reviewed at the Mercury Theatre Studio, Colchester on 17 October
Wars, especially global ones, throw up a lot of wreckage. This includes human wastage, bilateral damage as the bland phrase has it. Small fry entangled in this horror sequence tends to be overlooked.
Nicola Werenowska’s new play Silence, a co-production with Salisbury Playhouse’s Wiltshire Creative and Liverpool’s Unity Theatre, explores three generations of Polish-origin women and their contrasted ways of dealing with life’s traumas.
Both German and Russian occupations of the country, itself something of a political football since the Middle Ages, caused immense suffering and forcible displacement.
Maria, the grandmother of this story, has largely kept silence about the depths of her personal agonies first in Poland and later in Siberia. Her daughter Ewa has a rocky marriage in Reading and Anna, her daughter, is a typical young woman of the early 21st century.
Director Jo Newman and her designer Baśka Wesolowka balance the complexity of the stories and characters’ revelations with a taut simplicity. Scenery consists of three grey chairs backed by grey screens. Costume changes are kept to a minimum, simply reflecting different times and places.
The three actresses – Tina Gray as Maria, Kate Spiro as Ewa and Maria Louis as Anna – all inhabit their rôles from the heart out; they make these women’s contrasted dilemmas and their equally different ways of coping with them moving as well as credible.
Four star rating.
Silence runs at the Mercury Theatre Studio, Colchester until 20 October. There are matinée or early evening performances on 18, 19 and 20 October. The tour continues until 17 November including the Norwich Arts Centre (23 October) and the Sir John Mills Theatre, Ipswich (5 November).
(reviewed at the Queen’s Theatre, Hornchurch on 26 October)
What sends shivers down the spine where tales of the supernatural are concerned is often less the visualised than the imagined. We all cast our demons from different moulds. Nell Leyshon’s stage adaptation of Daphne du Maurier’s short story Don’t Look Now is given a production by Simon Jessop which knows when to make evil concrete – as little as possible.
It is the Venetian setting designed by Norman Coates with the visual effects projected onto its bridges, water and shuttered windows by Dan Crews and the trickling soundscape devised by Andy Smart which create the atmosphere. We begin by an open grave before which grief-striken mother Laura (Charlotte Powell) stands motionless. Hymns and part of the Requiem Mass are heard while we watch the image of Laura and John’s young daughter Christine drown.
John (Tom Cornish) whisks Laura away to Venice, where they spent their honeymoon. He’s prepared to move on – after all their son John is alive, well and safe at his boarding school. As one cannot help but empaphise with Laura, to whom Powell gives sincerity in her grief and inevitable feelings of guilt (“why didn’t I…?), Cornish balances this by showing John less as unfeeling but more as something of a pragmatist.
The hotel bedroom scene where his desire to make love with his wife at first meets resistance that (perhaps) melts into acceptance, is cleverly played on two levels with the live actors and their projected images. The mutual ground which constitutes terra firma for this husband and wife is quietly crumbling. Their encounters with two strange, identically dressed elderly women (Gillian Cally as the sister with explanations, Tina Gray as her blind mystic sibling) display brutally the gulf opening for Laura and John.
You probably know what happens next. Onlookers and participants in their own parallel civic drama are the police chief (Stuart Organ) hunting a serial killer, the hotel clerk (Callum Hughes) and the restaurant proprietor (Sam Pay). A mysterious beak-masked sacristan – a commedia dell’arte character or a plague doctor? – and a diminutive red-cloaked figure (Karen Anderson) haunt this winter Venice.
Don’t Look Now runs at the Quen’s Theatre, Hornchurch until14 November.
(reviewed at the Queen’s Theatre, Hornchurch on 21 September)
Woman may be a delicate blossom, like the white flowers for which Robert Harling named his 1987 play, but women are infinitely less fragile, hence the second word in the title Steel Magnolias. We are in small-town Louisiana in the south of the USA, specifically in a hair-dressing salon. Its proprietor is Truvvy (Sarah Mahony) and she’s just taken on a new-to-town assistant Annelle (Lucy Wells) – a born-again Christian.
The clientle is a faithfull one, using the salon as a neutral meeting-ground, rather like a club. There’s a former mayor’s wealthy widow Clairee (Tina Gray), the slightly eccentric dog-loving Ouiser (Gillian Cally) and mother and daughter M’Lynn (Claire Storey) and Shelby (Gemma Salter).
Shelby is about to be married; she’s also a diabetic. In her mother’s view, the two do not go together, as we see during the course of the drama which coves two-and-a-half years in four scenes. Director Liz Marsh and designers Dinah England (set and costumes) and Chris Howcroft (lighting) take us to the time and place and through the seasons with considerable style and dialect coach Richard Ryder has done sterling work.
The trouble is that those soft Southern inflections are not easily projected into the auditorium. So, though all the performances are very good in themselves, Storey’s long speech in the fourth scene didn’t really come across with all its painful recollection until its peroration.
Which is a pity as by this point we are thoroughly engaged in the human tragedy as well as with the personal crises of various types with which the characters are involved and which they manage to resolve collectively and with considerable finesse through a policy of give and take.
Steel Magnolias runs at the Queen’s Theatre, Hornchurch until 10 October.