised looking in the second act and studiously ridiculous in the last. Make up, especially beards, are excellent although perhaps Elizabeth should not look quite so well preserved in her position as grande dame.

The Making of Moo is a play of its time but that time is past.

Photos: Robert Day

Runs until Sat 12th Dec

i-witness - Birmingham Rep

i-witness

Created by Catherine Bennett, Paul Davies, Philip Ralph and Fern Smith.

Director: John Hardwick

Film: Lucy Cash

Reviewer: Robert Yates

i-witness is inspired by the work of WG Sebald, particularly The Rings of Saturn (Vintage, 2002) translated by Michael Hulse. It was first performed by the Volcano Theatre Company in October 2008 and is currently touring the UK. This play is not simply a book review, nor is it simple. Don’t worry if you haven’t read the book you’ll still find this a fascinating evening of entertainment.

The plot, if it can be called that, is all about the reactions of the four performers to the book. In this sense it is four book reviews in one. It begins with a film to which the four actors provide sound effects and commentary; this was the hardest part to understand. If you can suffer through the first ten minutes of confusion the play livens up with interaction between the audience and the cast.

We are introduced to the initial concepts of each character at this point, which proves very useful in understanding how they portray this reaction. Catherine is the quiet one noticing the details. Paul didn’t like it so focuses on the seemingly random facts, even providing a few ‘fictional facts’ along the way. Philip believes its all about death and destruction and Fern appears much more obsessed with the walk, rather than the concepts. The four reactions provide numerous tangents that each character wants to explore only to be hauled back to the essence of the book from another point of view.

The whole play is a mish mash of concepts which really shouldn’t flow together, but through the clever use of dramatic effects, sudden switches in tempo from a monologue to a dance or an awkward silence that appears to be an act of defiance, daring the audience to say something, almost taunting the audience, ‘you came to watch us, but we’re going to watch you’. With four enthusiastic entertainers and therefore four narrators it is a cleverly intertwined script that allows for each character to display their thoughts long enough without any one dominating.

The frenzied depiction of Rembrandt's Anatomy lesson is a clever way of leaving you with no doubt that the book has been thoroughly examined, perhaps it’s highlighting the way in which they have dissected the book. I must confess I haven’t read The Rings of Saturn but I certainly feel that I know the book.

I-witness is a play full of mischief and comedy spiralling through dance, film, ‘fictional facts’ and simply a walk. It is a hilarious dissection of a book in theatrical form that provides for a thoroughly entertaining evening.

Runs until Saturday 14th Nov.

Hags & Heroines - Annamation, on Tour

Hags & Heroines
Writer: Anna Conomos & Susanna Willetts
Director: Xanthe Gresham
Reviewer: John Roberts

At the heart of an actor/performance should be the ability to simply tell a story, to engage the audience in a way that can transport you to new and wonderful places, sadly in a lot of modern theatre this simply point seems to be wildly overlooked...well all I can say is a huge thank you to Annamation who have managed to restore my faith in theatre and the art of storytelling.

Annamation was set up in 2004 by three actors working together at the Barber Institute of Fine Arts, bringing the story of the masterpieces that hang on their walls vividly to life to audiences young and old. Having had huge success, winning several awards including Young Storyteller of the year they are being hailed as the ‘new wave’ of storytellers.

Annamation’s latest production Hags & Heroines stars just two of the company (due to the third having just given birth) and is a real tour-de-force of theatrical delights. Susanna Willetts and Anna Conomos guide us through several stories of infamous Hags & Heroines.

Annamation are masters at performance, finding a suitable balance between direct audience interaction, physical theatre, and the spoken (and sung) word. The production relies on no set - apart from two small sillouette backdrops on a small double levelled stage, no costumes apart from the identical purple suits they both wear and no props, this really is performance laid bare.

Conomos and Willetts both have their strongest points, Conomos perhaps being the most naturally gifted vocal storyteller, who mesmerises with her warm colourful voice, and Willetts who really is one of the strongest physical theatre performers I have ever seen, contorting her body and facial expressions in many hideous ways resulting in much merriment and laughter from the audience.

Their script is littered with many gags and witty one liners – one presumes many of these are improvised on the night depending on the audience they are dealing with. It is also filled with helpful little factoids and tit-bits of information that help you understand the context of some of the stories being told.

Director Xanthe Gresham has ensured that the production never loses pace and often manages to find moments of real raw emotion through the timely use of acapella singing and stunning use of silence to add to the overall atmosphere. The magic of this production lies in its simplicity, performing to a packed out arts centre hall, filled with many adults and children Conomos & Willetts should be congratulated on keeping every single person in the space totally engrossed throughout.

Hags & Heroines is a rare theatrical gem, proving you don’t need big budget production elements or a famous celebrity in your cast to make an evening at the theatre totally captivating and thoroughly entertaining.

For more information on Annamation click here

The Black Album - The Oxford Playhouse

The Black Album

Writer: Hanif Kureishi

Director: Jatinder Verma
Reviewer: Joshua Rey

What was the big historical event of twenty years ago? Yeah, yeah, some wall or other – but that was about the past. What was the moment that defined the future we now live in? Arguably, it was March 1989, when the Ayatollah Khomeini emitted a fatwa against Salman Rushdie on account of his novel The Satanic Verses; the first time the clash between radical Islam and liberal values got onto the front pages.

Hanif Kureishi’s new play, now touring in a TARA Arts co-production with the National Theatre, is set in that febrile and transgressive time. It is the story of Shahid Hasan (played by Jonathan Bonnici), from a Pakistani family but born and bred in Sevenoaks, who comes to London to study and write. He meets Riaz (Alexander Andreou) and his group of fundamentalist Muslim activists; and he gets to know Deedee (Tanya Franks), a radical liberal lecturer in post-colonial literature. Shahid oscillates between these two poles, never quite finding his own voice.

The play is Hanif Kureishi’s adaptation of his 1995 novel of the same name. It’s a pity Kureishi, who writes tight scripts, couldn’t have written a completely new play on the topic. Here, there is clearly a large back story for Shahid and the others which he doesn’t show us. As a result their motives are hard to take seriously and their personal transformations come off as capricious. Worse, after twenty years of caricature we already have stereotypes to fit these people into. It’s an effort of will not to succumb to reading Riaz and Deedee as the Mad Mullah and Guardian-reading Leftie from Central Casting.

There is also a bit too much beating over the head with Message. Sometimes I felt the author was sitting next to me, nudging me in the ribs and saying “Geddit?” This is a play about identity. Well, I already guessed that. I didn’t need the second act to end with Deedee shouting “You’ve got to decide, Shahid, who really are your people!”

It’s telling that the most enjoyable performances (and they are very enjoyable) are from the supporting cast. These are vivid knockabout characters who can afford to be two-dimensional, partly because the audience doesn’t need to identify with them, and partly because they’re so highly coloured and well voiced they’re a joy to watch anyway. Robert Mountford as Shahid’s brother Chili, a flamboyant gangster, is first rate. Shereen Martineau as Chili’s estranged wife Zulma is particularly good (and she doubles as Tahira, one of Riaz’s entourage).

This is where much of the best dialogue is. Released from the obligation to convey the Message they are more enjoyable to listen to, but sometimes with a sting in the tail. The leads are unable to resist the lure of the pulpit. Zulma never preaches, but often pops out a pithy double-edged observation from the corner of her mouth without noticing it – “are we still colonial after so long, post- or not?”... “religion is for the benefit of the masses, not for brainboxes like you”.

Alas, the show as a whole cannot resist the urge to deal in Message; and surely the thing we learn from that time is that it’s a bad idea to over-simplify. The play ends with one of Riaz’s boys begging forgiveness from Shahid for what they are going to do and then a broad hint about suicide bombings. But to jump from the fatwa to 7/7 is to sacrifice understanding for Message. It’s not that simple.

Runs until Sat 14th Nov