Tag Archives: Darren Haywood

Will they, won’t they?

SUNDOWN

Blue Orange Theatre, Birmingham, Wednesday 24th July, 2019

 

Sometimes you go to the theatre and they get everything right.  The artistic choices made serve the material perfectly, and the performance of the piece is just exquisite.    An example of this is this neat little one-act two-hander from the pen (or the keyboard) of Darren Haywood, one of Birmingham’s most consistently excellent playwrights.

Set on a cliff top, the action concerns the meeting of two strangers, each with their own reason to be there.  Their lives have brought them to this point, this place with a view, with a view to tossing themselves off (the cliff).  Lara, a solicitor by trade, is dealing with a crisis in her personal life.  Kris, a betting-shop worker, has drink and gambling issues, and the debts are piling up…   The pair strike up a conversation, and come to an understanding and appreciation of each other.  Haywood spares us scenes of gut-spilling and deep-and-meaningfuls.  Instead, the conversation is interspersed with the characters’ inner monologues, so we are privy to their innermost thoughts, we come to learn their personal histories, while their outward discourse rattles along in fits and starts.  The two share a moment of real connection, and we suspect they may not go through with their separate plans of ending it all after all.  We suspect this may not be the end of them, not the last of their conversations…

As the somewhat stroppy Lara, Emily Summers is superb.  Her annoyance with the interloper Kris is writ large on her features, while her internal turmoil is more subtly portrayed.  The monologue where she reveals the nature and story of her anguish is powerfully played.

As the gauche, wise-cracking Kris, Davey Ezra imbues the character with more than snappy one-liners.  Kris uses humour as a shield, and Ezra lets us see beneath the mask.  His big monologue about an opportunity to steal from his employer is recounted with conviction and truth.

The actors are helped massively by the quality of Haywood’s writing.  Haywood has an ear for naturalistic dialogue and can write in quips and retorts that sound like they arise from the conversation.  He can also shape the action, keeping his cards close to his chest, gradually dealing them out so we get to know the characters and their situations in an organic way.  It works brilliantly.

Also directing this production, Haywood keeps staging to the absolute minimum, so his words, via the actors, are given full sway.  A raised platform serves as the cliff top at Beachy Head.  Seagulls and surf on a loop are all the scenic colour required.  It truly is a case of less being more.  Slight dips in the lighting cover represent the night drawing in – we don’t even need to see the sundown of the title.

Funny, intriguing and touching, Sundown runs for less than an hour but is thoroughly satisfying – perhaps because of its constraints.

I loved it.

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Strangers at sunset: Davey Ezra and Emily Summers

 

 

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Camptastic!

THE MYSTERY OF IRMA VEP

Blue Orange Theatre, Birmingham, Friday 3rd May, 2019

 

Charles Ludlam’s camp classic is more well-known in the USA than on this side of the pond.  A two-hander that parodies Victorian melodrama, Gothic romances, and creaky old horror films, this is a chance for a pair of actors to showcase their versatility and, equally importantly, their quick-change skills.  Lady Enid, second wife to Lord Edgar, pries into the history of the family estate of Mandacrest.  She unearths a tale of vampires, werewolves and Egyptology, while beyond the French windows, a wolf preys on lambs, spreading terror…

Stuart Horobin is great as stuffy Lord Edgar, more tweed than man, clinging to the memories of his late first wife.  Horobin throws himself into his roles with gusto: Edgar conjuring a long-dead Egyptian queen, for example; or as dour housekeeper Jane, serving up huge dollops of exposition.

He is joined by Darren Haywood, his match in wide-eyed histrionics.  Haywood is a hoot as stable man Nicodemus, stumping around on a ‘wooden’ leg, and he’s magnificent as the lip-quivering Lady Enid.  His appearance as the reincarnated mummy is a highlight – in fact, whenever he’s on stage, which is most of the time, he delivers, in a consistently funny performance that is a real treat to behold.

Both actors handle the florid verbiage Ludlam liberally doles out with conviction.  The dialogue paraphrases the likes of Shakespeare, Wilde and Poe and is riddled with daftness and peppered with some choice double entendres – I could always do with more of these.  Ludlam’s script comes across as somewhat patchy but director Simon Ravenhill keeps the laughs coming with some delicious bits of comic business.  Nicodemus screwing his wooden leg back on, for example, or the hilariously pedestrian werewolf transformation scene.

In the end, it’s the playing not the material that proves the more entertaining.  Not so much Hammer, as Sledgehammer Horror, this is a case of the high quality of the production compensating for any weakness in the script, making for a hugely entertaining evening that deserves to be seen by greater numbers.

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Darren Haywood in a publicity shot

 

 

 


About last night…

THE MORNING AFTER

Blue Orange Theatre, Monday 23rd July, 2018

 

This witty three-hander first produced three years ago gets a welcome revival as part of this year’s Birmingham Fest at the Blue Orange.

Written and directed by Darren Haywood, it’s the story of Sam (Jacob Wright) who wakes up hungover to the realisation that he sent a string of regrettable texts to his girlfriend.  Wright is wide-eyed, often horror-struck, a master of the comic reaction; you can see the cogs working in his befuddled brain.  Waking up next to him is Niamh (Gabby Killick) a complete stranger.  Neither she nor Sam has any recollection of the night before.  It falls to Echo, the escort in the bath tub, to fill in the blanks – played with snarky relish by Lisa McKinley.  McKinley is the perfect foil for Killick’s stuck-up drama queen.  Level-headed Echo has all the barbed, deadpan observations, while Niamh excels at melodramatic outbursts and over-reactions.  They are equally strong at opposing ends of the scale.

Caught between this virgin and whore, Sam is both mediator and target of the women’s vitriol, as the power shifts around the trio and allegiances are formed, broken, and re-formed in seconds.

Haywood’s script is quickfire.  Every punchline hits home and is expertly handled by his excellent cast.  He paces the action nicely, wringing the comic potential from every moment.    Haywood keeps events within the realms of plausibility while keeping a steady hand on the helm.  The playwright’s hand and the director’s eye are there, shaping the delivery, skewing the naturalism for the purposes of giving us a laugh.  The humour largely arises from character, and the cultural references they make are drawn mostly from television, with the occasional classical allusion – Echo comes across as well-read, and why shouldn’t she?

The result is an extremely funny sixty minutes. It’s almost a contemporary morality play as Sam’s chickens (the way he has treated his girlfriend) come home to roost.

A delight.

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Something’s Got To Give

THE LATE MARILYN MONROE

Blue Orange Theatre, Birmingham, Tuesday 31st January, 2018

 

We’ll never know what happened during the last moments of the life of Marilyn Monroe.  Conspiracy theories abound, each one wackier than the last (the CIA, the Mafia, she was about to tell the world about the existence of aliens…); here, writer-director Darren Haywood, following extensive research, pieces together an impression of what might have been, but his play is more than a dramatic reconstruction.

We spend Marilyn’s final hours with her in her bedroom.  The constantly ringing telephone is a source of annoyance and also comfort as she takes and makes calls, looking forward to plans for the next day, the next week… For a time, we don’t believe this is a woman on the verge of suicide.  But then, as Tania Staite’s impressive portrayal reveals, Monroe is not exactly stable.  Capricious and volatile, she rounds on those closest to her, hurls colourful invective down the phone at Bobby Kennedy, and then switches back to a child-like persona, desperately insecure about her looks, caving under the pressure of having to be Marilyn Monroe.

Tania Staite gets the cadences of Monroe’s voice – it’s an evocation rather than an impersonation, and Staite settles into the role; it’s the first night and I can’t tell whether first-night stumbles are actually part of Monroe’s distracted state!

There is sympathetic support from Ellie Darvill as housekeeper Mrs Murray, a maternal, nurturing presence who is on the receiving end of Monroe’s paranoid flights of fury.  Dru Stephenson is also good as Monroe’s long-suffering friend and publicist, while Martin Rossen’s visiting psychiatrist adopts more of a friendly and paternal bedside manner than a professional detachment.

Haywood’s writing is excellent – his Monroe really comes alive when she’s recounting anecdotes of Hollywood gossip – and, thanks to Staite’s performance, we do care about this vulnerable victim of the celebrity machine.  The whole thing is flooded with doom and dramatic irony.  We know she’s not long for this world and so lines like “I may just go to sleep and never get up” and “You’ve got time ahead of you” have resonance the characters don’t realise.

Marilyn’s early death speaks to our age directly.  Not just because of its fairy-tale-gone-wrong aspects but because her story reveals times have not changed.  The celebrity machine churns on, chewing up and spitting out stars, and our culture is still obsessed with every detail of their private lives.  Also, Monroe discloses (although it’s not secret) that she had to sleep her way through a slew of directors and producers to get her break, and this brings the production bang up-to-date with the spectre of Harvey Weinstein and his ilk.  Show business has not changed and, by extension, the world has not changed.  Monroe’s demise remains a powerful indictment of the sleazy patriarchy that both made and broke her.

Absorbing and well-played, the production could benefit from a few cuts – especially in the second act – so that it makes its points more efficiently.

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Two Can Play

ROLE PLAY

Blue Orange Theatre, Sunday 23rd July, 2017

 

Written and directed by Darren Haywood, this play provides an hour or so of non-stop laughs.  Matt (Alex Arksen) and Ellie (Lorren Winwood) address us directly, as though we are relationship counsellors or something.  Together they narrate a period during which they tried using role play to spice up their heterosexual lives.  They re-enact half a dozen of their scenarios, ranging from waiter and customer in a coffee shop, to nurse and patient, and schoolboy meeting his fantasy: Britney Spears.  No matter what Matt and Ellie try, the scenarios always unravel before they come to the crunch: Matt is turned off by French student Ellie’s necklace of onions; a Diet Coke moment almost blinds him when the drink erupts in his eyes… The plot may be little more than a succession of scenes, strung together like a French stereotype’s onions, but this barely matters.  The couple learn about each other along the way and give us a good laugh while doing it.

Alex Arksen is an affably blokish Matt, intent on video-gaming rather than investing time in his relationship.  Lorren Winwood proves herself to be an extremely funny woman, hurling herself into a variety of rough-hewn characterisations.  The pair complement each other perfectly and you can’t help liking them as characters and admiring them as performers.  The comic timing is impeccable, the physicality, the reactions – and the dialogue is rich with one-liners and pop culture references.

The writing is sharp and the direction snappy, making for a hilarious contemporary comedy that takes satirical swipes at modern living.  Catch it if you can!

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