Catherine Bennett resumes the weekly look at the performing arts world, with the sad end of Jerusalem, the luck of a cabbie, and French revolt. Do you hear the people sing?
Adam Alcock reviews Nigel Kennedy playing Vivaldi's Four Seasons and his own Four Elements at York Opera House.
Catherine Bennett highlights the trends in the performing arts world today.
Jonathan Cridford reviews 'Ghosts', one of the Freshers' plays for this year.
Flaubert’s dictum ‘Le bon Dieu est dans le détail’ [God is in the detail], is most aptly applicable for consideration in relation to Sarah Gordon’s third play to be performed in York.
Made For Radio focuses on the relationship between Harry (Freddy Elletson) and Jane (Sarah Barker), a young couple who make a living by writing and performing radio jingles. When Jane finds herself pregnant, she begins to question their relationship, ultimately betraying Harry, and in the process becomes drawn towards their new friends Peter (Bengee Gibson) and Annabel (Francesca Isherwood). A charming concept, realised more or less effectively in Gordon’s writing, and acted superbly on all fronts.
It is hard not to make mental comparison to Gordon’s earlier works, but Made for Radio is, by contrast, significantly simpler in both design and concept than the likes of Bye Bye Love and Second Star To The Right – a fact that did not always present itself positively in this alarmingly short 40 minute piece. Being such a short work one feels that a lot remained undeveloped; the character of Annabel woefully so, but the narrative as a whole came across as rather flimsy.
The final blackout I met with nothing short of total surprise, leaving the room feeling a bizarre mixture of uplifted (by the actors’ undeniable talent) and unsatisfied (with the anaemic plot). In spite of the latter, the play was peppered with Gordon’s characteristic eloquence, wit and humour, which was as always an absolute delight to see. Nevertheless, a more interrogative approach on Gordon’s part to her writing may have been beneficial.
The humour of the play was refreshing, most wittily portrayed by Gibson and Elletson, both of whom displayed a knack for timing and delivery. As imbalanced as some of the characters were in terms of their contribution to the narrative and their development, the quartet came up trumps. Gibson was undoubtedly on form, delivering Peter’s role with sensitivity and marvellous attention to detail. In a similar manner, Elletson hit the nail on the head with his tender portrayal of Harry, especially touching in the opening few scenes with Barker, who provided an endearing and powerful account of her character. For me the most beautifully realised moment of the play, although there were many, was the scene between Gibson and Barker in the studio-cum-attic. This was also the moment where the technical side of matters came into its own, Barker beautifully lit from either side of the round by projectors.
Unfortunately, I found myself longing to see more of Isherwood, whose appearances as the neurotic Annabel were brief, but convincing. I would argue that, as one positive outcome of the play’s simplicity, the result of Gordon’s particular conceptions of her characters granted the actors a prime opportunity to focus their efforts into the detail, to maximise on their respective characters’ dramatic potential. On the whole, this was executed well, although one felt a slight lack in Barker’s performance.
Technically, the play was flawed. The Monkgate space sports an unfortunately under-equipped lighting rig, which left one wondering whether much thought had gone into the lighting scheme (though this may not be a fault in direction), and a substandard PA system, which delivered the highly amusing radio adverts with static and interference. The latter is a particular shame, albeit a minor point, as sound was utilised cunningly throughout to bolster the underlying themes of each scene, and to provide a coherent transitional backdrop to the scene changes. The content of the radio adverts, however, one felt could have been utilised more effectively and ironically.
As a penultimate note, the inclusion of quasi-physical theatre was an inspired directorial decision, but again could have taken a more prominent role rather than appear to taper off in quality and frequency as the play progressed.
I would thoroughly recommend a trip to Monkgate to see this charming piece. Rough diamond though it is, the combined efforts of those involved create an absorbing and engaging atmosphere for the audience. I invite you to come to your own conclusions.
Plus there are boobs.
You must log in to submit a comment.
