On the Right Track

THE GIRL ON THE TRAIN

Crescent Theatre, Birmingham, Saturday 25^th February 2023

Paula Hawkins’s best-selling novel is so effective because of its first person narrative, from the girl on the train herself.  She’s an unreliable narrator, so we’re never sure if what she says happened happened or whether it’s her booze-tinted imagination.  The stage adaptation by Duncan Abel & Rachel Wagstaff has to take a different approach as the Girl is revealed to be a fantasist, her story contradicting itself… A tough call for any actor taking on the role and here, Grace Cheadle rises to the challenge and nails it.  Her Rachel Watson is off-kilter, brittle and bitter, but also vulnerable and appealing.  We are with her all the way, happy to go along for the ride.

Briefly, the plot has Rachel commuting to work by train.  Her emotional life is a bit of a train wreck and so she self-medicates with day-drinking. Through the windows she sees people’s houses and fantasises about who they are and what they’re called.  One day, one of her regular characters is not there… A woman has gone missing and the police are involved.  Can Rachel’s unreliable evidence be of use or will she implicate herself?  To add to the mix, a couple of doors down from the missing woman’s home live Rachel’s ex-husband and his new wife and baby…and so a series of explosive scenes are set in train.

The multi-purpose set allows the action to zip along like an express train – we never have to wait for furniture to be shifted – and scenes are linked with video clips, extending the action beyond the set pieces: we see characters being taken in for questioning, for example, and there are clips of Rachel boozing on the train, to the distaste of other passengers.

The excellent central performance from Cheadle is supported by a strong ensemble.  Particularly effective is David Baldwin’s Detective Inspector Gaskill; Baldwin has a casual, natural style but still means business.  It’s a superb contrast with Cheadle’s more manic moments and self-doubt.  Tom Lowde, as Rachel’s ex, and Victoria Youster as new wife Anna are perfectly smug and annoying (from Rachel’s pov) while Oliver Jones captures the volatility of Scott, the missing woman’s husband.  Papa Yentumi’s therapist balances professional intonations with personal impulses, and Charlotte Thompson crops up repeatedly in flashbacks as the missing Megan, imbued with an almost saintly air (from Rachel’s pov) despite her bad behaviour.  Completing the cast is Susan Keats’s police officer, a small but crucial part well conveyed.

Director Rod Natkiel keeps the action fluid and clear.  The fast pace winds up the tension and the use of video flashbacks to display Rachel’s fractured memories works well.  It’s just when we reach the climactic, violent denouement that things go off the rails and get a bit muddy and unfocussed.  Perhaps the video screens could be used to augment the moment, seeing how they’ve been so integral to the rest of the production…

All in all, the production delivers the mystery, the tension, and the surprises of the story, and there’s plenty of humour to leaven the unpleasantness.  An involving thriller that doesn’t outstay its welcome. All aboard!

☆ ☆ ☆ ☆

Grace Cheadle and David Baldwin (Photo: Graeme Braidwood)

A Bridgerton Too Far?

MUCH ADO ABOUT NOTHING

The Crescent Theatre, Birmingham, Sunday 3^rd April 2022

Michael Barry sets his Much Ado in the Regency period, like the popular series on Netflix.  For the most part, it’s an excellent fit, with the exterior manners and elegance a suitable setting for Shakespeare’s wittiest rom-com. This is Bridgerton in looks and feel, but with an infinitely better script! Barry’s set design has two plastered columns framing the upstage area, the bases of which have cracked to reveal the brickwork beneath, representing the truth beneath the surface.  It’s a clever detail.

The ever-excellent Jack Hobbis gives us his Benedick, complete with mutton-chops and poufy hair.  He is Mr Darcy, an upright romantic hero with a quick wit and a big heart.  Hobbis does an admirable job and you can’t help falling for him.  Naomi Jacobs’s Beatrice has the acid tongue and merry wit down pat, but she’s a little too loud for the studio setting, delivering all her lines at full volume – sometimes going up to 11.  A bit more variance and she’d be perfect.

Andrew Elkington makes for a posing, preening Claudio, all righteous indignation in the pivotal church scene, and thoroughly detestable afterwards, until his redemption, of course; a pretty face masking his petulance and objectionable self-righteousness.  Spot on!  Also great is Papa Yentumi as Don Pedro, the fun-loving prince, at ease with his high status and game for a laugh.  As his bastard brother, Tom Lowde gives us a volatile Don John, but he needs not to race through some of his lines so we can enjoy his evil nature all the more. 

Man of the match for my money is Mark Payne as Leonato, effortlessly convincing throughout, and electrifyingly emotional in that church scene.

Suzie King’s Hero contrasts sweetly with the acerbic Beatrice, and there is solid support from Skye Witney as Antonia, Jessica Terry as Margaret, Colette Nooney as Ursula, and James Browning as the villainous Borachio.

I’m afraid though the Dogberry scenes don’t quite come off.  Ben Pugh could make more of the constable’s bombast, building him up more so he can deflate further.   There are more laughs to be gained here. The Watch scenes seem clumsily staged.  Perhaps there were council tax cutbacks in Messina at the time, but surely they could stretch to at least a third Watchman.

There is lovely music, all piano and strings, by Salwan Cartwright-Shamoon, but there at times when it is intrusive, detracting from the action rather than supporting it.

I’ve said it before but it bears repeating, the phenomenal Costume Department at the Crescent goes all out to create beautiful and accurate clothes to suit the world of the production.  Designer Jennet Marshall has excelled herself here, and credit is due to her team: Carolyn Bourne, Anne Hignell, Stewart Snape, Rose Snape, and Pat Brown, for the stunning array of uniforms, posh frocks and tailored coats on display.

A great-looking production that hits most of its marks, featuring some excellent performances by its leads.

☆ ☆ ☆ ½

Andrew Elkington and Jack Hobbis (Photo: Graeme Braidwood)