Tag Archives: Phil Rea

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)

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The Truth Comes Out

THE LARAMIE PROJECT

The Crescent Theatre, Birmingham, Sunday 7th May, 2017

 

The horrific murder of Matthew Shepard in 1998 sent shockwaves across the USA and around the world.  A tipping point had been reached, it seemed and, although it took a while, law was passed to protect minorities from hate crime.

At the time, the Tectonic Theatre Project visited the town of Laramie, Wyoming several times, interviewing local people of a variety of walks of life and with a range of views on the murder.  Those interviews form the basis for this play, using verbatim the words of the Laramie people.

Almost twenty years later, this new production in the Crescent’s Ron Barber studio demonstrates the piece has lost none of its power and, sadly, none of its relevance.  It’s a play about its own making.  Actors play actors from the theatre company along with the people they interview and the whole piece is structured around the murder – before, during and its aftermath, covering a year in the life of Laramie.  It’s a compelling piece of work and this production certainly does it great service.

The cast of ten populates the space with police, neighbours, family members, the clergy – over 60 roles, all aided by the costume designs of Pat Brown and Vera Dean: we see who these people are in an instant, before they speak for themselves.  I cannot assign roles to particular actors (I’m sure to get it wrong) so, as the programme does, I shall just list them: Kassie Duke, Juliet Ibberson, Simon King, Sean McCarthy, Judy O’Dowd, Liz Plumpton, Ben Pountney, Phil Rea, John Whittell, and Sam Wilson.  They all rise to the challenges of the piece, delivering varied and rounded characterisations as well as the emotional punch of key scenes.

There is an especially chilling and repulsive portrayal of hate-mongering, Bible-brandisher Fred Phelps – all the more sickening because you realise bastards like him are still around, spouting their bilious nonsense and disrupting funerals of gay people.

Rod Natkiel does a remarkable job of directing the action on his minimalist stage – each monologue and exchange is delivered differently.  There is nothing samey or static in the presentation; we have a lot to listen to but he keeps us engaged and, even though we know the outcome, gripped as the story is pieced together.  Natkiel also uses specially shot video clips – news bulletins, mainly – which add to the verity of this docudrama, as well as upping the Americana factor.  I have to say the accents are uniformly strong.

A play about hatred but there are also the more positive aspects of humanity in evidence: humour, warmth and compassion, to name but three.

As societies across the world, from the USA to Chechnya take backwards strides in their treatment of gay people, the grisly death of Matthew Shepard is back to haunt us and ask us what kind of society do we want to be.

Compelling and a shining example of the high quality of work produced at the Crescent.

laramie

 


Every One’s a Winner

DEALER’S CHOICE

Crescent Theatre, Birmingham, Sunday 26th January 2014

Patrick Marber’s award-winning comedy is resurrected in the Ron Barber Studio by a talented all-male cast under the astute direction of Andrew Smith.  Set in a restaurant, the action involves the anticipation of a weekly poker school before, in the third act, the poker school itself takes place.

Marber’s script is very funny and allows the actors to build credible and rounded characterisations. There is Mark Grady as rough-and-ready cook Sweeney, anxious to keep some money aside to spend on his daughter; Frankie (James David Knapp) dreams of travelling to Las Vegas and hitting the big time on the tables; joker in the pack Mugsy (an excellent Mark Payne) seeks funding for his own restaurant, a public toilet conversion that doesn’t sound very palatable; and boss man Stephen the restaurateur (Dave Hill).  Added to this bunch is Stephen’s troubled son, gambling addict Carl (Andrew Elkington) and the quietly menacing Ash (Phil Rea) to whom Carl owes several grand.

Andrew Smith keeps the banter tearing along, managing crescendos and silences like a maestro.  Some of the rapid-fire cross-cutting between kitchen and restaurant needs a little bit of tightening but this was only the second performance of the run so I expect that will be sorted – This is a slick, well-oiled production with something of the atmosphere of Mojo currently in the West End and, yes, something of the high quality of that show too.

Hill and Elkington have the most emotional moments as father and son, negotiating their relationship over sums of cash borrowed or given.  Hill is rather touching in his portrayal, playing his cards close to his chest, you might say.  Elkington too is very strong in his selfish outbursts.  Grady and Knapp provide comedy and pathos – we see how far these men are steeped in their gambling pursuits, and Rea, the ostensible villain of the piece, does a nice line in understated as well as unequivocal threat.  But for me the energy of the performance stems mainly from Mark Payne’s characterisation of the hapless dreamer Mugsy.  We take delight and have pity in his ups and downs.  It’s a detailed and effective study in comic playing. Sonia Chopra’s set is flexible in its economy – the stairs painted like playing cards are a nice touch – and nothing gets in the way of the cast,

Cards on the table time: if you’re looking for a couple of hours’ worth of excellent, enjoyable drama, Dealer’s Choice is very much a safe bet.

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