Tag Archives: thriller

Playing Doctors and Nurses

MINDGAME

Belgrade Theatre, Wednesday 14th March, 2018

 

Prolific writer Anthony Horowitz turns his attention to the stage with this small-scale thriller very much along the lines of mega-hits Sleuth and Deathtrap – plays that have a small cast, an intriguing plot and more twists than a Chubby Checker convention.  The set-up: we meet Styler, waiting in the office of Dr Farquhar, in an upmarket mental health facility aka hospital for the criminally insane.  Styler, dictating into a recorder, doles out exposition: he is a true-crime writer come to interview notorious inmate, the serial killer Easterman, for his next project; the doctor has been keeping him waiting for two hours…

We pick up right away that things are not what they seem.  Contradictions in the dialogue and, more subtly, changes in the set: a video screen for the window changes imperceptibly, for example.  As soon as Farquhar shows up, the plot gets into motion.  The doctor is something of an oddball – and the discerning audience member will be trying to pre-empt the surprises and guess the outcome.

It’s played with conviction.  Andrew Ryan’s Styler and Michael Sherwin’s Farquhar complement each other well, with the doctor more often than not holding court, adding to the weirdness and the unsettling feeling that something bad is about to take place.  Making up the trio is Sarah Wynne Kordas as Nurse Paisley – or is she?  Violence erupts, power shifts, layers of falsehood and diversion are stripped away… There are a few gasps from the audience who don’t see things coming, but the plot, rather than thickening, seems diluted by each new turnabout, and there are holes in the logic you could drive an ambulance through.

What we are left with is a bit of a mess, an exercise in unpleasantness that doesn’t measure up to the aforementioned greats of the genre.  It’s well-presented and director Karen Henson focusses our attention and gives us surprises at all the right moments but for me the play doesn’t gel, and mental illness as entertainment has surely had its day. I’m not crazy about it.

Not as clever as it pretends, Mindgame teases, amuses and puzzles but is ultimately unsatisfying.

mindgame

Michael Sherwin and Andrew Ryan enjoy a cosy chat

 

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Thrilled to Death

DEATHTRAP

New Alexandra Theatre, Birmingham, Tuesday 7th November, 2017

 

Ira Levin’s classic thriller is doing the rounds in this effective new production, featuring two escapees from Albert Square, namely Paul Bradley and Jessie Wallace as husband and wife.  He  is a playwright who hasn’t had a hit for a few years; she is the supportive wife with a weak constitution, who has been funding their life together in their smart little barn conversion in the woods… Along comes bright young thing Sam Phillips with an idea for a new play, and the scene is set for double-crosses, shocks and surprises.

Levin’s script is clever, laced with sarcastic wit and tell-tale details – if you know what to look for.  I’ve seen the play before so I knew all its secrets going in but director Adam Penford manages the twists and turns, changes of pace, the violence and the laughs with skill, providing a few jump scares along the way.

Paul Bradley dominates as the desperate and overbearing Sidney, while Jessie Wallace, unusually dowdy in her frumpy beige cardigan and not a hint of leopard print for miles, gives a restrained performance as Myra with the dodgy ticker.  Sam Phillips’s Clifford brings energy and good looks, and there is a wild comic cameo from Beverley Klein as visiting Swedish psychic, Helga ten Dorp.  Julien Ball completes the quintet as Sidney’s smooth attorney, Porter Milgrim.

Morgan Large’s attractive, rustic set bedecked with a range of vicious weapons gives the action its arena but at times Ben and Max Ringham’s music is a little heavy-handed.  Moments of violence are underscored for added atmosphere, heightening the emotion but lessening its realism.

It’s a play that deconstructs itself as it plays out.  The characters discuss the elements of a stage thriller before and after we see them enacted within the plot, and it is this knowingness that makes Levin’s piece a classic of the genre.  A similar approach was adopted much later by horror film Scream.   But like all thrillers, it’s about not-particularly-nice people doing despicable things for (usually) financial gain.  Unusually, there is no detective to wheedle out the truth – a different comeuppance awaits these plotters…

This is a solid production, well played and engaging.  A darkly delicious way to spend an evening.

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Paul Bradley and Jessie Wallace host a cardigan festival