Tag Archives: Suranne Jones

“Beautiful Thing” at the Arts Theatre

Jonathan Harvey’s iconic gay coming-of-age story, Beautiful Thing, celebrates its 20th anniversary with a new production at the Arts Theatre in Covent Garden. Despite some nostalgic nods, the play is as fresh as ever: a skilfully written comedy drama with fantastic roles and an admirably un-patronising focus on working-class life. Beautiful Thing touches on universal themes with a winning bravery.

The huge success of the play, and the subsequent 1996 film, create a special atmosphere with seemingly every audience member knowing every line. The jokes – of which there are plenty – are anticipated gleefully and the roars of laughter almost interrupt the action. Director Nikolai Foster gives the crowd what they want and his staging is a respectful affair. But it’s impressive to note his firm hand, with moments of quiet imposed as the relationship between the two young boys, Ste and Jamie, neighbours on a council estate in Thamesmead, blossoms into romance.

Beautiful Thing - Jake Davies & Suranne Jones - cMike Lidbetter for QNQ Ltd
Suranne Jones and Jake Davies

The superb Suranne Jones as Jamie’s mother shows the piece is as much about parental relationships as anything else. Playing the hard-nosed Sandra with skill, duelling with her neighbour Leah and dealing with her lover Tony (Zaraah Abrahams and Oliver Farnworth – both in fine form), Jones gives a tremendous emotional edge to the role. Through strong performances from Jake Davies and Danny-Boy Hatchard, Jamie and Ste’s shared fears about emotions and the future are presented as those of boys rather than men – an important point central to the play. Harvey’s writing and the skill of the young actors enhance the empathy and humour and ensure sure the play lives up to its title.

Until 25 May 2013

Photos by Mike Lidbetter

Written 18 April 2013 for The London Magazine

“Top Girls” at the Trafalgar Studios

What an opening: given its first act, it’s no wonder Caryl Churchill’s Top Girls has such a great reputation. A riotous dinner party unites women from myth, history and fiction in an Absurdist tableau to discuss their lives, loves and deaths. The stuff of doctoral thesis is seldom this funny – witness the Victorian explorer’s racist faux pas towards the medieval Japanese noblewoman – but what makes the scene so riveting is Churchill’s ability to bring the pain these women experienced so close to the surface.

How this connects to the rest of Top Girls is another chapter in that thesis. The play becomes the story of the party’s host Marlene. An 80s career women with a recruitment agency, the role is performed superbly by Suranne Jones. Wonderfully attired and every inch the thrusting executive, Joseph Epstein could have had her in mind when he coined the phrase ‘yuppie’.

Marlene’s is a cruel world. One of her clients, in a stand-out performance from Lucy Briers (who has a great night, also playing Pope Joan), is a bitter middle manager of 47, who’s told that her age is a “disabling handicap”. And Marlene’s back story, escaping to the city, has enough drama when she returns to Ipswich to match The Homecoming.

Max Stafford-Clark’s assured direction does a lot of favours to Churchill’s text. He has the experience, having directed the premiere in 1982 at the Royal Court, and this new production arrives from Chichester with rave reviews.

Marlene’s casual rejection of her daughter Angie, played cogently by Olivia Poulet, is devastating – she’s no “top girl”. The family confrontation that centres on Angie’s future is electric, with a passionate performance from Stella Gonet, the character who gets to ask what will happen if the young girl just can’t “make it”.

Top Girls is political to its core. Marlene’s pin-up girl is Mrs Thatcher – she’d give her the job – and Churchill’s particular politics of fear, debatably, makes the play feel dated. But the strength of this revival is to show the nuances within this landmark play. The complexity of the characters indicates that there are still questions to ask – Churchill’s provocative presentation demands they are answered.

Until 29 October 2011

Photo by John Haynes

Written 17 August 2011 for The London Magazine