Elysium Theatre Company have once again shown what high calibre work they can produce. Great story telling from South African playwright Athol Fugard with sound direction from Jake Murray and powerful performances from both male leads ensure that this is a great piece of theatre . A journey through trauma to possible redemption, Playland explores what happens to the human psyche when men with a strong moral code find themselves doing unspeakable things and then have to find a way to live with the consequences.
Set in Playland, a travelling fairground, the action takes place on New Year’s Eve 1989 when war veteran Gideon La Roux meets the fairground watchman Martinus Zulu. Behind the gaudy splendour of the lights and wurlitzer music is the deeply reflective Martinus alone in his monastic space. This bleak setting eventually serves as a kind of confessional for both men. The absolute power of this performance is not just that it is about the unravelling of a man with PTSD, but that it is a man who fought in a war of Apartheid where soldiers were forced to take a vow of silence and where truth was white washed or blacked out. Somehow Gideon is pulled towards another man who is guarding his own secret pain and who has also broken the sixth commandment.
This is a perfectly balanced double act from two actors who were both also excellent in a previous Elysium production Jesus Hopped the A Train. Danny Solomon is veteran Gideon, a man whose initial bonhomie hides deep psychological wounds that slowly start to surface as the clock ticks down to a new year. Solomon is all nervous energy and keen, darting eyes while he attempts to engage the recalcitrant security guard. He is engaging and charming as he tells stories of his pigeons and his childhood but effortlessly shifts into menace and madness as he attempts to gaslight his reluctant companion into violence. He increasingly reminds me of early Jack Nicholson in the ways he can play with energy, tempo and mood.
Faz Singhateh counters Solomon with a wonderfully controlled and restrained performance. Stiff with righteous indignation, every sinew is coiled as his Martinus watches and waits like a wary, wounded animal. The growing tension between both men slowly builds, becoming palpable as their stories are told and they find common ground in their actions but struggle with their opposing perceptions of redemption and forgiveness.
The writing is evocative and brutal in its description of the horrors of the Border War, but is also tender as it reveals the youthful innocence of childhood. Simple but effective staging with rich lighting and a fabulous fairground soundscape add additional pleasure to this production. Everything is thoughtfully and sensitively done, ensuring that 30 years on this tale of redemption and forgiveness still feels timely and relevant.
August Strindberg wrote this naturalistic masterpiece in 1888, back then it was considered so shocking to Swedish audiences that it could only be performed privately. Raw and incisive Miss Julie cuts through gender and class politics in a manner that was astounding for its’ time. It retains much of its shock value even now as class divisions and gender stereotypes continue to resonate. Servant Christine despairingly remarks how can you respect “your employers when they’re no better than us – what’s the point of trying to improve ourselves?” A bitterly poignant moment as we are on the verge of electing an utterly graceless buffoon as our next Prime minister.
Director Jake Murray allows a strong cast to embrace this vibrant play and sink their teeth into all the mess of emotions and aspirations without losing the complexity and nuance of each individual on stage. Overplayed or in the hands of a less deft director, Miss Julie is a play that could descend into histrionics but here each character is allowed to develop as intended.
Alice Frankham as Miss Julie exudes a persona of cool, imperious beauty and privilege but gives free reign to her character’s wild impetuous nature. Her mercurial nature is never overplayed into histrionics ensuring that even a modern audience can understand her desperation and vulnerability as she tries to be true to her nature despite the constraints of her class and gender.
Danny Solomon as valet John is mesmerising as he flits between suave professional upstairs servant, downtrodden but aspirational farm lad, hopeful lover and brutish misogynist. He creates a raw horror as he cowers from the power of the servants’ bell before coolly handing Miss Julie his cutthroat razor as her only way out of disgrace.
Lois Mackie as Christine is the steadying force in this drama bringing a wonderfully dry wit to all her reflections. Her weary cook is a pragmatic and calm foil to the emotional turbulence unfolding around her. The frantic aspirations of escape from the constraints of class and gender are calmly brushed aside by a woman who accepts her role in life and seeks comfort in respect and in her faith.
This is a thoughtfully staged production with a really keen eye to period detail. The ensemble support from students at ALRA North and Arden School of Theatre adds a lovely touch as they mingle and greet the audience as though we too are part of the Midsummer celebration. The set by Louis Price creates a really authentic Edwardian feel and makes the appearance of the glamorous Miss Julie even more incongruous as she wafts around the servants kitchen. This is another success story for Elysium Theatre Company who are steadily building a great reputation for creating strong productions such as last years Jesus Hopped The A Train. Miss Julie is a satisfying watch ending with a wonderful poignancy about the constraints we live by as the lights dim on the gilded birdcage on the table.
The U.K. has the fourth highest level of antidepressant prescribing in the Western world with prescription levels tripling since the millennium. Yet a study published in The Lancet earlier this year on the efficacy of these drugs suggests at least a million more Britons should be taking antidepressants. With mental healthcare becoming an increasingly important topic of discussion, Fire Productions brings the award winning The Effect to the North West. This Lucy Prebble play is about a clinical study on the effects of an unlicensed antidepressant on non-depressed, paid volunteers. The play explores whether Love really is the drug or if artificially elevated dopamine levels are indeed Viagra for the heart.
Striking stage design by Louis Price creates a sleek and effective set that coupled with lighting by Adam Murdoch ensure that the production looks as good as the onstage performances. Scenes flow smoothly and concisely in this highly structured amd cerebral piece. The order and precision of the early scenes at the research facility are a smart foil to the messiness that unfolds as heightened emotions takeover.
The direction by Jake Murray ensures empathy, passion and tenderness are infused into every scene whether it is dopamine infused euphoria or dopamine deprived despair. In this double blind study the lovers, young and old are under the spotlight as the audience observe the empirical and the more qualitative research approaches. Is this elevated mood and loss of appetite due to the dopamine in the drug or is it due to the exhilaration of falling in love? Does a relationship breakdown trigger a reactive depression or does a chemical imbalance in the brain cause depression and if left untreated can it cause the breakdown of a relationship?
The young couple are utterly believable in their growing attraction and resultant confusion as they grapple with what is placebo and what is real in their relationship. As Connie, Elaine McNicol is all process driven, reflective and cautious as the curious, young psychology student whose emotional world starts to rapidly expand. Daniel Bradford really shines as Tristan. His Northern Irish accent totally fooled me and I’m from N.I! He brings a genuine lust for life to his character that is always engaging and when the drama unfolds he is truly mecurial in this role. He absolutely lives in the moment so when his character becomes trapped in the moment, it is painfully poignant to see all that joy and passion snuffed out; just as it can be in episodes of serious depression.
The two doctors are middle aged and differ in their approach to the subject matter. Toby is the trial director who favours the science and sees medication as an effective means of regulating brain chemistry whereas Lorna sees things from a deeply personal perspective and wonders if depression can be a useful pain informing us that we need to change our lives. Both perspectives have validity as without enough dopamine in the brain we struggle to have the motivation to effect change which in itself can cause depression.
Karren Winchester is wonderful as Lorna showing dry humour and resilience, she is always intensely believable as the deeply, emotionally invested psychiatrist. In the second act she excels as depression sets in and in her scene talking to the human brain she is chillingly reflective. Her portrayal of the toxicity and dissociation in depression is startlingly accurate. This is wonderful writing for any actor but Winchester really uses every word to self-flagellate. It is not surprising that many individuals suffering depression do not seek help as the voice in their own head can be so punitive that they simply don’t see themselves as worthy of assistance.
The mysteries of the human heart and mind are enduringly complex and as interwoven as the formation of the brain itself. The Effect raises more questions than it answers but this is a conversation that will always fascinate and divide in equal measure.
This is the Northern première of Jesus Hopped The A Train,first performed in New York in 2000, and then at the Donmar Warehouse in London in 2002. Durham based Elysium Theatre Company have produced a startling and provocative take on this powerful play about moral responsibility and the American penal system. The themes of redemption and damnation are at the forefront of this play and Director Jake Murray ensures his terrific cast embody the complexities of finding goodness even in the most seemingly “monstrous” individuals.
The setting is Rikers Island Prison in New York. Two apparently very different men are imprisoned there and come to know each other during their shared one hour of fresh air each day. Angel is young and naive, new to the prison system he is not a hardened recidivist and seems initially bewildered by all the fuss. All I did was shoot him in the ass! –it is his bad luck that Rev Kim later dies on the operating table. Lucius is awaiting the outcome of his appeal against extradition to Florida for the death penalty having murdered 8 people.
The two actors playing Angel and Lucius do a tremendous job and are perfect foils for each other. Danny Solomon is all lanky, fluid limbs and is perfectly cast as the naive, coltish youth who is initially credulous that he is actually in trouble at all. Solomon moves from his desperate fumbling prayers and cockiness toward his state-appointed lawyer to a fragile, shell-shocked rape victim and then to a coming of age as he is tutored to navigate the legal system and reflect with Lucius about the nature of freedom and redemption.
Faz Singhateh has all the on stage charisma of a cult leader such as the ill fated Rev Kim. His Lucius is larger than life and glows like the sun he has grown to love. Apparently at ease with accepting his crimes and confident of his redemption through Jesus, he is desperate to avoid the death penalty having finally found his own inner peace. Ironically he seems more free in his hour outside each day than his mean spirited guard Valdez is ever likely to be.
The other characters provide all the shades of dark and light that enhance the message of what is good or bad, right or wrong, and how do we accept or assign blame. Lucius is a mass murderer but he is kind and perceptive and has genuine empathy. He is also a victim of early abuse and has a mental health diagnosis. Does he deserve to die for his crimes or be supported in his redemption? The young lawyer wants to do good for Angel through guilt that her skills can get hardened recidivists out of jail, yet ultimately her pride and arrogance will add years to his sentence. Valdez is casually sadistic yet operates within the law. Charlie D’Amico is apparently too soft to succeed as a guard yet surely his humanity is also a positive in a prison environment.
The set design is strikingly effective in its simplicity. Louis Price has created the starkness of a high security jail while also creating a sense of personal freedom when the men are outdoors even in their cages. The slash of barbed wire fencing through the cheery brightness of the star spangled banner is a potent image.
Jesus Hopped The A Train is an excellent piece of theatre that provokes debate on many topics. It highlights the complexities of human nature and the unfairness of the lottery system in the American penal system. It also beautifully highlights how precious are the small elements of personal freedom whether we are praying on our knees, feeling the sun on our skin or watching a bird fly past. The human spirit is bigger than any concrete cell could ever try to hold or suppress. We are all capable of finding our own redemption if we look within.