Tag Archives: Jack Hobbis

Table Talk

THIS HAPPY BREED

Crescent Theatre, Birmingham, Sunday 7th July, 2019

 

Noel Coward’s play from 1939 deals with two decades in the lives of the Gibbons family of Clapham in the turbulent years between the Wars – except of course they didn’t know they were between Wars at the time.  We see the events of their lives – weddings, affairs, arguments, celebrations, some of them affected by what’s going on in the wider world – and each scene jumps forward in time.  In this respect, the play reminded me of recent TV series, Years and Years, which does much the same thing, except of course the series is futuristic and the Coward play is retrospective.

At the centre of the set is the dining table, the heart of the house and the forum for family life.  Family members gather for tea, or something stronger, and it’s here that views and opinions are aired and sparks fly.  Top of the bickering parade are Amy Findlay as hypochondriac Aunt Sylvia and Skye Witney as cantankerous grandmother Mrs Flint.  The barbs fly freely; Coward’s dialogue for this lower-middle or upper-working class family is now rather dated, don’t you know, I should say, and no mistake, yet the cast deliver it with authenticity to match the period furnishings and the superlative costumes (by Stewart Snape).

As the Gibbons daughters, Emilia Harrild is in good form as dissatisfied, snobbish Queenie, with Annie Swift equally fine as down-to-earth Vi.  Griff Llewellyn-Cook makes an impression as handsome, ill-fated son Reg, with a strong appearance from Sam Wilson as his firebrand friend Sam Leadbitter.  Wanda Raven is spot on as Edie the maid, to the extent that you wish Coward had written a bigger part.  Simon King plays neighbour Bob Mitchell with truth – especially in his drunken scenes! – and Hannah Lyons is sweet as Reg’s girlfriend Phyllis.

It’s a fine cast indeed but the standouts are Jenny Thurston as the upright and unyielding Ethel Gibbons, the marvellous Jack Hobbis as sailor boy-next-door Billy, and the mighty Colin Simmonds as genial patriarch Frank Gibbons.

Director Michael Barry has the cast fast-talk the dialogue, adding to the period feel of the production.  The comedy has its laugh-out-loud moments, while the more dramatic scenes have the power to shock and to move.  It may be a play about a bygone era, but we can recognise the feeling of living in uncertain times as this country faces unnecessary damage, not from war but from Brexit, and the world teeters on the brink of disaster thanks to climate change.  Frank’s view that it’s not systems or politicians to blame for our ills but it all comes down to human nature strikes me as somewhat complacent, an attitude we can ill afford.

The play reminds us of what has been lost from family life: the gathering at the table, which was first usurped by the television and has now been superseded by the individual screens everyone peers at.  Progress isn’t always a good thing.

A thoroughly enjoyable, high quality production to round off what has been an excellent season at the Crescent.

happy breed

Frank and Ethel (Colin Simmonds and Jenny Thurston) Photo: Graeme Braidwood


Nazi Piece of Work

COLLABORATION

Crescent Theatre, Saturday 30th March, 2019

 

Ronald Harwood’s 2008 play has, sadly, gained in relevance since its original appearance.  Set mainly in the 1930s, the play charts the working relationship and friendship between top composer Richard Strauss and writer Stefan Zweig whom Strauss enlists as a librettist.  All goes well.  The men establish a rapport but, in the background, the rise of overt animosity toward the Jews eventually encroaches on proceedings.

The first act is a rather gentle comedy, offering insights into the creative process, but things take a much darker turn after the interval, with the interference of the Nazis, represented here by Herr Hinkel.

Bill Barry is positively avuncular as Strauss, with Simon King’s Zweig as a more neurotic contrast.  Both are at their strongest when speaking with passion, about music, about principles, and Barry’s greatest moment (and the play’s sucker punch) comes right at the end when Strauss gives testimony to a denazification board (Spoiler: The Nazis lost the war).  Skye Witney comes into her own as Strauss’s spouse, putting the arrogant Hinkel in his place, while Emilia Harrild as Zweig’s secretary/main squeeze Lotte impresses as she recounts a violent assault.   At other times, the action is a little stiff.  When pleasantries are exchanged, the characters aren’t quite as convincing, and there are times when the blocking seems off with actors in entirely the wrong place for optimal staging.  I’m guessing this is because it’s opening night and points still need tightening up.

There is an effective cameo from Alan Bull as hotel intendant Paul Adolph.  As the arrogant, coldly efficient Herr Hinkel, the excellent Jack Hobbis is utterly chilling, exuding an air of evil through a thin veneer of civility, and we are reminded how this pernicious ideology insinuates itself into the world, before imposing its will and causing all sorts of problems – to make an understatement.

Harwood’s writing is always enjoyable and this is no exception.  Alan K Marshall’s production hits all the high notes, with the dramatic moments powerfully presented, but like Zweig’s struggles with recitative, it’s the linking bits, the casual conversations, that require more consideration.

The play is a stark reminder to nip the Far Right in the bud before it can take hold.  It never ends well.

A worthwhile production that will make you smile, laugh, think and, ultimately, feel.

collaboration

Simon King and Bill Barry (Photo: Graeme Braidwood)

 

 


Work of Genius

BREAKING THE CODE

Crescent Theatre, Birmingham, Saturday 6th October, 2018

 

Before Alan Turing became a household name some fifty years after his early death, Hugh Whitemore wrote this play which went a long way to establishing the computing pioneer as one of the most important figures of the Second World War.  Turing’s work in cracking the code of the Germans’ Enigma machine played a major part in our defeat of the Nazis – we have a lot to thank him for.

The timeline of the play is not in chronological order.  It is up to the audience to decode the order of events to build up a picture of Turing’s life story.  Director Liz Plumpton keeps the staging simple, allowing clues from the script to inform us which decade we’re in. She is blessed with a superlative cast, who keep us riveted throughout.  The intimacy of the in-the-round setting puts us right in the action as we eavesdrop on Turing and the people in encounters at work and at play.

Making his debut at the Crescent, Jack Hobbis is stunningly good in the lead role.  Hardly ever offstage, he is utterly convincing, inhabiting the character with nuance, animation and total conviction.  This Turing is eminently likeable, for all his eccentricities, quirks and directness.  I suggest the Crescent treat Hobbis the way Turing treated his tea mug: chain him to a radiator so he can never leave the building!  I have seen lesser performances win all sorts of awards.

The mighty Brendan Stanley is thoroughly credible as no-nonsense detective Mick Ross, and Phil Rea is also on excellent form as Turing’s Bletchley Park boss, Dilwyn Knox, a humorous cove, decidedly old-school.  Angela Daniels, as Turing’s mother, adds depth to her characterisation as the action unfolds, while Sanjeev Mistry makes a strong impression as Turing’s fateful bit of rough, Ron Miller.  Amy Thompson combines sweetness with efficiency as female boffin Pat Green, and Tony Daniels has a pleasing cameo as top-secret brass, John Smith.  Young actor Louis Clare appeals as Turing’s schooldays chum, Chris Morcom and later dazzles as Greek trick, Nikos, spouting the language like a native – an impressive feat on its own but Clare imbues Nikos with a remarkable presence as he listens to Turing’s babbling.

Jennet Marshall’s costumes do most of the period work for the production, evoking the era superbly, while Kristan Webb’s lighting design stylishly takes us from place to place and time to time.  The final moment, of Turing with his poisoned apple, will stay with me a long time.

A superlative production that is both humorous and gripping; another jewel in the Crescent’s sparkling crown.  We learn a good deal about the tragic genius, who has become a hero-martyr type, a figurehead for the decriminalisation of homosexuality.  I wonder if the Alan Turing Law, passed as recently as 2017, pardoning all those cautioned or convicted of homosexual acts, would bear his name if he hadn’t saved us all from fascism, or whether the long-overdue law would have been passed at all.

breaking the code

Genius! The brilliant Jack Hobbis (Photo: Graeme Braidwood)