The Retreat

 

Rating: 5 Stars

The White Bear

10 April 2024

It’s rare that a show is so funny that an audience member knocks their drink over before the actors have even entered the stage. However, that was what opened the show for Room One Theatres’ production of ‘The Retreat’ on the 10^th April 2024, at the White Bear Theater.

 

Coincidence? Maybe…….

 

Regardless, it certainly provided an early indication of the laughs to follow, as actor Jed McLoughlin entered for his first scene. Taking on the role of Luke, a Buddhist monk in training, McLoughlin didn’t let the unexpected water works disrupt a thoroughly enjoyable performance. But before we get into the nitty gritty of the review, let’s talk plot.

 

Tired and unfulfilled with his hotshot banking lifestyle, McLoughlins’ Luke has decided to take part in a spiritual retreat in the Scottish highlands. Peace, serenity and chastity are the order of the day, until Lukes older brother Tony (played by Harry Harding) shows up. What follows is a descent into a fast-paced comedic masterclass with truly tear-jerking elements. One moment teers of merriment are running down your face and your sides are hurting, the next your pausing and realising the gravity of the plays narrative.

 

Penned by comedic legend Sam Bain (Peep Show, Fresh Meat), ‘The Retreat’ sees Tony and Luke reunited on by the death of a great uncle. Over the course of their reconciliation, each brother reveals themselves to be deeply flawed. The appearance of Tara (Cara Heal), the supposed owner of the retreat only serves to complicate matters further.

 

Harding and McLoughlins are a perfect comedic duo, engaging in a seamless battle of wits, as each tries to highlight the others flaws. Harding is merciless on the attack, giving off strong Jay Cartwright energy (The Inbetweeners), as he throws his all into showcasing the drink and drug addicted screw up that is Tony. McLoughlins’ unbreakable calm is not only the perfect response to Hardings hilarious energy, but also signifies that not all addictions come in substance form. Add to this a wonderfully awkward failed one sided romance between Luke and Heals’ Tara, and the laughs just keep on running. Each actor completely smashes their role, with Heal being the perfect accompaniment to Harding and McLoughlin.

 

Despite the comedic strength of this play, for me the most compelling moments were when the tone shifted. Creating a belly laughing comedy is hard, creating one with convincing serious undertones shows rare talent. ‘The Retreat’ succeeds where others would fail, as both brothers reveal their own struggles since the death of their parents and struggles of their joint upbringing. The final moment where the brothers finally accept themselves and each other nearly brought me to tears and earned them a much deserved standing ovation. If you haven’t seen ‘The Retreat’ then get yourself down to the White Bear for this masterclass in comedy and drama.

Horne's Descent

 

Rating: 5 Stars

Red Lion Pub

4th April 2024

WARNING! CONTAINS SPOILERS

With a puff of cigarette smoke, and a burst of a long forgotten Jazz album, modern London is replaced with one staggering out of the smog of the First World War.

Set somewhere in the early 1920’s, ‘Hornes Descent’ follows the struggles of Peter Horne, a returned trench fighter set on taking holy orders. What follows is a gripping delve into the battle for one mans’ soul. Miranda Cattermole masterfully transforms the upstairs of the Red Lion Theatre into a convincing upper-class, early 20^th Century Parlour (AKA Our battle ground spiritual battleground for the evening). From the moment you step into the admittedly small space you find yourself transported to a time of immoral lavishness set against the closing screams of bitter conflict.

But who are our combatants in this spiritual no man’s land?  Alexander Hackett brings the aforementioned Peter Horne to life, masterfully mixing sophisticated mortality and caddish charm. There are pleasing tones of both Tom Ellis’ ‘Lucifer’ and Aidan Turners’ John Mitchell, in Hacketts’ portrayal, as he dances the fine line between salvation and corruption, turning from the faithful mouthpiece of God to a man with a desire to sin.

Acting as the two pillars of morality that Mister Horne swings between are our talented female cast, Cici Clarke and Bethany Slater. Clark takes on the role of the host of the evening, London socialite, Etta Florence, while Slater portrays her dangerously sultry niece Mary. Both women perfectly encapsulate the two extremes Horne is battling against, one righteous and the other sinful. Whereas some actresses would risk falling into parody with these roles (it’s no easy task playing the devil and God), Clark and Slater give a masterclass in subtlety, gradually bringing out their characters true identities. Their final scene where they discuss Hornes’ final fate, and place wagers on their next battle is a true delight (I did warn you there would be spoilers!)

However, for me the star of the show was undoubtedly Magnus Gordon, who portrayed Albie, Hornes alcoholic friend. Not only does Gordon portray an utterly convincing drunk, but he does such a good job at making Albie a completely punchable b***ard that it’s a shock to realise we  feel sorry for him when his character meets an untimely end at the hands of his best friend (Again Spoilers!)

‘Horne’s Descent’ is a fascinating, deep dive into the corruptibility of humanity, featuring first class performances from a cast of talented performers, and gripping dialogue from Nina Atesh masterfully pulled together by director Chloe Cattin. If any show deserved a transfer this surely does.

Reviewed by Alexander Wright

Macbeth

 

24^th June 2023
Keats House
Rating: 5 Stars

A restoration of faith…….

I love Shakespeare. What actor doesn’t? Unfortunately, I had my faith in the Shakespeare community shattered, after witnessing a truly awful production of ‘The Taming of the Shrew’ in 2020 by the Royal Shakespeare company. This career ending performance is the only one I have walked out of before the final curtain. You’d think after this I’d be done with Shakespeare for good…….Thank you Drama Impact for restoring my faith.

Behind ‘The Taming of the Shrew’, ‘Macbeth’ may just be one of the highest risk Shakespeare plays to stage. There’s a reason why if your play was bombing during the Elizabethan era it would find itself being replaced with ‘Macbeth’. Quite simply ‘Macbeth’, when done well, kicks a**e! On the other side of the coin though, when done badly there’s nothing worse. I once spent four hours watching a painfully slow adaptation of the Scottish play. Eye gouging doesn’t quite cover it. Anyway, enough of my theatre viewing history, let’s talk Drama Impacts production of ‘Macbeth’.

Set in the charming grounds of the historic Keats House, on one of the hottest weekends of the year, Drama Impact comes across every challenge of outdoor theatre. From the clearly modern elements of Keats Houses architecture to the sound of road traffic. Drama Impact not only over comes these challenges but makes them a complete nonentity.

Staged in the round, Drama Impact envelopes you in the world of the doomed warrior king Macbeth. The sound of drums, lit torches, and hooded figures, give the impression that you have entered another world. A world of sacrifice, witchcraft, and omens. The players move around the audience and through the trees that surround the area, until you constantly find yourself glancing over your shoulder afraid you will miss part of the action.

Action, Macbeth has plenty of that. However, action is meaningless without actors. Without large scale sets and a multitude of props, it’s the actors that carry this production. Paul Boichat and Joanna Nevin play the titular couple of Macbeth and Lady Macbeth, bringing to life the plot to assassinate King Duncan (Played by director Martin South). Both Boichat and Nevin bring an interesting dynamic to their roles, playing them as long-time lovers who have a deeply embedded passion or lust for each other. One can’t help but think that they are both each other’s undoing, as they lead each other down the path of no return. This aspect is particularly showcased in Nevin’s portrayal of everyone’s favourite mad queen, Lady Macbeth. Conventionally, this character is shown as the criminal mastermind who steers Macbeth towards his evil ends. However, Nevin and Boichat’s relationship is more balanced, allowing for a greater impact when we witness her descent into madness. This descent is portrayed both truthfully and I daresay beautifully by Nevin, in which could very well end up being a career defining role.

As solid as these performances are, it’s the supporting roles which really stand out. Banquo is usually portrayed as a gruff warrior of honour, contrasting with Macbeths sly and dishonourable character. When you look at the list of past actors who have played the role you immediately find names such as Brian Blessed, Graham McTavish and Brando Eaton, only adding to the stereotype. With this in mind Leon Wander’s portrayal of Macbeths second is pleasingly refreshing. Here we see a man who is as confused, trusting and ultimately horrified as anyone would be that scenario. There is something instantly relatable about this Banquo. In this world of magic and blood, he may be considered the closest thing the audience have to a mouthpiece.

That’s not to say there aren’t some great warriors in this piece. Ryan Williams portrays Macduff with all the passion and fire you would expect from a warrior chieftain, while Andy Canadine and Martin South perfectly present two warriors from wars gone by as Ross and King Duncan respectfully. A special shout out however must go to Miles Blanch for his characterisation of Malcom. As much as I don’t wish to criticise the Bard, you can occasionally find roles which are always endanger of fading into the background. Curio in ‘Twelfth Night’, France in ‘King Lear’ and Robin Starveling in ‘Midsummer Nights Dream’ all fall into this category. In the hands of an unskilled actor the role of Malcom would also be consigned to this fate, however Blanch gives an immensely truthful performance as a young prince who goes beyond his perceived limitations to become king.

Now those of you who know anything about Macbeth will have probably noticed that I’ve left a few characters out. Yes, this was deliberate and yes it was to add dramatic effect. The stars of this production are undoubtedly the witches. Played by Niamh Handley- Vaughan, Jed Mcloughlin and Frida Rodbroe, these characters don’t just steal the show but rather tie it up and hold it to ransom. From the very beginning, these shadowy figures are there. Lurking at the back, bringing us into their world, making us gaze at the devastation they have wrought and in one instance anointing us in some form of pagan ritual. Director Martin South made the genius decision to have these performers multirole the other remaining parts, giving the impression that the witches influence is deeply imbedded in everything we see. Handley- Vaughan, Mcloughlin and Rodbroe’s effortless multi-rolling combined with flawless supernatural movement isn’t just terrific acting, it’s a masterclass in performance.

Martin Souths ‘Macbeth’ is a perfectly paced, initiative and gripping production. Where were you Drama Impact when I needed you most? The Royal Shakespeare Company could have learned a thing or two from you back in 2020……even if you did cut the character of the Porter!

 

GUEST REVIEW- Reclaiming Harry

GUEST REVIEW- Cinderella

1st January 2020
Savoy Theatre, Monmouth Rating: 4 Stars If you were to find your way to Monmouth, Wales, during the Christmas holidays, and follow the signs to the Savoy Theatre, at the top of the village, you would probably find, in front of the quaint, not so little theatre, a rabble of children and families. Their excited little faces and sugar filled hands are a sure sign that the annual Christmas pantomime is about to go on. The savoy Christmas panto has become a much-loved event over the years and having attended this years Cinderella’s rendition I can very well see why.
This traditional pantomime is truly family friendly. The story and audience participation are clearly aimed at the youngest in the audience, while some of the most ‘highbrow’ jokes (including the one political joke) are meant to tickle the adults in the auditorium. All of this is peppered with a wide range of musical numbers, with songs ranging from Elton John’s ‘Your song’ to One Directions ‘What Makes You Beautiful’ through to Black Lace’s ‘Agadoo’. There is something for everyone in this truly expert musical score, played live by Chris Sennett and Morgan Evans.
Writer and director, Samantha Densham (who sometimes doubles as the Fairy Godmother) does an amazing job at blending story, music and audience participation, whilst including members of the local youth theatre in the show. Her casting is also honestly perfect.
Sarah Hancock does a splendid job in the role of leading lady, portraying a truly lovely Cinderella. Hers and Alison Hellings (Dandini) duet to the tune of ‘That Man’ is also the most exquisitely performed song in the whole show.
Felix Jones makes his professional panto debut as Prince Charming with a unique twist. His ‘spoiled brat’ and at times downright goofy prince is well accompanied by the sarcastic quality of Alison’s Dandini.
Emma MacNab in the role of the Fairy Godmother and Nicholas Benjamin in the role of Buttons shoulder most of the children entertainment and participation. They both come out of the task gloriously. Emma by gliding from scene to scene with an easiness that would make you think she might in fact be a REAL fairy, and Nicholas by giving such an energy filled and perfectly comedy-timed performance to capture the attention and love of all sides of the audience. We follow him from the very first to the last chase and never tire in helping him out in his adventures (including his sub-plot romance with Dandini).
The cast is completed by Clare Brice’s (also responsible for choreographing the shows mesmerising dance numbers) stepmother, one of the most alluring villains I’ve ever witnessed, and Robert Traynor’s and Kevin Tillett’s ugly step-sisters, respectively Trumpella and Borisina, who downright steal the show when it comes to adult entertainment. Their rendition of ‘Sisters’ gives a little bit more than a nod to the Crosby and Kaye’s original act but to be fair it is comparable and very possibly more hilarious than the famous couple duet. What makes them the heart and soul of the show however is the incredible comical chemistry that they bring on stage . It’s a pure joy to see them set up and occasionally tear apart each others jokes right in front of your eyes. Their comic timing is impeccable and as a result the audience is left wheezing with laughter and with more than a few tears in their eyes. At the end of the hour and a half show and despite all of the step mother and sisters scheming, the happy ending is inevitably achieved and everyone leaves the theatre with a smile on their face. A truly commendable show, with a very high production value (the costumes are truly splendid) and a talented cast and crew. All that is left to see is how they are going to trump it next year. A truly lovely family friendly pantomime at the Savoy in Monmouth . Claudia Roncallo

Twelfth Night**

Non-Professional

11^th September 2019

Wyllyotts Theatre

Rating: 4 Stars

As the lights dimmed in this truly beautiful auditorium and the band struck up their first chords, one

thing went through my mind……….

Thank god this isn’t a tribute act. There seems to be a curse corrupting local theatres, where every other show is either a knock off tribute act or a pantomime. Harry Harding’s psychedelic production of ‘Twelfth Night’ is a welcome breath of fresh air in the drudgery of contemporary theatre programming.  Shakespeare’s tale of separation, tom foolery, mistaken identity, unrequited love and unburdened passion is one which has had more reincarnations than I have had hot dinners (and trust me I’ve had a lot of hot dinners!). To his credit Harding works hard to provide his audience with something they won’t have seen before. Choosing to make the time period of his piece ambiguous, the audience are instead assailed by bright lights, bold colours and a pleasing score of classical music.  There is something almost ‘Alice in Wonderland’ meets 1960’s Hollywood about the whole affair.



For those of you unfamiliar with this tale, allow me to enlighten you. Are you sitting comfortably? Then I will begin.

Brother and sister, Viola and Sebastian, are separated by a freak storm. Shipwrecked on the shores of Illyria both think the other dead and venture out on their own journey’s. Disguising herself as a boy, Viola becomes a servant of the lovesick Count Orsino and inevitably ends up falling desperately in love with him. Meanwhile, heartbroken by his sisters supposed death, Sebastian finds himself in the company under the protection of the pirate Antonio. Together they begin their travels through Illyria. Close by, but currently separate from all this action is the object of Count Orsinos affections Olivia. Surrounded by her household of loyal servants and foolish relations, Olivia has sealed herself away from the Counts affections in morning for her brothers recent death. However when she comes face to face with the freshly disguised Viola emotions run high and madness ensues. Still with me? Good!

Hardings style certainly matches the flamboyant insanity of the Bards text, but what about the acting? I must confess that this the first non-professional show that I have reviewed, so I was prepared to make some allowances. However, from an acting standpoint this show stands up better than some professional performances I have witnessed. From the first scene it was clear that every actor understood the meaning behind every line, right down to the last word. As a result the play was opened up to the audience, and we were able to connect with the performance a lot easier. Although this may sound like the bare minimal of professionalism, it is shocking how few companies master this in their performances. Everyone of Hardings cast deserves commendation for their mastery of the text, but particular praise must be given to Catherine Littles portrayal of Feste. As Olivia’s fool, Little has one of the most challenging roles within the play. Shakespeares fools are by far his most intelligent of his characters, regularly mocking the foolishness of their superiors, therefore it is important that whoever undertakes this role not only understands the text but could also speak it backwards. Little succeeds beautifully in creating a sharp tongued, and quick-witted Feste, whose poetic jabs at her superiors enhance the enjoyable madness.

Little certainly sets a high standard, but it’s a standard that the other performers are more than capable of meeting. Lorraine Bottomley plays a wonderfully glamorous Olivia, beginning the performance as a reserved Hollywood recluse before emerging as a sexually charged bombshell. There are definitely hints of both Norma Desmond and Maryline Monroe in Bottomley’s Olivia, so much so that one cannot help but feel sorry for Ryan Roedling’s sweetly awkward Sebastian. When  Sebastian is mistaken for the disguised  Viola, the scene is akin to a lioness stalking its prey. The chemistry between the characters is thoroughly enjoyable. Roedling’s beta male frequently earns a rueful chuckle, whilst Andrew Bowdens foppish Orsino is hilariously cringeworthy in his failed seduction attempts.

Hilarity comes in many guises throughout Hardings production, but nowhere is more prominent than in the roles of the side characters. Olivias cousin Sir Toby Belch, his friend Sir Andrew Aguecheek and the wise serving woman Maria are often the highlight of many ‘Twelfth Night’ productions, and here is no exception. Nick Vause offers us a wonderfully decrepit lecherous Sir Toby, whose comedic skills are perfectly complimented by Max Lloyds Sir Andrew Aguecheek. Lloyds elastic face and flamboyant portrayal makes him an ideal comic foil for Vause. Drink, scheming and foolery mean that this duo never fail to create a stir. It would take a strong woman indeed to rein them in. Fortunately Vicky Absolon is one of the strongest Maria’s I have ever had the pleasure of seeing. Her working class, no nonsense swagger is a joy to behold. When all three of these characters come together hilarity is guaranteed. Even the two smaller characters of Fabia and Valentine are not forgotten. Dawn Travell (Fabia) and Helen Green (Valentine) give their characters all the necessary exasperation to highlight the foolishness of their respective masters.

However the stars of the show are undoubtably the remaining female characters. Francesca Wilkinson shows a maturity beyond her years in her portrayal of Viola, effortlessly flitting between an innocent girl fresh with the pain of her brothers death, a young serving ‘boy’ helpless in an unfamiliar world and a love sick woman. There is an extraordinary amount of truth in Wilkinsons performance, so much so that it would be hard to pick a particular moment to focus on. The scene where she weeps over her brothers ‘death’ or the moment of bewilderment when she receives a ring from her lady admirer Olivia (arguably one of Shakespeares most famous scenes and performed beautifully here) are both truly memorable moments. However the scene which showcases Wilkinsons skills to the fullest is the scene where she and Orsino listen to Feste’s music. Here the two become awkward young lovers, trying to feel their way through unfamiliar emotions. It is awkward and adorable in all the right ways.

Harding makes a brave choice with his final two castings. This is the first time I have seen a production of ‘Twelfth Night’ where both Malvolio and Antonio are played by women, and I can honestly say that they were two of the best portrayals I have seen (and that is including Sir Derek Jacobi’s portrayal of Malvolio). Malvolio, or Malvolia in this instance, was expertly portrayed Lillie Prowse. Her take on this classic character was pure pomposity, from the moment we see her we are hoping for her demise. As a result the scene where Sir Andrew, Toby and Fabia convince Malvolia that Olivia harbours secret feelings for her is pure magic to watch. We revel as the characters pride blinds her to the truth, and her reappearance in the second act clad in not only yellow stockings but also giant feathers is pure brilliance. If the characters development ended here then Prowse’s performance could be described as exceptionally good, but once again the audience is pleasantly surprised. In her final two scenes, Prowse plays her characters down fall with brutal harshness. When we see her locked up as a mad woman, we feel truly sorry for her. Her pleas to Feste for help seem completely heart felt, and the inspired movement of both character holding hands is a testament to both Hardings directing and Prowse’s performing abilities. I have never seen the role played in such a pitiful way, and it is brilliant.

Last but by no means least we have Jessica Anne’s take on the role of Antonia. This is living proof that there is no such thing as small roles, just small performers. With only a handful of scenes, Anne shows herself as a first class performer. She is quiet simply powerful, captivating and funny. Her ability to command a stage is a wonderful contrast to the intended awkwardness of Sebastian, and the use of the opening bars of the ‘Pirates of the Caribbean’ theme is a brave but fitting introduction to the her character. Together these three women are ones to watch out for in the industry.

Hardings ‘Twelfth Night’ has undoubtedly had a lot of time and effort put into it, but despite all my praise it is not a perfect performance. As a non-professional show it suffers from a few common problems, the first and most glaring of which was certain performers projection. Maybe I am a bit harsh, but I cannot forgive a performer who lacks the vocal ability to be heard on stage. Unfortunately the male members of the cast suffered from this greatly, and this was only further compounded by the use of a live band. Although in some cases the underscoring of scenes with live music worked beautifully (the opening scene was a prime example), at times it only served to drown out the actors. A faulty microphone also hampered Littles attempts to sing Feste’s songs. Pacing also quickly became a second fundamental issue. As much as I enjoyed the characters of Sir Andrew and Toby their first scene together felt hopelessly rushed, whilst other scenes like the finale were extremely drawn out. Shakespeare was a master of tying up loose ends in his plays, but when these scenes aren’t paced properly one’s attention tends to wander off to thoughts of the nearest pub.


However with this said pacing in Shakespeare is no easy feat to master, and even the greatest of directors/performers can miss their mark on occasions. Readers of review should note that I saw this performance on its opening night, so a lot of these criticisms could be marked under opening night nerves and mishaps. Regardless the plays ending of a high energy cast dance, complete with balloons and glitter soon made one forget about any quibbles.

This production of ‘Twelfth Night’ may be non-professional, but it is a highly enjoyable classic comedy which is open to everyone. I admire Harding immensely for creating a performance which can be enjoyed by Shakespeare lovers both old and new. Our local theatres need more of these performances, and I will always continue to support their development. It also stands as proof that a non-professional production can still be good, and even raise the bar for professional productions. Harding ‘Twelfth Night’ is an exceptional non-professional production, with healthy amounts of professionalism.

The King in Yellow**

21^st August 2019

The Lion and Unicorn Theatre
Rating: 5 Stars

With the end of the celebrated Edinburgh Fringe nigh, the eyes of the theatre going public now have to frantically search for other forms of amusement as the brief, but nevertheless hot British Summer comes to an end. For those left in London, the Camden Fringe offers a possible thirst quencher to the upcoming dramatic drought. Like its Scottish Brother, the Camden Fringe promises the good, the bad and the ugly in its eclectic program. The question is, which one of these does ‘The King in Yellow’ fall under? To answer this question one must first dive into the depths of this unnerving and oddly frantic play.

As a self-confessed Gothic Horror enthusiast, I have to confess that I had never heard of ‘The King in Yellow’ (a piece which H.P. Lovecraft defined as groundbreaking), before attending this performance. Written by American author Robert W. Chambers in 1895, ‘The King in Yellow’ encompasses ten stories set in a dystopian 1920’s America. These stories are all linked by the existence of a forbidden play, called ‘The King in Yellow’, which once read induces despair or madness in its hapless victims. This play acts as a catalyst for the characters within the novel, being passed between them, and causing them to act out. To put it bluntly ‘The King in Yellow’ is a story about a killer play.

As you can probably gather, this is not a story that you can just jump in and out of with one eye on your phone (although I would have been grateful if someone could have told that to the bloke sat in front of me!). It is fair to say that bringing ‘The King in Yellow’ to the stage would be a challenge for even the most seasoned of directors. As a result first time theatre directors Joesphine Czarnecki and Darwin Garrett’s take on this soul gripping novel is nothing short of remarkable. Czarnecki and Garret masterfully reduce Chambers ten short stories to a single one-hour narrative. Set in the same dystopian world of suicide chambers, political unrest and macabre art as the original text, ‘The King in Yellow’ is one of those plays that grabs you by the throat and doesn’t let go. From the centre of this maelstrom of madness and intrigue a young man named Castagine (played by Owen Clark) rises as the central figure. Over the course of the next hour we gradually build up a picture of this man; learning that he has spent time in an asylum, has read the forbidden play and now believes that he will be the new king of existence (the king in yellow). As the hour ticks away we see Castagines web of madness extend out, ensnaring everyone in reach. A sculptor named Boris and his wife, a painter named Jack and his model Tessie, an infatuated man called Alec, even his own Cousin Lewis, are all corrupted by Castagines madness.

Czarnecki and Garretts production walks a taut tight rope, balancing between the world of Kantors theatre of memory and the underworld of Artauds Theatre of cruelty. There is something eerily compelling about the plays juxtaposition of beauty and death, of art and madness. We open on a dark room filled as if it were the cluttered inside of a frantic artists brain. A soundtrack of mixed ragtime and swing music interspersed with clangs, books slamming, hammers falling and clock chimes, creates an almost nightmarish backdrop to proceedings, whilst a blank masked chorus keeps the performance forever turning to its mind warping conclusion (SPOILERS STILL TO COME). Throughout the play there are continued references to the marble statues that stand outside the suicide chambers in Washington Square, on a basic level the plays modern Greek Chorus act as a further physical embodiment of this closeness between art and death. On another level there are hints of communism and dictatorship in the use of this faceless group of people, all following the same movements and the same religious calling of the king in yellow.

However, with any tight rope there is a real danger of falling to your demise. Needless to say ‘The King Yellow’ is dense with heavy undertones, so much so that everyone could take their own meaning from the text. This if poorly handled could cause the play to be condemned as pretentious. Czarnecki and Garrett neatly sidestep this potential danger by casting some of the most naturally talented performers I have ever had the pleasure of watching. I have been lucky in the past six months in the fact that all of the shows that I have reviewed have had fairly strong casts, however ‘The King in Yellow’ is the one show I have reviewed where all of the cast stand on the same level of brilliance.


Owen Clark is pure perfection in the lead role of Castagine. Instead of sinking into the quagmire of a stereotypical villain, or the hopelessly overblown cliché of a madman, Clark goes for a more sophisticated layered approach. At the opening he appears to act more as a quietly controlled storyteller, describing the dystopian world that the audience are about to enter, before descending into an unstable and frightened young man who seems to live in his cousins (played by Ashton Spear) shadow, only to later frantically re-emerge as a coldly calculating puppet master who sews the seeds of his comrades fates. There is definitely a hint of Doctor Faustus in Clarks portrayal, a feature which is nicely complimented by Ashton Spear’s take on the character of Boris. Providing us with our first side story in the narrative, Spear’s plays a captivating restless sculptor who has just discovered a chemical which transforms organic matter into marble. Continuing with the gothic theme, Spears take on the character fits nicely into the archetype of young scientist in a similar vein as the likes of Doctor Jekyll and Victor Frankenstein. His wide eyed, almost feverish excitement is a clear warning about the dangers of straying too far onto the frozen lake of scientific discovery. As Spears allows his characters passions to consume him, we are also given a startling powerful message about arts connection beauty and life. Like changing a flower to marble, if we mimic life in art do we take away all that made it live in the process.

Completing the male cast is Robbie Heath, whose embodiment of the young painter Jack has more than a hint of Dorian Grays Basil Hallward about it. Once again his story carefully treads the line between beauty and death, revolving mainly around his developing feelings for his pretty model Tessie (played by Zuzana Spacirova) and a strange nightmare that seems to haunt the young couple. This story unquestionably adds a level of sweetness to the otherwise manic darkness of the narrative. Heath and Spacirova show an incredible sense of truth in their performances, there is nothing forced or overplayed in their relationship. As an audience we believe that these two have a long and developed relationship, which considering we only really see them together in a couple of scenes is a testament to both of these performers’ skills. We end up completely invested in their relationship, and therefore this makes the constant presence of death and their inevitable demise at the hands of The King in Yellow all the more tragic. A truly palatable bittersweet moment.

However one thing which always impresses me as an audience member is an actors ability to take on multiple roles within a short production. Ashton Spears skills in this area are noteworthy, as he swaps between the frantic Boris and the more reserved Louis, but the true multi-rolling geniuses of the play are Charlene Sagral and Nina Atesh. Sagral shows remarkable versatility as she appears as the lovesick and slightly nervous Alec, before shedding this guise to take on the role of the politely reserved Constance (love interest of Lewis). Her portrayal of Alec particularly stands out, encompassing a truly gripping emotional range. Acting as a friend to Boris, and secret lover to his wife, this young man is a tightly coiled spring of conflicting morality, which at the plays climax gives way to a declaration of truthful love. Sagral is unquestionably an emotionally masterful actor, and one which I hope we soon see treading the boards again.

With this said, the stand-out performance of the piece comes from Nina Atesh. I had the privilege of reviewing Atesh in a separate production last year, and quickly became a fan of her as a comedy actress. However, it is clear that Atesh’s skills are not merely restricted to the realms of comedy. Throughout ‘The King in Yellow’ Atesh appeared in three completely different roles and gave each one the necessary truth and commitment. From the cocksure paperboy Thomas to the corrupted and deformed Mister Wilde (who it is hinted may have caused the events of the play), Atesh not only captivates but is one of the main driving forces behind the performances success. Her greatest victory comes in the role of Genève, the wife of Boris, who begins the story as dismissive of her husband’s achievements but slowly unravels to become obsessed with the idea of creating beauty through death leading to her own demise. Such is Atash’s skills that we are left with the question, did ‘The King in Yellow’ cause her downfall or was it the guilt from the affair with Alec? Atesh is truly an acting powerhouse, changing between characters seemingly effortlessly. A mere turn of the head or drop in vocal tone is enough. Her performance is a masterclass in multi-rolling and a testament to truth in performance. To put it simply Nina Atesh is the Catherine Tate or Julie Walters for the new generation.

‘The King in Yellow’ is a play that defies convention. Czarnecki and Garrett don’t just tear up the rule book, they set it on fire. It’s a rare thing for me to walk out of a show and be stunned into complete silence. Don’t get me wrong there are some people who won’t get ‘The King in Yellow’, there are some who may actually hate it, but no one can deny that it has an effect on everyone who sees it. In a world where a lot of theatre is forgettable, ‘The King in Yellow’ stands out as a bright light in the darkness of the mundane. It’s scary how much the play draws you in. During the final scenes Castagine makes references to his ‘people’, whilst looking directly at the audience. There’s an eerily element of truth behind this statement. We feel as if by viewing this show we have become disciples of the ‘The King in Yellow'. As the play ends on the final image of Castagine, wrapped in a white cloak tied like a straight jacket, we even begin to question whether we have just been drawn into the confines of a madman’s head. ‘The King in Yellow’ is a play which deserves an audience. Love it or hate, you will come out having experienced something unique. For that Czarnecki and Garretts production gets my vote for Best Performance of the Year.