Tag Archives: Joseph Quinn

“Wish List” at the Royal Court

Katherine Soper’s play tackles modish concerns about mental health and the world of work, as two siblings struggle against the benefits system and a menial job on a zero-hours contract. A joint production with Manchester’s Royal Exchange, the play is at home at the Royal Court; there isn’t just a kitchen sink, there’s a bathroom one as well. But suspicions should be suspended: Soper has written a play with real heart, a well deserving winner of the Bruntwood Prize for Playwriting.

For all the monotony in the characters’ lives, Roper covers a gamut of emotions, while Matthew Xia’s direction, with strong sound design from Giles Thomas, nurtures her considerable skills.

The stress in Tamsin’s life, brilliantly portrayed by Erin Doherty, is well depicted and instantly recognisable. Reduced to tears more than once, Tamsin’s own wishes are balanced with responsibilities to her sick brother, combining care and understandable frustration.

With the siblings’ crippling obsessive behaviour, Soper brings insight into a condition increasingly depicted on stage and adds tension. Rendered with almost unbearable intensity by Joseph Quinn, this young man becomes a danger to himself and a fascinating figure with Christ-like connotations from his self-inflicted injuries.

Soper appreciates we can only stand so much doom and gloom and deftly introduces some sweet comedy. Doherty takes us touchingly close to her character’s hopes and gives us the giggles with a rendition of a Meat Loaf song, part of a budding romance with a younger colleague made all the more appealing by a performance from Shaquille Ali-Yebuah: any actor who can make a role this charming is sure to have a bright future.

There are lighter moments also from the mild satire against big business. In the packing factory, neither Tamsin nor her potential boyfriend falls for the inspirational slogans, despite their desperation for a job. But cleverly, the awful working conditions are depicted dispassionately, with an intelligent role for Aleksandar Mikic as their manager.

Digs against faceless organisations come alongside camaraderie. Small acts of kindness in the face of big problems are part of Wish List’s most effective passages – which focus on hope. A lit candle, shared cigarette or high five, take on the significance of communion that is simply beautiful. Soper wants this look at vulnerable lives to be dignified. Her play wins respect as a result.

Until 11 February 2017

www.royalcourttheatre.com

Photo by Jonathan Keenan

“Deathwatch” at The Print Room

Lurid, dense and poetic, Jean Genet’s play is revived with an expert translation by David Rudkin. We join three prisoners in a cell who say they will be “the slow death of each other”. The felons plot a murder, while creating a hierarchy of criminality that baffles as much as it intrigues. Genet said the play should unfold as in a dream and director Geraldine Alexander bears the dictate in mind, so this is a style that won’t appeal to all. Cryptic and cerebral, it’s an experience that’s dazzling, but might leave you dazed.

The cell is a cube reminiscent of cage fighting, placed in a circus ring with sawdust on the floor. The design from Lee Newby fits the play perfectly and The Print Room’s (newish) home at the Coronet only adds to the atmosphere. With an impressive lighting rig utilised by David Plater, the production values are top notch. As are the performances – there’s outstanding acting here. The murderer Green-Eyes, awaiting execution, has the most “clout” in the cell and the character’s animal magnetism and poetic fervour are convincingly portrayed by Tom Varey, showing the twisted depths of Genet’s writing. The cellmates share an obsession with Green-Eyes. Lefranc’s crimes may be “hot air” but he becomes a chilling figure through a balanced performance from Danny Lee Wynter. And Maurice is confrontationally played as a “screaming Queen” by Joseph Quinn, who gives a professional stage debut of great detail that bodes well for his future career.

Joseph Quinn
Joseph Quinn

All three roles are challenging. Unlike most (maybe all) crime fiction, Genet isn’t interested in the personal motivation behind crime. Backstories are suggested, but can they be trusted? Philosophy is explored as much as psychology. All this could ring alarm bells – or excite. Call me slow, I wanted more pauses – time for everything to stop and slow down – allowing an opportunity to drink in the language. Instead Alexander’s emphasis is on the tension, so fair enough. A more justifiable quibble is that even in this strong production the depth of Genet’s text isn’t plumbed, with the roles of brute force and mindless violence neglected. Nonetheless, an exceptional show.

Until 7 May 2016

www.the-print-room.org