Tag Archives: Paul Robinson

“Promises Promises” at the Southwark Playhouse

18 January 2017 Edward Lukes

The credentials for this musical are impeccable: a book by Neil Simon, with music and lyrics fromBurt Bacharach and Hal David. That should be enough to get you booking tickets. The endearing, nostalgic piece follows the adventures of New Yorker Chuck, who lends his flat to his bosses for their extra-marital affairs, while his own love life flounders.

Adapted from the 1960 movie The Apartment, it’s the script that dominates. There’s a lot of Simon here – no bad thing – playing with cynicism, packing in jolly touches and good plotting. If the songs don’t fuse into a score in the manner that makes some musicals heavenly, they are great numbers, with a trip to the back catalogue sublimely incorporated as an extra treat.

The smooth sounds are well performed and Bronagh Lagan’s direction has a calm pace that’s appropriate – disguising how much work her dozen cast members are doing – so the show feels like relaxed fun. There’s swinging going on (it’s the Sixties, after all) but, despite the Mad Men vibe, evoked especially well by Paul Robinson as the arch philanderer Sheldrake, the tones are pastel and the atmosphere oh-so cool.

Darker shades are present and handled well by leading lady Daisy Maywood, whose character Fran is driven to attempt suicide. The sobering moments are a little jarring and stem from the sexism within Promises Promises itself. Women are, literally, backing singers, playing secretaries and ‘pick ups’ (providing a blissful cameo for Alex Young). And the office Christmas party would give an HR department a fit. Lagan deals cleverly with the unsavoury middle-aged executives, presenting a collection of more sad than mad men that we can laugh at. It’s a sensible move, and the cast makes it work for them.

The saving grace is our heroine, at times displaying an emotional depth that overwhelms the show – welcome nonetheless – and Maywood’s acting is as strong as her powerful voice. The equally impressive Gabriel Vick, playing Chuck, joins her. Ostensibly, this is his character’s story. He’s a “puny” figure that Vick makes winning with perfectly pitched direct addresses to the audience. Fantasy conversations only endear us to him further. It’s the two leads who make the show, culminating in a gorgeous duet that is the fulfilment of all the talent on offer.

Until 18 February 2017

www.southwarkplayhouse.co.uk

Photos by Claire Bilyard

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“My Mother Said I Never Should” at the St James Theatre

1 May 2016 Edward Lukes

Charlotte Keatley’s acclaimed play was one of the first I ever saw, leaving a profound impression that, I’m pleased to say, is retained by this revival. The story of four women from one family, the action covers most of the 20th century and uses a non-chronological structure that was once regarded as radical. Going backwards and forwards in time has made the play influential. More importantly, this time-travelling technique elevates an interesting domestic drama into something extra special.

Flitting through the decades makes the women’s shared experiences bristle with connections. Family and motherhood link them, while their marriages and experience of work differ. This is the first production from a new company, Tiny Fires, led by producer Tara Finney and director Paul Robinson. Clearly excited by the prestige of the piece, history is emphasised – fair enough – and the ‘progress’ for women is examined carefully. But I’d argue this isn’t the heart of the play. There’s too much focus on generational differences rather than similarities here.

What can’t be disputed is that, by showing the women throughout their lives, Keatley created four remarkable roles for performers. Serena Manteghi and Katie Brayben take on the younger parts, full of energy and angst. And ably stepping into the role of Margaret mid-production is Hilary Tones (replacing Caroline Faber). The star casting comes with Maureen Lipman in the role of Doris. Given Lipman’s skills, it’s no surprise that comedy leaps to the fore (there are lessons that Manteghi and Brayben will surely learn). But there’s more than laughs here. Remember, the role goes from infancy to old age and, at the conclusion, Lipman switches from a great-grandmother to a young fiancée – the phrase tour de force could have been invented for her character.

Yet more astounding, it’s the quieter, emotional scenes that Lipman pulls out the stops for, highlighting the pervasive repression that Keatley writes of. Churlish as it sounds, Lipman’s achievement unbalances the show. Doris does have many of the best lines, but all four characters share the quality of having “no sense of compromise” and this could come across more clearly. It’s a small flaw that doesn’t stop all four women, precisely defined, convey themes that have that often-searched-for quality of timelessness in a play that is both compelling and moving.

Until 21 May 2016

www.stjamestheatre.co.uk

Photo courtesy Savannah Photographic

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“A Handful Of Stars” at the Trafalgar Studios

17 November 2014 Edward Lukes Leave a comment

Theatre 503’s well-received revival of Billy Roche’s A Handful Of Stars has transferred to the equally intimate Trafalgar Studios 2. This bleak coming-of-age story produces some excellent performances and has an impressive, understated quality.

Paul Robinson’s sensitive direction builds a quiet tension and reflects the play’s brooding desperation. Young friends Jimmy and Tony, played by Ciarán Owens and Brian Fenton, live in a small town with little to do except play pool and no aspirations other than joining a members-only snooker club. Tony comes to accept his future but Jimmy becomes wild and goes on the rampage.

Left Keith Duffy (Stapler) and right Michael O'Hagan (Paddy) in A Handful of Stars at Theatre503 Photographer Richard Davenport — Keith Duffy

The play is full of well-drawn and well-acted characters. Boyzone and Coronation Street star Keith Duffy understandably features in the promotion of the show. Duffy is good, confident and full of charisma, but his part, as a boxer at the end of his career, is one of the smallest. Joining him as foils for the youngsters are the elderly Paddy (Michael O’Hagan) and the miserly Conway (Colm Gormley). Pontificating and gossiping, both add a wary edge when dealing with Jimmy.

In a play very much about men, Maureen O’Connell holds her own as Linda, briefly Jimmy’s girlfriend, who further reveals his emotional inadequacy. Jimmy dwells on a haunting memory of brief affection between his parents that proves the key to all these young lives lack.
The relationship between Jimmy and Tony is skilfully depicted, their teenage banter mixed with a subtly suggested insecurity. Fenton’s gawky Tony is torn between fear of, and for, his friend. The show relies on the character of Jimmy, and Owens gives a sterling performance. A wild one in a familiar mould, through Roche’s skilful writing he is sure to connect with many who can remember a disappointed youth.

Until 25 July 2014

www.atgtickets.com

Photos by Richard Davenport

Written 2 July 2014 for The London Magazine

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“The Charming Man” at Theatre 503

3 November 2014 Edward Lukes Leave a comment

“The country’s buggered.” So declares David Verrey as political guru Marcus in Gabriel Bisset-Smith’s new play, The Charming Man. In a delicious performance, Verrey lectures on the problems of politics in 2015 in language so colourful that it goes beyond Tory blue, Labour red or Lib Dem gold – into green. Politics has reached such a nadir that the Greens are the only party that might possibly win power.

What the Greens still need is a leader with charisma. Enter youth worker Darren, played so endearingly by Syrus Lowe that it’s easy to imagine him as the political phenomenon he becomes. The public may want the honest, open character Lowe portrays so wonderfully, but is it really ready for a black, gay Prime Minister who used to wear gold hot pants and dance to The Smiths?

If the answer to that seems pretty obvious, you might wonder at the compromises Darren undertakes in order to try and change minds. Yet his well-trodden path to corruption is both funny and moving. His party colleagues, played terrifically by Sarah Berger and Kate Sissons, who lose ideals but get plenty of laughs, tutor him. Their clever performances suggest passion and melancholy in turn. Darren’s partner Luke is left by the way, of course, which seems a shame given the great comedy Sam Pamphilon brings to the scenes he is in.

Much of The Charming Man might seem like a ruder, current take on Yes, Minister with comedy more suited to our times, but a similar eye to conspiracy that doesn’t convince. The idea that those in power can manipulate to such a degree seems to inflate their abilities beyond credulity. Business backing for politicians occurs, of course, but surely never to the extent of Kenny Fox (Christopher Brandon), the arch villain who takes over the Green Party as a plaything.

But there is more to the night than this. Director Paul Robinson is also joint artistic head of the theatre itself and he can spot them; the venue’s reputation for ‘fearless’ new writing is sure to be enhanced by Bisset-Smith’s achievement.

Moving past standard political satire, The Charming Man reaches realms of fantasy that are inspiring. The sillier the play becomes, the funnier it is and the truer it rings. As Fox’s insults against the English increase in pace, Brandon injects a mania that is gleeful. The idea of a TV show called Liberal Democrats on Ice is genius in its absurdity. But could anyone ever really have imagined Tory stalwart Ann Widdecombe on Strictly Come Dancing? Maybe the future really does wear gold hot pants.

www.theatre503.com

Until 13 November 2010

Photo by Graham Turner

Written 25 October 2010 for The London Magazine