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Posts Tagged ‘Lloyd Owen’

A new play who’s protagonist is a working class woman is quite rare these days, so this is indeed welcome. It’s an American play, but it could just as easily be set in any British city, and its a timeless story, but it seems particularly relevant today. It’s also got one of the best ensembles you’re likely to see on any stage.

Margaret is a down-at-heel middle-aged single mum with an adult ‘retarded’ daughter who needs 24-hour care. She makes do by working in a dollar store and giving her neighbour part of her measly wages to sit with Joyce, but she’s forever late and her boss is forced into firing her. South Boston is an Irish Catholic run-down neighbourhood and jobs are hard to come by these days, but her friend Jean has bumped into Margaret’s ex Mike, now a successful doctor, and persuades her to see if he can provide work.

Her reconnection with Mike takes the play into a look at class as Margaret sees Mike as burying his past and deserting his people, becoming what South Bostonians call ‘lace curtains’, which Mike defiantly denies. Neighbour, carer and landlady Dottie is demanding rent and threatening eviction and there’s still no job, so Jean goads Margaret into a spurious claim on Mike and a whole load of skeletons come out of a whole load of cupboards. This second-half scene where Margaret visits Mike and his wife Kate at home is masterly – in writing, staging and acting.

There’s an authenticity to the story, no doubt because playwright David Lindsay-Abaire is himself South Bostonian lace curtains and his characters are well drawn and the situations plausible. There’s no padding – it unfolds in six scenes in five locations in less than two hours – and a lot of sharp humour. It works as both a personal story, a rare view of class in America and the consequences of our present economic situation on people we rarely hear from. Jonathan Kent’s staging is faultless.

Imelda Staunton has an extraordinary range and a capacity to inhabit just about any character totally believably and she shines here as Margaret. Every line is made to count and her timing is impeccable. When she got a huge laugh out of the way she said ‘you gave her a vase’ I was in awe of her talent. This is no star vehicle though, with Lorraine Ashbourne (who we see too little of on stage) terrific as Jean and the wonderful June Watson superb as straight-talking Dottie. Lloyd Owen comes into his own in the pivotal second half scene where Margaret challenges him, and Angel Coulby handles wife Kate’s switches from charming to brittle really well. Matthew Barker completes the cast in a nicely drawn performance as boss Stevie with divided loyalties and a liking of bingo.

This is a thoroughly entertaining, intelligent play performed to perfection. If it doesn’t transfer, I’ll eat my programme. Talking of programmes, Hampstead’s have become some of London’s best, full of interesting and relevant background; too good to eat!

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This play about Afghanistan during the 80’s started as one of the Tricycle’s Great Game playlets a couple of years ago; it has now become a very interesting and satisfying full length play.

It was the decade when the then USSR occupied this troubled land whilst the US, with British help, sought to undermine them by funding and arming Pakistani security forces and Afghan militias. It followed periods of western influence and was followed by the rise of the Taliban and subsequent US / British invasion and occupation. The geopolitical history is absolutely fascinating and playwright J T Rogers achievement is to make this so entertaining! It unfolds like a thriller and is packed with irony and humour, without ever debasing the seriousness of the events it presents. It also weaves in the stories of the home lives, and in particular the sons, of the three main players which adds an important personal dimension.

Designer Ultz use of sliding screens enables Howard Davies production to have real pace, moving quickly between the many short scenes without losing impetus. The central character of CIA agent James Warnock is excellently played by Lloyd Owen, who is onstage throughout, torn between his country’s pragmatism and his personal idealism. His British counterpart has been around longer and is therefore more realistic and cynical; also well played by Adam James. These performances are well matched by the other two key characters – Russian Dmitri (Matthew Marsh) and Afghan Abdullah (Demosthenes Chrysan) and there are fine supporting performances from Gerald Kyd as the representative of Pakistani security and Philip Arditti as Abdullah’s son (whose obsession with Western music and quoting of their lyrics is hysterical) and excellent cameos from Simon Kunz as James’ boss and Danny Ashok as the Pakistani military clerk.

I liked this play a lot; it explains so much about how we got to where we are in Afghanistan and the hopelessness of it all – but above all it’s a deeply satisfying evening modern drama.

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