Tag Archives: Jonathan Slinger

“Trouble in Mind” at the Print Room

The advice is always to write about what you know. So it would have made sense in 1955 for African-American actress Alice Childress to set her play around the staging of a play – and to make both of them about race relations. Turns out that Childress knew plenty: creating a well-crafted text that ensures this exceptional production from Bath feels fresh, with a role for a leading lady that’s a dream.

The rehearsal scenario, expertly handled, is a great device, from which director Laurence Boswell generates tension and humour. It makes the play accessible and feel startlingly modern. As the black cast members debate the depiction of sharecroppers in the South, racism, art and the connections between the two are brought into focus. The pivot for all is character actress Wiletta and a star performance from Tanya Moodie.

Wiletta acts all the time. As she explains to a young colleague (great work from Ncuti Gatwa), you have to perform for the white crew and cast members even behind the scenes. This divide with the WASPs who run things creates fine performances from Daisy Boulton, as an idealist ingénue, and Jonathan Slinger, who tackles the fraught role of a tyrannical self-righteous director with characteristic gusto.

Then there’s Wiletta’s real acting. First, that engendered from the poorly written roles she suffers from – providing the clichés that the (white) audience wants. After this come glimpses of how she would really articulate the role. And, of course, the struggle between the two. With fascinating but perilously difficult layer upon layer, Moodie never gets lost and takes the audience with her. It bears repeating that she is stunning.

The racism in the piece is painful to watch. It leads to a remarkable monologue for Ewart James Walters as the eldest member of the cast recalling a real-life lynching. Yet it’s Childress’s use of humour that impresses most – adding an uncomfortable edge through the theatrical buzzwords of “relating to” and “justifying” a character’s motivation. The dissonance created between the real issues and their depiction on stage allows Moodie to show a “fighting mad” spirit, making the play burst out of its theatrical world to engage with real issues in a “militant” fashion.

Until 14 October 2017

www.the-print-room.org

Photo by Hugo Glendinning

“Urinetown” at the St James Theatre

Finally receiving its London premiere 13 years after it was such a success on Broadway, Urinetown The Musical opened this week at the St. James Theatre. The dystopian satire, by Mark Hollmann and Greg Kotis, earned a host of awards in the States. Although it struck me as strangely dated, a standing ovation at the performance I attended makes it clear that there’s an audience desperate to go.

The unprepossessing premise is that an ecological disaster has resulted in a world where people pay to pee. There’s surprisingly little toilet humour actually. Instead it’s a satire on politics and the musical form itself. I say it’s old fashioned since the mischief and the tastelessness now seem predictable, but the second act provides some memorable musical numbers and it’s always nice to see a musical trying a little bit of politics.

There’s certainly nothing wrong with the production – indeed it makes the show worth spending your pennies to see. Jamie Lloyd’s direction is deft and dark, Soutra Gilmour’s design crying out for a West End transfer and the performances from a top rate cast are strong.

Urine Town
Jonathan Slinger

Jonathan Slinger is a revelation as the narrator and police officer Lockstock, ably abetted by Adam Pearce as officer Barrell. Police and politicians are merely the henchmen of business baddy Cladwell, performed archly by Simon Paisley Day, who is ultimately willing to sacrifice his daughter Hope, played by Rosanna Hyland. Hyland is joined by Richard Fleeshman, whose character Bobby Strong leads a Les Mis-style rebellion (wearing a pre-shrunk T-shirt despite the water shortage), both young leads look the part and sound great. Stealing the show, though, is the excellent Jenna Russell, who gives such a spirited performance as Mrs Pennywise she stops you thinking she’s wasted in the role.

As the characters’ names will have indicated, and direct addresses to the audience make clear, Urinetown is all very knowing. The conventions of musicals are prodded mercilessly, and this joke, though performed well, tires. Maybe the final irony is that the show shoots itself in the foot – if it doesn’t take the genre seriously then why should we? It’s clever, but not that funny and sacrifices serious points. After all, it’s difficult to say that much with your tongue in your cheek all the time.

Until 3 May 2014

www.stjamestheatre.co.uk

Photos by Johan Persson

Written 13 March 2014 for The London Magazine