Tag Archives: James Perkins

Hysteria
reviewed at Chelmsford Civic on 7 February

Farce is the bright side of the tragic mask – and vice versa. Take Terry Johnson’s Hysteria, which postulates a meeting between the fathe of psychology Sigmund Freud and surreal painter and sculptor Salvador Dali. The one is Viennese old-school, formal – almost repressed, if that isn’t too much of a contradiction – coming to the end of his life with non-curable cancer, in exile, in Hampstead.

The other is as extrovert in his flamboyant lifestyle as on canvas or marble. He too is an exile, in just as many ways as Freud. Both try to shut out those aspects of the late 1930s which they knw they cannot ameliorate and which are therefore better left to simmer by themselves. But in farce, reality keeps on butting in; for Freud it is persnified by his doctor and friend Abraham Yahuda who sees all too clearly what Kristalinacht is heralding.

All good farces require doors to be locked or flung open at the author’s whim. There should also be a scantily-clad young woman and the development of a whole sequence of situations which the other characters always misunderstand. Enter Jessica, in search of a particular case notebook. The trouble for any director, here London Classic Theatre’s Michael Cabot, is that our perceptions of what are now historical characters and events have changed (I hesitate to say, matured) in the past 24 years.

There’s an excellent set by James Perkins and a real sense of ensemble playing (a prerequisite for farce) from the cast. Ged McKenna is sympathetic, as well as deliberately infuriating, as Freud while John Dorney gives a nuancedly over-the-top portrait of Dali, a many who is not alays sure that he is entirely comfortable in the persona he has created for himself.

Moray Treadwell’s Dr Yahuda comes over as a man who has made a place for himself in this strange country while being actively concerned with the fate of those less fortunate than he. Summer Strallen is a soft-voiced Jessica, which may suit the young woman’s quiet determination to achieve what she so desperately wants, however embarrassingthe situations into which that leads her. But it does put a strain on the audience’s attention, particularly in the first scene.

Three and a half-star rating

Hysteria is at the Civic Theatre, Chelmsford on 8 Febryary and tours nationally until 20 May, including the Key Theatre, Peterborough (7-8 March) and the Mercury Theatre, Colchester (18-20 May).

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Filed under Plays, Reviews 2017

The Last Five Years

(reviewed at the New Wolsey Theatre, Ipswich on 1 March)

Jason Robert Brown’s one-act musical The Last Five Years could be defined as a chamber opera. It’s based on the film of the same name and tells the story of two young people – an aspiring writer Jamie Wellerstein (Chris Cowley) and an equally ambitious actress Catherine Hiatt (Katie Birtill). They meet, fall in love, marry and separate.

Catherine’s story is told backwards, from her reception of Jamie’s letter saying that he’s left her. Her opening lament with its bitter-sweet refrain of “I’m still hurting” suggests her melodic line throughout; there’s occasionally a hint of a waltz during the good times when their lives seem to run on such smooth parallel lines. The characterisation is in the two characters’ musical idioms, hers the more lyrical, his with rather more of a rhythmic rasp.

Brown knows how to write a tune and the five-piece band, perched high above and at the back of the action in James Perkins’ simple but effective multi-location set, sustains the singing actors without ever overwhelming them. Peter Rowe’s direction wisely allows for the basic simplicity of the story – so old, and always so new – to shine.

He’s lucky in his cast. Birtill shows us the fragility of Catherine’s life, as the failure of her marriage is mirrored in the collapse of her career – a sequence of failed auditions. Cowley is a whirlwind of hopes realised, but at a personal cost. His acting out of a Jewish story in front of a decorated Christmas tree is deservedly something of a show-stopper. He knows that he must leave (his part in the story runs forward, not backward), that there is an emotional price for this – and that he accepts its payment.

The Last Five Years runs at the New Wolsey Theatre, Ipswich until 11 March with matinée performances on 2, 5 and 9 March.

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Filed under Music & music theatre, Reviews 2016