Tag Archives: Damien Molony

“No Man’s Land” at Wyndham’s Theatre

The star billing of Ian McKellen and Patrick Stewart is undoubtedly the draw for this revival of Harold Pinter’s 1974 play. Masterclass is the term the critics use, quite rightly, and fans of these greats won’t be disappointed. It’s encouraging to see followers of Star Trek and Tolkien take a trip to the theatre, and the crowd during my visit showed a degree of respect welcome in any audience. This is a strong production, and yet, while the devotees clearly had a good time seeing their idols, fans of Pinter may be less satisfied.

Director Sean Mathias has a keen eye for the entertainment value of this play – his strength is in his appreciation of Pinter’s humour. McKellen benefits most. As a down-at-heel, unsuccessful poet, yet “free man”, who unwittingly becomes the guest of a famous literary savant, he cuts a chipper figure and makes the dialogue light, with lots of laughs. Stewart’s role is more obviously subtle. Deadpan humour combines with poignancy in a character who lives in a privileged “world of silk” but is haunted by the past, losing his mind and waiting to die. Despite a few clichéd Pinter pauses, quiet, awkward moments are brief and it’s all surprisingly sprightly.

Ian McKellen and Patrick Stewart joined by Damien Molony and Owen Teale
Ian McKellen and Patrick Stewart joined by Damien Molony and Owen Teale

This is fast and funny Pinter and a pleasant take on the play. But a price has to be paid. As the encounter between these two men becomes more surreal, Stewart can convey tragedy but McKellen’s desperation isn’t convincing. Playing for laughs, the companions who look after Stewart’s character lack menace: Owen Teale and Damien Molony have presence but their roles become purposeless. Pinter’s sharp eye on class and its “quaint little perversions” become rather toothless and nostalgic. Matthias may intrigue newcomers to Pinter, and the performances make the production worth seeing, but this is a flat and disappointing version of a complex play.

Until 17 December 2016

www.nomanslandtheplay.com

Photos by Johan Persson

“The Body of an American” at the Gate Theatre

The Body of an American, which opened last night at the Gate Theatre, is an intriguing docudrama. Written by Dan O’Brien, it explores his friendship with the war reporter and photographer Paul Watson. Focusing on Watson’s Pulitzer Prize-winning photograph of a butchered American soldier in Mogadishu in 1993, O’Brien’s questioning of the older man’s motivation is matched by an examination of his own life and work.

The play and production are ingenious. William Gaminara and Damien Molony perform as Paul and Dan, but they also share each other’s lines (this works better than it sounds), as well as taking on a host of minor roles. Performed in traverse, photographs by both men are projected and create a companion dialogue.

While impeccably directly by the talented James Dacre, the piece comes perilously close to being overwhelming. What makes it so absorbing is that it seems such a collaboration between writer and subject. The latter’s memoir is credited as an inspiration and his voice is rendered so convincingly by O’Brien that he almost becomes dominant. But it’s really two stories. O’Brien reveals much of himself: like his friend he is haunted by events, and he skilfully creates an uneasy question as to the reliability of his ‘reporting’.

The terrifying events and atrocities that make up Watson’s work naturally make better drama. The fact that the stakes are so different are always acknowledged – think Hemingway meets Henry James – but the imbalance between the jobs leaves you questioning your own position. O’Brien’s struggle to make sense of Watson’s life, and make a play about it, creates a link with us all. His blend of passion and perspicacity makes this an unusual play that’s well worth watching.

Until 14 February 2014

www.gatetheatre.co.uk

Photo by Simon Dutson

Written 21 January 2014 for The London Magazine

“Travelling Light” at the National Theatre

Cinema and theatre have always had a close symbiosis. The relationship is often fruitful but, for those who love live arts more, Nicholas Wright’s new play, Travelling Light, about the fascinating early days of the motion picture, is an opportunity to convey emotions and ideas with an intimacy that stage, rather than screen, promotes.

There are moments when Travelling Light uses the power theatre has to grab your attention like nothing else. It’s the tale of Motl Mendl, a Russian Jew, falling in love with the new medium of film and a girl who acts in his first picture. Punctuated with witty observations on the nature of art (a scene of the first focus group for a movie is delightful) and nostalgically interspaced with reflections from Mendl in later life, it’s an interesting story, well told – unfortunately there never seems very much at stake.

Damien Molony and Paul Jesson are both commendable as the flawed hero Mendl and there is a strong performance from Lauren O’Neil as his love interest. But the core of the play is Mendl’s relationship with his first ‘producer’, the rough and ready mill-owner of his hometown performed by Antony Sher. Clearly loving being back on stage at the National, Sher gives a robust, heart-warming performance in a difficult role that could easily turn into parody.

Unfortunately, Sher’s performance is the only thing that makes Travelling Light really compelling. Nicholas Hytner’s direction is clear and concise but the projection of film on to Bob Crowley’s design seems to have missed a trick or two.

Wright’s text seldom rises above the level of entertainment, and that isn’t much of a fault, but we often expect more from theatre, don’t we? It’s a double standard, of course, but Travelling Light is a little too light and this story of moving pictures not moving enough.

Until 6 March 2012

www.nationaltheatre.org.uk

Photo by Johan Persson

Written 19 January 2012 for The London Magazine