Gallowglass @ Darlington Hippodrome

Gallowglass at Darlington Hippodrome

A tense and claustrophobic thriller which explores the dangers of unrequited love when left to fester for years, Gallowglass, by Ruth Rendell, takes the audience into the mind of a deranged lover who has spent years plotting how to be reunited with his supposed betrothed. 

A chance meeting in exceptional circumstances on a railway platform between recently released mental patient Joe (Dean Smith) and erudite (but somewhat psychotic) Sandor (Joe Eyre) leads to an unlikely relationship.  Eyre plays Sandor as a controlling, highly functioning sociopath whose knife-edge personality disorders make for very uncomfortable viewing, never letting the audience relax into believing they know him.  Smith’s Joe grows in confidence, never more so than when he recognises that he is Sandor’s ‘Gallowglass’ – a Chiefs Servant – and is happy to have a definition.

Between them, they explore Sandor’s past life in Italy, his appreciation of fine wine and his recounting of tales of kidnap and mystery, yet all the while there is an under-current that he has been planning something for many years and just needed a stooge to trigger him into action.  Very quickly, he convinces Joe to undertake surveillance on a rich couple’s luxury home, with the initial suggestion that they are going to burgle the property.  In truth, Sandor has designs to recreate a kidnap/ransom that he had ‘heard’ about whilst living in Italy.

The rich couple, Ralph (London’s Burning’s Richard Walsh)  and Nina (the stunningly beautiful Florence Cady), are very security conscious, driven by the fact that they live in a remote country house but in truth there is something else giving them cause to be overly cautious.  They employ Paul Garnett (Emmerdale’s Steve Marchant, Paul Opacic) to be their driver, support and additional help, mainly to look after the young and attractive Nina.  Paul, and his daughter Jess move into the converted barn and begin to settle into village life, but when trips to the coast and confiding conversations become the norm, he and Nina find themselves being drawn towards one another.  It is this compromise that creates a dilemma for Paul and ultimately a decision for Nina.

It is now that all paths seem to cross – Sandor recreates his past, Paul finds his future being put in doubt and Joe is left being swept along with twisted loyalties.  The ending, though not entirely surprising, was still enough of a twist to leave some in the audience thinking “ah, now I see”.

This is most certainly a tale of two halves – the first act is very deliberate, slow at times in creating the foundation for the characters, almost like being dealt a hand of cards, then having them taken back and the same ones dealt again. (The cast did very well not to be upstaged by a rogue pigeon who had taken to perching up in the flies)  The second plots a pretty predictable path through to the crescendo which, although quicker in pace, just doesn’t quite have the urgency needed to grab the audience and whisk them to the final ‘reveal’.  

There are some plot holes and inconsistencies, especially around Paul’s previous job(s) and his ‘reactions’ which, given the amount of time on stage, could have been easily filled, or it could be better suited to being an hour long single act play with more even pacing throughout, but on the whole this is a well performed thriller.

The Business of Murder @ Darlington Civic

You’re not trying to work out whodunit, more why’d he do it ?

Richard Harris, well known and much published writer, has penned a pseudo nostalgic look back at the 70’s whodunit in this tense and twisting 3 header threaded by a Dostoevsky theme and asking one of the most basic questions, what would you do for revenge?.

Set in a flat in London, the play is very much in 2 halves; 1^st part centres on Paul Opacic as Hallett, the sweeny-esque ‘sarf Londarn’ copper, a stereotypical Detective Sergeant portraying confidence bordering on the arrogance hewn from total belief that he is the law. Playing against him is Robert Gwilym as Stone, at first glance a bumbling, socially uncomfortable loner whose main intent seems to be the salvation of his ne’er seen wayward son, but who in reality could be just one wrong glance away from psychopathic fury.

Stone has contacted Hallett to help him in a bid to break his son away from the seedy side of life, yet, right from the start, there is a nagging doubt that things aren’t all that they seem.  Despite appearing slow and dodderish, Stone occasionally has moments of total lucidity, almost prophetic in clarity and dangerously accurate in predicting how Hallett will react and through it all there sits an undercurrent of dislike towards the policeman bordering on despisement.

The second act introduces Dee played by Joanna Higson; Dee is a now famous playwright but was once a young journalist who used her real life reporting experience to fashion the plot lines and characters for her plays. Initially drawn to the flat by Stone’s attempt to get her to review his wife’s manuscript, we are quickly left in no doubt that there is far more to Stone’s motives.

The tension mounts as past interactions are revealed; Hallett was a young and determined DC who made his own judgements and then manufactured investigations to support them, Dee was not above twisting the truth if it gave a more dramatic end to her plays.  The depth of Stone’s planning and manipulations then come to the fore and whilst for many the ending was as expected, there is no one who could honestly say the route taken to get there was signposted.

As a new play from the Middle Ground Theatre Company, this suffers from being over-wordy and would benefit from trimming; the pace fluctuates too much and there is a noticeable lull in the middle of both acts which tests the audience’s concentration.  It is the brilliant acting of Opacic, Higson and the dangerously good Gwilym that rescues the plot and keeps minds from wandering but with a few nips & tucks this could be a great ‘modern’ murder mystery in keeping with the greats of the genre.  Perhaps writer and director need to revisit the adage “less is more”.

Importance of Being Earnest 2013 @ Darlington Civic

A wonderfully witty and erudite play from the master of clever words

Set over 3 acts, The Importance of Being Earnest avoids delving into serious social and political issues and instead focuses on the light hearted shenanigans of two London based gents who enjoy living double lives, free to create alter-personas through which they can enact their fantasies safe in the knowledge that they can, at any time, 'kill off' their doppelgangers and revert back to their true characters.  The story however has twists aplenty, coupled with the juxtaposition of both leads wanting to assume an 'Earnest' character to capture the affections of their betrothed but realising that neither is very earnest at all.

We are introduced to John Worthing, who takes the name Earnest for his alter-ego, and learn that he is an abandoned orphan, left in a hand bag in Victoria station.  It is perhaps because of this that he enjoys the anonymity derived from having a London city character and a Hertfordshire country role and 'ne'er the twain shall meet' - that is until he becomes besotted by Gwenoldine and has to wrestle with her affections for 'Earnest' and his desire to tell her the truth.

Enter Algernon, John's best friend, who too enjoys a certain degree of freedom with his personalities.  He learns that John has a pretty ward, Cecily, ensconced in his country house and decides that he must go visit her.  Cecily believes that John is her Uncle Jack and that 'Earnest' is indeed Jacks brother - this is the rouse which John uses to effect his weekend trips to London however for Algernon to pull off his deception he too must become Earnest - confused ?  don't be, all is quite simple as it unfolds.

The play itself leans close to farce at times but always manages, through very clever words and cutting observations, to wrest away from total slapstick and retain the parlance of typical Wildean satire.

As always, The Middle Ground Theatre Company provide stunning set design and a brilliant cast.  While Corrine Wicks and Tom Butcher take lead billing, the whole ensemble deliver masterful portrayals of their characters, firmly held in their social pigeon holes but quite recognisable in today's society.   Lest we not forget it was they who brought us The Holly & The Ivy and On Golden Pond and if you were fortunate to see either or both of those productions then you will certainly enjoy their latest.

On Golden Pond @ Darlington Civic

A heart-warming, genuine and sincere look at the autumn of life

It’s not very often that a play comes along for which I have no pre-conceived ideas.  Even less so when the story, and the film, has received such plaudits as Tony’s, Oscars and international acclaim but I can honestly say I had no clue what to expect when I settled down at the Civic to watch Ernest Thompson's 1979 play.

 The story, for any of the few who are as out of touch as I, centres around a married couple’s annual summer retreat to their lodge on Golden Pond.  There’s no dynamic plot, there’s no contrived drama or conflict but there is realness to the writing which just draws you in.  The audience was very varied but this play appeals to all ages; I took my daughter Jess and she related to the story just as easily as I did and those around us.  Those of a similar age to the characters will recognise themselves, those of my age can see their parents and for the youngsters in the seats (like Jess) they can see their grand-parents up there on stage.  Set with just one scene, the ambient sounds and great scenery very quickly draw you in and it’s easy to forget you’re sat in the theatre.

 The stars of the show, Stefanie Powers and Richard Johnson, deliver with consummate ease, the delightful story of a man, Norman, and wife, Ethel, who have grown so complete together that they have almost become as one.  It’s not just the finishing off of each others sentences, but more the unconditional acceptance they have for each other’s foibles, idiosyncrasies and traits.  Their lives have become intertwined and defined by their time on Golden Pond, and it is this which makes for a more acute awareness of the encroaching and indefatigable changes of old age.  All too often I found myself thinking, “Will we be like this in years to come” and my answer was a resounding “I hope so!”

 Simple things, like forgetting the way to the woods where they have walked for 40 years serve only too well to remind us all that our time here is but fleeting.  Norman, brilliantly played with ascorbic tongue and dismissive hand waves, is so consumed with his end of days that at first he seems very morbid, however as the play continues you can see inside the character and realise that his incessant fascination about dying is actually a front to deflect from his real fear of growing old with regrets.

 The introduction of their middle aged and slightly estranged daughter, Chelsea, (played by Elizabeth Carling) only serves to remind Norman that time is short and maybe he should ‘stop and smell the roses’ every now and then.  Of course, after 40 odd years, he is not going to simply drop his guard and proclaim love for the prodigal daughter, but an enforced encounter with her 14 yr old step son suddenly gives Norman more reason to live than he thought possible.

 This is a wonderful play on quite a short tour – if you get the chance go and lose yourself on Golden Pond, you’ll love it there

Holly & Ivy @ Darlington Civic

It’s Christmas Eve 1947, towards teatime with a log fire burning in the grate, snow in the sky and Holly & Ivy decorating the walls.  The scene is set for the latest play from the Middle Ground Theatre Company and this one is a wonderful festive tale of family, religion, passion, obligation and revelation.

The story centres around a village parson (played by Stuart McGugan) and his family as they meet for their customary Christmas get together.  The Reverend’s youngest daughter, Jenny, is busy preparing the house while at the same time trying to curtail her excitement of being betrothed to a young Scottish engineer David;  a marriage which will take her away from the family home and off to South America where David will work for the next 5 years.  Jenny, despite being excited and in love, is still torn as, following her mother’s death, it is she who looks after her father.

The story unfolds around the secrets of Jenny’s older sister Margaret (played by the completely glamorous Corrinne Wicks) and her reasons (both philosophical and spiritual) for feeling unable to come home and take over caring for her father.  Throughout the play the Reverend battles with his own personal ‘demons’, doubting his effectiveness, questioning whether religion still has a place in village life yet refusing to concede that it may be time to retire.  It is not until two very frank & heartfelt discussions, the first with his soldier son Mick and then Margaret, that he finds the reasons he has been searching for.  Alongside this there are two aunts (themselves being as different as Holly & Ivy) who spice up proceedings with their own take on life & love.

Star of the show is undoubtedly Jenny played by Julia Mallam, who is totally captivating as the doting daughter who knows her destiny but is happy to sacrifice it all to protect her father.  Julia is a charming, beautiful and talented actress who owned every scene she starred in and provided the thread which runs through the whole production.  I would happily buy tickets for every night just to watch her performance.

The Holly and The Ivy is a great Christmas play with a real feeling of the post war years coupled with the sense of social & moral change that prevailed through the general questioning of “what is life all about?”.  I can see this becoming a perennial favourite for the festive season.