What is there to do in Cardiff in July? No football, no rugby, Glamorgan are not worth watching, the castle is full of tourists and the shops full of schoolchildren. Well, thank gooodness for the Cardiff Comedy festival.
After a quietish start it is attracting bigger names, Ardal O'Hanlon. Richard Herring, Craig Campbell and others trying out their pre-Edinburgh material. However, it also gives you the chance to support some potential stars of the future with lesser known, more local acts. Enter Inky Quill productions.
This Cardiff based group was formed in 2009 with the intention of bringing comedy to a non-theatre-going audience. The success of last year's "Death & the Monster" allowed writer Rick Allden to produce a sequel "Humanzee" featuring the two main protagonists.
Again, the audience was warmed up nicely by Dan Mitchell, showing why he is currently fighting his way through ITV's " Show Me The Funny". Even if some of his material was used last year, it was still funny.
Soon we were back in the safe hands of eminent surgeon Tobias Flavian ( who Dr Who-like has re-generated into the body of Jon Holcroft) and his trusted side-kick Colin. Flavian's fall from grace resulted in their removal to the other side of the pond allowing the writer to transfer jokes at the expense of the Scots to our American cousins.
Macho feminist,vegan and animal lover Betsy convinces Flavian to pursue the American equivalent of the Loch Ness monster, Bigfoot. Along the journey they encounter the might of the American army and Flavian's long-lost brother Jebediah, as well as Bigfoot himself, when Dan Mitchell re-appears showing what a method actor he is by growing a hairy back for the part.
If this sounds a lot of plot don't be alarmed. As you would expect from a Rick Allden play there are laughs, big and small throughout the ninety-minute piece.
Whilst Jon Holcroft and Alan Humphries deftly create the best fictional double-act since (whisper it) Sherlock Holmes & Dr Watson, Laura Jeffs showed her versatility once more. In the previous play she perfectly played a mute fat woman and last month she beautifully played Juliet at the Gate Theatre with Bareknuckle Theatre.
But it was whenever George Goding and Chris Earnshaw entered that you could feel the audience relax as they knew big laughs were on the way. The former played the archetypal gun-toting Uncle Sam until he opened his mouth and produced a voice that made Allen Carr seem butch. Definitely a 'kiss first, ask questions later" kind of guy.
Last year Chris Earnshaw grabbed your attention with a huge beard and a broad Scottish accent. This year it was his eyebrows and evil laugh which dominated proceedings.
Not a huge amount of big set-pieces but I particularly enjoyed the unexpected brief musical moment, Flavian's regression into his childhood with Colin in a dress (& relishing it) & Jebediah in a bee costume.
It definitely stands alongside last year's play and it deservedly puts Inky Quills into the Cardiff Comedy festival spotlight. Plenty more to come from this group, catch them in small theatres while you can.
Wednesday, 27 July 2011
Sunday, 3 July 2011
On-Stage 2nd July 2011
This evening of two new one-act plays was based upon the intriguing and adventurous premise of both unconnected pieces being fuelled by an off-stage character.
First up was " Hello Mrs Silverstone". This simple idea of a persistently wrong number started off interesting and amusing but easily could have been dull and repetive.
We meet the Parker family at a typically busy breakfast table with mother and father frantically preparing themselves and their teenage daughter to get ready for their day ahead. The regular calls from the forgettable, lonely, sad woman desperately hoping to contact her son are seen as nothing more than an unnecessary interruption.
As the story unfolds we learn more about the unseen woman but more importantly it helps us to understand more about the characters of the Parkers as they all deal with her in their different ways. The arrival of John's brother Will changes the atmosphere as we discover that an old, sick woman seeking her son Johnny has emotional resonnances with both brothers.
The writer can only do so much and you need the actors to bring the characters to life. Here she is well-served by all the performers, in particular Chris Williams and James Sidwell as the brothers with Carly Kavanagh providing comic relief as a typically difficult teenager dealing with dual troubles of a first boyfriend and and auditioning for " Cordelia".
However, the triumph of the play is due to the writer Natralie Stone. The concept of using two seperate stories, the Parkers & the phone-call to create a 3rd story sound easy but is notoriously difficult to achieve. Truly, an exceptional piece.
A brief interlude to grab some much-needed fresh air as the theatre was heating up and we were back. The second piece " A Sunday Roast" was set at a dinner table where Welsh parents expectedly await the arrival of their son & his new girlfriend. As this unfolded I had a feeling of deja-vu until the penny dropped that I had seen this scene before as part of a Script Slam final Sherman a couple of years ago.
Again, we are in familiar territory of the routine of a weekly family get-together for food with all the tension, boredom and repetition that can entail. Fairly quickly though the cosiness of this gathering is shattered and we get to see what the outsider to the Perkins family, Adelaide, truly thinks and feels. This heralds the appearance of a 2nd Adelaide who reveals herself through a variety of monolgues to an unseen psychiatrist. Gradually we become aware that her one true love was the unseen Catrin from an idyllic holiday a million miles away from the stifling Welsh
life in which she was now trapped. However, with all the drama this story contains I found the additional story of the mother's descent into Dementia an unnecessary addition to the plot.
Again, the writer is aided by exemplary performances, in particular Maeve Scullion as the "real" Adelaide, Charlie Hammond her long-suffering husband and Christopher Cale who provided some much-needed humour. Special mention must also go to Emma McNab who as well as dealing with 2 large roles in both plays displayed a beautifully and unexpected sense of dance with impressive poise and balance at the end of what must have been a tiring evening.
This was my 1st visit to the YMCA theatre, a gem of a theatre, literally hidden away on the outskirts of Cardiff. Definitely worth a return visit. This was an evening where a lot of thought had been put into it by the organisers, especially the glorious touch of offering Ginger Snaps and Jelly, both of which became integral parts of the play.
We may have left hot & tired but with a lot to discuss as both plays were enjoyable and thought-provoking. Congratulations to all concerned. I eagerly await hearing more from " Empty Pocket" theatre.
First up was " Hello Mrs Silverstone". This simple idea of a persistently wrong number started off interesting and amusing but easily could have been dull and repetive.
We meet the Parker family at a typically busy breakfast table with mother and father frantically preparing themselves and their teenage daughter to get ready for their day ahead. The regular calls from the forgettable, lonely, sad woman desperately hoping to contact her son are seen as nothing more than an unnecessary interruption.
As the story unfolds we learn more about the unseen woman but more importantly it helps us to understand more about the characters of the Parkers as they all deal with her in their different ways. The arrival of John's brother Will changes the atmosphere as we discover that an old, sick woman seeking her son Johnny has emotional resonnances with both brothers.
The writer can only do so much and you need the actors to bring the characters to life. Here she is well-served by all the performers, in particular Chris Williams and James Sidwell as the brothers with Carly Kavanagh providing comic relief as a typically difficult teenager dealing with dual troubles of a first boyfriend and and auditioning for " Cordelia".
However, the triumph of the play is due to the writer Natralie Stone. The concept of using two seperate stories, the Parkers & the phone-call to create a 3rd story sound easy but is notoriously difficult to achieve. Truly, an exceptional piece.
A brief interlude to grab some much-needed fresh air as the theatre was heating up and we were back. The second piece " A Sunday Roast" was set at a dinner table where Welsh parents expectedly await the arrival of their son & his new girlfriend. As this unfolded I had a feeling of deja-vu until the penny dropped that I had seen this scene before as part of a Script Slam final Sherman a couple of years ago.
Again, we are in familiar territory of the routine of a weekly family get-together for food with all the tension, boredom and repetition that can entail. Fairly quickly though the cosiness of this gathering is shattered and we get to see what the outsider to the Perkins family, Adelaide, truly thinks and feels. This heralds the appearance of a 2nd Adelaide who reveals herself through a variety of monolgues to an unseen psychiatrist. Gradually we become aware that her one true love was the unseen Catrin from an idyllic holiday a million miles away from the stifling Welsh
life in which she was now trapped. However, with all the drama this story contains I found the additional story of the mother's descent into Dementia an unnecessary addition to the plot.
Again, the writer is aided by exemplary performances, in particular Maeve Scullion as the "real" Adelaide, Charlie Hammond her long-suffering husband and Christopher Cale who provided some much-needed humour. Special mention must also go to Emma McNab who as well as dealing with 2 large roles in both plays displayed a beautifully and unexpected sense of dance with impressive poise and balance at the end of what must have been a tiring evening.
This was my 1st visit to the YMCA theatre, a gem of a theatre, literally hidden away on the outskirts of Cardiff. Definitely worth a return visit. This was an evening where a lot of thought had been put into it by the organisers, especially the glorious touch of offering Ginger Snaps and Jelly, both of which became integral parts of the play.
We may have left hot & tired but with a lot to discuss as both plays were enjoyable and thought-provoking. Congratulations to all concerned. I eagerly await hearing more from " Empty Pocket" theatre.
Saturday, 2 July 2011
Romeo & Juliet - 1st July 2011
Having enjoyed Bareknuckle Theatre's previous productions " A Midsummer Night's Dream" and ( to a lesser extent) " Twelfth Night" I was anticipating their version of "Romeo & Juliet". I was concerned, however, that the problem of the Gate Theatre's stage and accoustics might spoil this most intimate of tragedies. I am pleased and relieved this was not the case.
Director Simon Riordan wisely employed vocal coach Clare Hovey to ensure that most of Shakespeare's beautifully poetic language was intelligible. (Sadly, though the noisy Air Conditioning units made certain passages indecipherable).
The director is passionate about trying to connect to a modern audience more used to watching "X Factor" type shows, producing no frill theatre eg no props, quick scene changes with a lot of dialogue delivered on the way to or from the stage. Similarly, unnecessary scenes and speeches are cut to ensure the action is continuous and more relevant to an audience with an apparently
short attention span.
The purist may object to certain choices, having an interval before Romeo kills Tybalt, an Irish dancing sequence and Juliet awaking for one last kiss with Romeo before he dies. But, that is the point of the company. If you want a more traditional version go to the Royal Shakespeare Company, but with Bareknuckle you never know what is coming next, good, bad or indifferent it is not dull.
Firstly and foremostly it is a tragedy which only works if you care about the characters. Fortunately, the two leads were well cast and believable together. What Tom Barker (Romeo) lacked in the more poetic, romantic first half he more than made up for with vigour and passion in the second half. You truly believed Juliet was the love of his more experienced life.
In contrast the innocent ( not quite) 14 year old Juliet is a notoriously hard role for any actress. For me Laura Jeffs was the triumph of the night beautifully capturing the joy of a girl's first love, rebelling against parental control and completely convincing as a deflowered virgin after her wedding night.
Special mentions must also go to Alan Humphreys as Mercutio ( proving again he is the clearest speaker, best-equipped to deal with the sound problems of the Gate), Laurence Patrick as the bullying Capulet and Matt Humphries under-stated as the under-written and unfortunate Paris.
It is good to see this company back on track and looking forward to tackling the little performed
blood-bath that is " Titus Andronicus" next Spring. I shall be there.
Director Simon Riordan wisely employed vocal coach Clare Hovey to ensure that most of Shakespeare's beautifully poetic language was intelligible. (Sadly, though the noisy Air Conditioning units made certain passages indecipherable).
The director is passionate about trying to connect to a modern audience more used to watching "X Factor" type shows, producing no frill theatre eg no props, quick scene changes with a lot of dialogue delivered on the way to or from the stage. Similarly, unnecessary scenes and speeches are cut to ensure the action is continuous and more relevant to an audience with an apparently
short attention span.
The purist may object to certain choices, having an interval before Romeo kills Tybalt, an Irish dancing sequence and Juliet awaking for one last kiss with Romeo before he dies. But, that is the point of the company. If you want a more traditional version go to the Royal Shakespeare Company, but with Bareknuckle you never know what is coming next, good, bad or indifferent it is not dull.
Firstly and foremostly it is a tragedy which only works if you care about the characters. Fortunately, the two leads were well cast and believable together. What Tom Barker (Romeo) lacked in the more poetic, romantic first half he more than made up for with vigour and passion in the second half. You truly believed Juliet was the love of his more experienced life.
In contrast the innocent ( not quite) 14 year old Juliet is a notoriously hard role for any actress. For me Laura Jeffs was the triumph of the night beautifully capturing the joy of a girl's first love, rebelling against parental control and completely convincing as a deflowered virgin after her wedding night.
Special mentions must also go to Alan Humphreys as Mercutio ( proving again he is the clearest speaker, best-equipped to deal with the sound problems of the Gate), Laurence Patrick as the bullying Capulet and Matt Humphries under-stated as the under-written and unfortunate Paris.
It is good to see this company back on track and looking forward to tackling the little performed
blood-bath that is " Titus Andronicus" next Spring. I shall be there.
Wednesday, 22 June 2011
The Man of Mode - June 21st 2011
Despite living in Cardiff this is my 3rd visit to the Bridewell Theatre, to be found just off Fleet Street. Lunchbox Theatre regularly produce little-known restoration plays between one and two o'clock week-day afternoons purely designed to entertain an office lunchtime clientele. I make no apologies for repeating my claim that this simple idea is nothing short of inspired and deservedly receives large and appreciative audiences.
Their current offering is the 300 year old " Man Of Mode" by George Etherege revived quite recently by the National Theatre with Tom Hardy in the lead role. Most restoration comedies are extremely complicated and naturally out-dated. This version took the simple yet brilliant step of up-dating the references and language where appropriate. This immediately involves a modern audience as well as providing a lot of humour with our current obsession with lap-tops, mobile phones, " giving skin" ( sadly by selecting a front row I was required to touch hands & then kiss them better) and modern patois etc.
The plot basically revolves around Dorimant, a notorious ( and not very secretive) womaniser, his attempts to seduce as many women as possible and the exploits of Bellair betrothed by his father when he naturally loves another woman. There are no surprises that that by the end everything is ( speedily) resolved and all are conveniently happy with their lot.
But you don't want doom and gloom over lunch, you want to be entertained and this company fully succeeds in that respect. Gavin Harrison is suitably swaggering and self-confident in the main role with all the supporting roles doing well in their parts. Easily the showiest part is the title character, Sir Fopling Flutter as an over-excited Michael McIntyre with an American accent, which frankly has to be seen to be believed.
Cramming a full-length play into less than an hour allows director Jo Kennedy to use her initiative with asides delivered to the audience, whilst actors on stage are frozen in hysterical poses and using the moments when people are finding their seats to allow the actors to show their characters silently.
Sadly, the play ends on Friday but if you fancy a fun lunch-hour head to the Bridewell Theatre, you won't be disappointed.
Their current offering is the 300 year old " Man Of Mode" by George Etherege revived quite recently by the National Theatre with Tom Hardy in the lead role. Most restoration comedies are extremely complicated and naturally out-dated. This version took the simple yet brilliant step of up-dating the references and language where appropriate. This immediately involves a modern audience as well as providing a lot of humour with our current obsession with lap-tops, mobile phones, " giving skin" ( sadly by selecting a front row I was required to touch hands & then kiss them better) and modern patois etc.
The plot basically revolves around Dorimant, a notorious ( and not very secretive) womaniser, his attempts to seduce as many women as possible and the exploits of Bellair betrothed by his father when he naturally loves another woman. There are no surprises that that by the end everything is ( speedily) resolved and all are conveniently happy with their lot.
But you don't want doom and gloom over lunch, you want to be entertained and this company fully succeeds in that respect. Gavin Harrison is suitably swaggering and self-confident in the main role with all the supporting roles doing well in their parts. Easily the showiest part is the title character, Sir Fopling Flutter as an over-excited Michael McIntyre with an American accent, which frankly has to be seen to be believed.
Cramming a full-length play into less than an hour allows director Jo Kennedy to use her initiative with asides delivered to the audience, whilst actors on stage are frozen in hysterical poses and using the moments when people are finding their seats to allow the actors to show their characters silently.
Sadly, the play ends on Friday but if you fancy a fun lunch-hour head to the Bridewell Theatre, you won't be disappointed.
Sunday, 5 June 2011
Old Hands - 2nd June 2011
As one of Europe's fastest growing cities Cardiff attracts visitors for its history and beauty as well as its major sporting and concert stadiums. Sadly, home-grown theatre companies are not generally recognised by the locals, let alone tourists.
This is a shame as groups like Hijinx Theatre deserve a wider following, especially as the Arts council will no longer support their community tour. A lot of companies are suffering similar cutbacks but what seperates Hijinx from other companies is their inclusion of actors with learning disabilities.
This summer's production " Old Hands" revolves around the failing Skidbury-on- Sea little theatre. Set in 1935 they are struggling to keep afloat against more popular rival venues and manager Gus Delamere hires former star Miss Florrie Labelle. The drama of the piece comes from the revelation that she has smuggled in her brother who he describes as " a mong", an acceptable term in that era.
I thoroughly enjoyed their safe Christmas show " Silent Night" but the decision to face this still sensitive issue head on was both brave and impressive. It was also enlightening to see how this issue was dealt with historically. If we feel that anyone "different" is treated harshly nowadays this opened out eyes to how far society has travelled in the right direction since then. As the villain of the piece Gus pointed out "Baby" should have been locked away in Bedlam especially as
his discovery would have destroyed Florrie's career.
This is an unexpected plot but as usual it needs good actors to make it interesting and believable. Here, the company was well served bu all members of the cast. Adam Timms
beautifully encapsulated the sleazy aspect of some 1930's comic turns, Gareth Wyn Griffiths showed combined acting and musical talents to perfectly portray the sympathetic accompanist, but for me the star of the night was Eloise Williams. Not only did she brilliantly capture a woman lovingly trying to protect her brother from a cruel world but she delivered her songs and comic material in the true style of a top class 1930's act, an impressive feat.
Credit must also go to Andrew Tadd and Gareth Clark who both played their parts well and showed excellent chemistry together. They also provided the comic highspot of the evening by reacting brilliantly to the unexpected sight of the set collapsing around them at the end of the play.
Again, Hijinx have produced a bold and highly enjoyable piece which deserves a wider audience.
This is a shame as groups like Hijinx Theatre deserve a wider following, especially as the Arts council will no longer support their community tour. A lot of companies are suffering similar cutbacks but what seperates Hijinx from other companies is their inclusion of actors with learning disabilities.
This summer's production " Old Hands" revolves around the failing Skidbury-on- Sea little theatre. Set in 1935 they are struggling to keep afloat against more popular rival venues and manager Gus Delamere hires former star Miss Florrie Labelle. The drama of the piece comes from the revelation that she has smuggled in her brother who he describes as " a mong", an acceptable term in that era.
I thoroughly enjoyed their safe Christmas show " Silent Night" but the decision to face this still sensitive issue head on was both brave and impressive. It was also enlightening to see how this issue was dealt with historically. If we feel that anyone "different" is treated harshly nowadays this opened out eyes to how far society has travelled in the right direction since then. As the villain of the piece Gus pointed out "Baby" should have been locked away in Bedlam especially as
his discovery would have destroyed Florrie's career.
This is an unexpected plot but as usual it needs good actors to make it interesting and believable. Here, the company was well served bu all members of the cast. Adam Timms
beautifully encapsulated the sleazy aspect of some 1930's comic turns, Gareth Wyn Griffiths showed combined acting and musical talents to perfectly portray the sympathetic accompanist, but for me the star of the night was Eloise Williams. Not only did she brilliantly capture a woman lovingly trying to protect her brother from a cruel world but she delivered her songs and comic material in the true style of a top class 1930's act, an impressive feat.
Credit must also go to Andrew Tadd and Gareth Clark who both played their parts well and showed excellent chemistry together. They also provided the comic highspot of the evening by reacting brilliantly to the unexpected sight of the set collapsing around them at the end of the play.
Again, Hijinx have produced a bold and highly enjoyable piece which deserves a wider audience.
Thursday, 3 March 2011
Queen: Stormtroops In Stillettos - 26th February 2011
How old do you have to live before your life becomes historical? This was a question that kept recurring to me as I wandered around this impressive free exhibition celebrating the 40th anniversary of Queen.
Uncovering some fascinating memorablia from Brian May and Roger Taylor's involvement with Smile, an incredible poster when Freddie Mercury invited people to the market stall etc all takes you back to when it all started.
I was at school in Kingston in 1970 so a poster showing Queen supporting Yes at Kingston Poly in 1971 ( with tickets on sale in pre-decimal money) brought memories of my youth flooding back.
Naturally at the age of 12 my tender ears had yet to be attuned to the joys of Prog Rock so I did not get to see Queen live for another 9 years.
Fans of the band will be aware of their history so there are no great surprises but it is still fascinating to see all the old singles, costumes. early photographs, fan magazines etc.
Considering that they seem more popular now then ever it is not surprising it was very well attended ( especially with foreign visitors). Huge credit must therefore go to the organisers for resisting the temptation to make a charge and try and make a profit.
I have just one small criticism. For an exhibition based upon the albums of Queen it was disappointing that the background musis was not the albums in their entirety but the obvious Greatest Hits Cds. However, if you have any interest in seeing how a band prepare for a long career rather than the current trend of immediate pop stardom this is worthy of a trip to Liverpool Street. Recommended.
Uncovering some fascinating memorablia from Brian May and Roger Taylor's involvement with Smile, an incredible poster when Freddie Mercury invited people to the market stall etc all takes you back to when it all started.
I was at school in Kingston in 1970 so a poster showing Queen supporting Yes at Kingston Poly in 1971 ( with tickets on sale in pre-decimal money) brought memories of my youth flooding back.
Naturally at the age of 12 my tender ears had yet to be attuned to the joys of Prog Rock so I did not get to see Queen live for another 9 years.
Fans of the band will be aware of their history so there are no great surprises but it is still fascinating to see all the old singles, costumes. early photographs, fan magazines etc.
Considering that they seem more popular now then ever it is not surprising it was very well attended ( especially with foreign visitors). Huge credit must therefore go to the organisers for resisting the temptation to make a charge and try and make a profit.
I have just one small criticism. For an exhibition based upon the albums of Queen it was disappointing that the background musis was not the albums in their entirety but the obvious Greatest Hits Cds. However, if you have any interest in seeing how a band prepare for a long career rather than the current trend of immediate pop stardom this is worthy of a trip to Liverpool Street. Recommended.
Tuesday, 1 March 2011
The Chidren's Hour - 26th February 2011
One of the disadvantages of growing old is that most revived plays have been produced within my theatre-going life-time. I do not remember the original 1934 version but I can vividly recall the stunning Howard Davies production at the National Theatre in 1995. Despite then featuring 3 female luminaries in Harriet Walter, Clare Higgins and Emily Watson the current incarnation at the Comedy Theatre is even more star-studded.
While most people flocked to see Keira Knightley I was keener to see the Hollywood legend Ellen Burstyn as the matriarchal Amelia Tilford. This classic Lillian Hellman play involves 2 young female teachers struggling to make their dream of running their own school a reality.
Unfortunately, a malicious rumour from a spiteful spoilt child brings their world crashing around them as her grand-mother takes the side of her offspring and allows the lie to be circulated. In small-minded America society in the 1930's a lesbian affair was not to be tolerated in polite society.
The only problem I had with this play was the staging of the denouement. When the " reveal" comes it should be a thunderbolt ( as in the version I had seen before) but here director Ian Rickson and Elizabeth Moss sign-posted it right from the start. This is Miss Knightley's big moment but she was angled away from the audience so we couldn't see the full impact of this news on her face.
Despite these reservations this is still an excellent evening's entertainment and certainly better than some reviews would have you believe. The acting is of a very high standard with film and television performers showing impressive diction and clarity with the English members of the cast providing impeccable American accents. Apart from the opening children's scene you could hear every word.
For me star of the evening was Keira Knightley as Karen Wright, who I found totally convincing ( and mesmerising), bringing a depth of emotion I had found lacking in her screen performances.
Elizabeth Moss was in rampant form in the seciond act with fine support from Miss Burstyn, the sublime Carol Kane and Tobias Menzies.
The most tender and heart-breaking scene was when Karen's fiancee tried desperately to move this strange threesome to a new town but despite his best efforts couldn't prevent destroying the relationship by asking the unaskable question.
The best role of the piece is undoubtedly the instigator of the lie, Mary Tilford. Bryony Hannah relishes every moment of this manipulative character but I think it is to the credit of the other actors that she didn't steal the stage which would have unbalanced the play.
Highly recommended.
While most people flocked to see Keira Knightley I was keener to see the Hollywood legend Ellen Burstyn as the matriarchal Amelia Tilford. This classic Lillian Hellman play involves 2 young female teachers struggling to make their dream of running their own school a reality.
Unfortunately, a malicious rumour from a spiteful spoilt child brings their world crashing around them as her grand-mother takes the side of her offspring and allows the lie to be circulated. In small-minded America society in the 1930's a lesbian affair was not to be tolerated in polite society.
The only problem I had with this play was the staging of the denouement. When the " reveal" comes it should be a thunderbolt ( as in the version I had seen before) but here director Ian Rickson and Elizabeth Moss sign-posted it right from the start. This is Miss Knightley's big moment but she was angled away from the audience so we couldn't see the full impact of this news on her face.
Despite these reservations this is still an excellent evening's entertainment and certainly better than some reviews would have you believe. The acting is of a very high standard with film and television performers showing impressive diction and clarity with the English members of the cast providing impeccable American accents. Apart from the opening children's scene you could hear every word.
For me star of the evening was Keira Knightley as Karen Wright, who I found totally convincing ( and mesmerising), bringing a depth of emotion I had found lacking in her screen performances.
Elizabeth Moss was in rampant form in the seciond act with fine support from Miss Burstyn, the sublime Carol Kane and Tobias Menzies.
The most tender and heart-breaking scene was when Karen's fiancee tried desperately to move this strange threesome to a new town but despite his best efforts couldn't prevent destroying the relationship by asking the unaskable question.
The best role of the piece is undoubtedly the instigator of the lie, Mary Tilford. Bryony Hannah relishes every moment of this manipulative character but I think it is to the credit of the other actors that she didn't steal the stage which would have unbalanced the play.
Highly recommended.
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