Tag Archives: Sandi Toksvig

Silver Lining
reviewed in Cambridge on 7 March

There’s an extra frisson to being definitely on the wrong side of 70 when it comes to conteplating how one’s last days, moths or even years might be spent. Silver Lining, Sandi Toksvig’s play in English Touring Theatre’s spring repertoire in association with Kngston’s Rose Theatre, addresses this head-on.

We’re in an old-people’s home on the Kent coast. Outside a gale rages (code-named Vera) and the sea threatens to flood the area. Houses have been evacuated, but somehow this care-home (to use the current euphemism) has been omitted by over-worked officials.

Marooned on the first floor are first four then five long-term residents. Not to mention a temporary care assistant who’s just there for the money. You expect to discove details of these elderly characters’ past lives and the effect these have had on their present static situation. This Toksvig gives us, but somehow neither the comedy or the pathos inherent in the predicament in which the old ladies find themselves rings true.

Rebecca Gatword’s production is remarkably busy, considering that wheel-chairs and walking-sticks abound, and the designers – Michael Taylor (set), Mark Doubleday (lighting) and Mic Pool (sound) – also keep our eyes engaged. as, to a certain extent, does the excellent cast.

It is led by Sheila Reid as the trendiest of the inmates, Joanna Monro as June (with more moral hang-ups than she has year), Maggie McCarthy as down-to-earth May, Amanda Walker as a resident defined only by the “St Michael” label inside her dressing-gown and Rachel Davies as fluttery Maureen.

Making an impact in her professional stage début is Heziah Joseph as Hope, the carer from Croydon who isn’t quite sure what she wants from life but knows that this isn’t how she wants it to go. Theo Toksvig-Stewart is another newcomer, playing Jed who might best be described as an opportunist.

Yes, it’s clever and beautifully acted. Yes, the staging is equally inventive. But no, I watched the production with admiration for the various skills so beautifully utilised but never felt engaged with it. “There, but for the grace of God…” should have been edging towards the front of my understanding. Somehow it never happened.

Three-and-a-half star rating.

Silver Lining is on a national tour until 8 April, including the New Wolsey Theatre, Ipswich between 14 and 18 March. Performances at the Cambridge Arts Theatre continue until 11 March with matinées on 9 and 11 March

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Filed under Plays, Reviews 2017

Bully Boy

(reviewed at the Mercury Theatre Studio, Colchester on 9 November)

We live in a conflicted world and time – though there’s nothing new or unusual about that. What perhaps is new is that we are being made aware of the mental as well as physical toll which combat levies on its participants. Not to mention on their friends and families and on (often innocent) bystanders.

Sandi Toksvig’s play Bully Boy confronts us with two soldiers. Oscar (Andrew French) is a wheelchair-confined major, investigating Eddie (Josh Collins) on behalf of the military police. A complaint has been made by Afghan villagers; it appears that a young boy was deliberately thrown into a well.

Close friends and comrades died as the effect of an improvised explosive device; Eddie is the sole surviver of the group, the Bully Boys. Bully, of course, has two distinct meanings – a jolly, dashing fellow is one. The other denotes someone who preys on weaker people. It is up to Oscar to establish just which one is significant in this context.

Dan Shearer’s production in the refurbished Mercury Studio Theatre has the audience steeply banked overlooking a wide but shallow acting area. Designer James Cotterill frames the action with dun-coloured fencing; both actors wear sand-camouflage combat gear. Rebecca Applin’s eerie music and Steve Mayo’s atmospheric soundscape drift across the action.

Of the two performers, it is Collins as the sparky, perky Eddie who has perhaps the easier task. he makes it apparent from the start that this is a façade, a mask which has become second nature; what is behind it is too raw for exposure. The British “stiff upper lip” propensity can conceal irremediable damage.

French plays a more complicated character; war hero (from the Falklands campaign), seeker after truth or a man in retreat from himself and his own past? He shows us someone for whom a desk-job and a wheelchair are no true compensation for what he has forfeited. In his own way, he too is engaged in a fight to survive.

Bully Boy runs at the Mercury Theatre Studio, Colchester until 21 November.

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Filed under Plays, Reviews 2015