Nursing a Grudge

SNAKE IN THE GRASS

Bear Pit Theatre, Stratford upon Avon, Friday 1^st November, 2019

 

Two estranged sisters are reunited in the neglected garden of their family home, following the death of their abusive father.  The elder, Annabel, hasn’t been back for decades, but stands to inherit the lot.  It fell to the younger sister, Miriam, to care for the old bastard, with the help of a hired nurse, whom Miriam has recently sacked.  The nurse, Alice, confronts Annabel, claiming to have evidence that Miriam had a direct hand in the death of her father.  Blackmail rears its ugly head and Annabel finds herself in a situation where she is forced to protect her sister…  So begins Alan Ayckbourn’s taut little thriller, a tale of coercion, bitterness, resentment, and murder.  More celebrated for his comedies, Ayckbourn shows here a different string to his bow.  The premise, the intrigue, and the subsequent twists and turns are Hitchcock-worthy.  A deceptively simple three-hander, the play offers plum parts for older women to get their teeth into. moustache of epic proportions.

Rachel Alcock plays hard-faced Annabel, who barely lightens up at all and remains rather severe throughout.  It is the character’s defence mechanism, I suppose, given the tribulations of her life, but I would like to see her reveal a more vulnerable and sympathetic side – especially during her lengthy speech about her failed marriage.

Alex Kapila turns in a compelling performance as the disturbed Miriam, displaying emotional immaturity one minute and inner fire the next.  As the power shifts around the trio, we’re forever changing our minds about who exactly is the victim here.

Completing the trio is Barbara Treen, pitch perfect as the sinister blackmailer.  Ayckbourn’s superlative writing is in good hands with these three, and director Lynda Lewis navigates the highs and lows, the lights and shades of the dialogue to great effect.  The physical action needs to be tighter; the actors need more confidence in their moves, and I think the climactic scene in the middle of the night can afford to be darker, so that almost all of the lighting comes from the two handheld lanterns.  This would augment the eeriness and the unsettling nature of proceedings.

There are more scares to be had if the director pushed the envelope just a little farther.  Still, this is a solid and entertaining production of a dark and clever play, and it’s well worth an evening of your time.

The upper hand: Alice (Barbara Treen) comes between sisters Miriam (Alex Kapila) and Annabel (Rachel Alcock)

 

Homeless not Hopeless

STREETS APART

Stratford Play House, Stratford upon Avon, Saturday 6^th April 2019

 

First off, it’s very pleasing to see new work being created and produced in a town that thrives on centuries-old drama.   This brand-new piece by local playwright Jackie Lines depicts what life is like for an increasing number of vulnerable people who, through no choice of their own, wind up on the streets.  Passers-by give examples of the abuse faced by homeless people and illustrate the negative attitudes and common misconceptions about them.  It’s an effective start.

The play tells of the efforts of a group of volunteers in a centre as they strive, with limited resources, to make life better for the homeless.  We meet a range of characters from the streets, such as ex-army, PTSD sufferer Neil (a powerful Graham Tyrer) who declaims poetry and rants through mental illness, like a latter-day Vladimir or Estragon.  There’s Mick, a former plumber who lost everything after a life-changing injury that led to an addiction to opiates, played by Mark Spriggs with intensity, strength and vulnerability.  The inclusion of a couple of original poems by Spriggs enriches the show.

Largely, the story concerns the fate of young couple Tom (Tom Purchase-Rathbone) and Susan (Emma Beasley) who have found each other on the streets, having each come from horrendous childhood backgrounds.  At first, they are cautious about accepting help from the centre, but gradually, they blossom and thrive, although there are some setbacks along the way.  Mick, who, despite the intercession of bleeding heart Sandra (Rachel Alcock) declines help, does not end so happily: there is some kind of moral message here.  If you accept help, you’ll be fine; if you don’t, you won’t.

Among an effective cast, Zoe Rashwan’s forthright Carol stands out and the drama is leavened by comic relief from Gill Hines as doddering volunteer Edna.  Chris Musson (appearing as guitarist Barry) brings original music, along with Chris Callaghan’s Eddie, as volunteers running song-writing sessions to give the homeless a voice.

As the volunteers, we have Stacey Warner as Anna, Barry Purchase-Rathbone as Greg, and Karen Welsh as Diane – whose elegant exterior masks a tale of injustice and loss that put her on the streets for a time.  The play shows that there are ways out of homelessness, and not all of them are tragic!

In terms of drama, I would like to see more direct conflict, perhaps involving the kind of authority figures whose policies exacerbate the problem.  Certainly, these people need to be in the audience of a show like this.  Director Greg Cole handles the slice-of-life tone, with scenes coming over as credible and authentic, although there are some staging issues.  In-the-round is more intimate, yes, and democratic, which is fitting, but cast members need to ‘share their backs’ so everyone gets a fair look at them!

By and large, the production is an awareness-raising, thought-provoking, conscience-pricking success, depicting the precariousness of life in society today and emphasising the humanity we all share with the homeless.