Tag Archives: Ruth Rendell

Gallowglass

reviewed at the Theatre Royal, Norwich on 20 February

Gallowglass is one of the psychological crime novels which Ruth Rendell wrote under the name of Barbara Vine. It weaves numerous threads into the web of its story. It is a tale about the effect of the past on the present and adapter Margaret May Hobbs is skillful in the way she draws us into the mystery.

We begin on one of Paddington Station’s Underground platforms. Joe Herbert, a young drifter is about to thrown himself under an incoming train but is prevented by Sandor Wincanton. He’s a young man on the graft in more ways than one, with a moneyed as well as troubled background.

The developing relationship of dependency between these two opposites is well brought out by Joe Eyre (Sandor), all black-clad educated arrogance, and Dean Smith (Joe), one of life’s malleable nonentities. Smith has the more difficult of the two rôles to sustain and gathers our sympathy as Joe is swept ever deeper into Sandor’s plans.

Central to these is former model Nina Abbott (Florence Cady). Nina is now the wife of an older wealthy East Anglian landowner, the second such match she has made. In the course of her previous marriage she had suffered a horrendous kidnapping; the fear that history might repeat itself sears both herself and her husband Ralph Apsoland (Richard Walsh).

As protection for her he hires Paul Garnett (Paul Opacic), a man who has to make a stable home for his young daughter Jessica (Eva Sayer) while sorting out the fallout from his failed marriage. Then there’s another appointee to the Apsoland staff – Colombo (Matthew Wellman) who doesn’t quite to fit in.

Sandor’s doting mother Diana is also on the periphery; Karen Drury gives her gullibility pathos in her two scenes. Joe’s foster-sister Tilley is a far more lively and brash personality; Rachael Hart gives this young woman in a camper-van a sharp edge, of the sort born from experience.

Director-designer Michael Lunney sprawls the fast-moving action through fast-changing locations with a judicious use of scenes played in front of projected backgrounds with appropriate sound effects (White Tip Media) alternating with realistic room settings split across the stage.

It does keep the action – and therefore the tension – fast-flowing but perhaps inevitably never quite allows the fullness of the characterisations to mature. For example, Cady’s Nina seems almost a shadow in her own drama and Walsh’s Ralph remains a conventional two-dimensional country toff. Opacic and Eyre break out of this mist, perhaps because their parts have more of an extended edge.

Four star rating.

Gallowglass runs at the Theatre Royal, Norwich until 24 February with matinées on 22 and 24 February. The Middle Ground Theatre Company tour is also at the Palace Theatre, Westcliff (Southend) between 24 and 28 April.

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A Judgement in Stone
reviewed in Westcliff on 5 June

Ruth Rendell’s 1977 crime novel A Judgement in Stone is, like most of her work, a subtle in-depth exploration of what makes some people into murderers and how others react. Some thrillers translate well to the stage or film; others become blurred or somehow skew characterisation and motivation with over-simplification.

Simon Brett and Antony Lampard have written the script for this new touring production which is dircted by Roy Marsden, no slouch as far as the dramatised thriller genre is concerned. The excellent, almost dominating and realistic set is by Julie Godfrey.

There are four members of the Coverdale family in whose country house the story is set. They’re an urbane quartet – husband George (Mark Wynter) and wife Jacqueline (Rosie Thomson) who are both on their second marriages, his daughter Melinda (Jennifer Sims) and her student son Giles (Joshua Price). They have a long-term housemaid Eva Baalham (Shirley Anne Field) and a gadener-cum-handyman, the loose-fingered Rodger Meadows (Antony Costa).

As housekeeper they choose Eunice Parchman (Sophie Ward), a shuffling pent-up volcano weighed down by the proverbial shoulder chips. It’s a remarkably effective portrait of a sad, unlikeable woman whose illiteracy is only gradually revealed as th action progresses (Rendell tells us about it in the opening line of the novel). Melinda’s genuine offer to help will only rebound.

Almost rivalling Ward in the performance stakes is Deborah Grant as Joan Smith, a no-good girl turned into Bible-thumper in full blast-off revivalist mode. The story is told in flash-backs as Detective Superinendent Vetch (Andrew Lancel) and Detecive Sergeant Challoner (Ben Nealon) attempt to establish why the Coverdales were shot down while watching a telecast of Don Giovanni and who did it.

The detectives prowl on and off the stage as their enquiry progresses, or stalemates. The actual sequence of events as they unfold punctuates their investigation, which has a somewhat alienation effect, possibly intended but probably not. Wynter makes George and Sims Melinda into three-dimensional people while Price puts over the student with his mind on higher things very well.

Thomson tends to squeak rather than speak her lines. Neither detective comes over with any sense of authority until the end of the play when they home in on the murderer. Costa makes the most of his incursions into the manor-house; he is a recognisable type of the no-gooder who is always going to be a suspect – for one crime or anoher.

Three and a half-star rating.

A Judgement in Stone runs at the Palace Theatre, Westcliff until 10 June with matinées on 8 and 10 June.

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