The Woods - Review

Southwark Playhouse

****

Written by David Mamet

Directed by Russell Bolam

Francesca Carpanini and Sam Frenchum

Catching up with The Woods late in its run at the Southwark Playhouse, offers an opportunity to consider this by-now well matured interpretation of David Mamet's 1977 study of the sexes. 

Covering one night from dusk to dawn the tight two-hander sees Nick and Ruth staying at his remote summer house in the northern USA. Mamet deliberately leaves the history of the couple's relationship opaque, it is evident that there once was a burning love between the pair, the smouldering ashes of which are extinguished before our eyes in the play's 90 minute one-act narrative. 

Mamet's text outlines a clear connection with nature and the gods even as Nick and Ruth’s love breathes its last, flailing like a landed fish that dies before our eyes. Sam Frenchum's Nick is the more damaged of the two, lurching from tender intimacy through to violent misogyny. But while Nick clearly can exert physical power over Francesca Carpanini's Ruth, it is she who ultimately wields the emotional axe. 

Typically Mamet holds the drama's darkest menace back until the play's bloodied, enigmatic endgame but as Nick loses control, Ruth emerges to dominate her beastly, beasted ex-lover by the final curtain.

 

Russell Bolam directs with sensitivity with an equal nod to Haruka Kuroda for staging the moments of undoubtedly complex intimacy with a convincing authenticity. Likewise, Anthony Lamble’s simply stark set and Bethany Gupwell’s lighting are as effective.

A rarely performed piece, this iteration of The Woods has one week left to run and is well worth seeing.

Runs until 26th March

Photo credit: Pamela Raith

Allegro - Review

Southwark Playhouse, London


****


Music by Richard Rodgers 
Book and lyrics by Oscar Hammerstein II
Directed by Thom Southerland

The Company

Allegro is the third musical born from the long standing genius that is the duo of Rodgers and Hammerstein. While neither their most successful piece, nor their most daring and despite it being a somewhat lacklustre story, Allegro still holds all of the charm and sophistication associated with R & H musicals. 

The story follows the life of Joseph Taylor, Jr., born to a middle class family in small town America. The son of a doctor, he grows up to follow in his father’s footsteps and training as a medic and trudging through the hardships of college, medical school and all the worries that come with it.

Thom Southerland’s direction is, as ever, expertly executed with the onstage action proving beautifully slick. Paired with Lee Proud’s choreography, the cast deliver compelling performances without going over the top. Anthony Lamble’s minimalistic set design of rolling set pieces and not much else is also beautifully flexible, making for easy interchanges between time frames.

Dean Austin has done an immaculate job with the band, affording a fine respect to Richard Rodgers’ music, giving a rich and full sound that is only aided by the acoustics at Southwark.

As Joseph, Gary Tushaw’s performance is excellent. He plays the polite and quiet leading man with a gentleness that makes you sympathise with him on all of his decisions. Playing opposite him is the spritely and brash Emily Bull, who plays Jennie Brinker, Joe’s eventual wife. Her voice is strong and she plays the free spirited character with a care free energy that, despite her ending up as a rather conniving woman, is a breath of fresh air in an otherwise average story.

The most wonderful and truly gripping part of the production is the use of puppetry to display Joseph in his much younger years. The cast’s control of the simplistic yet hugely effective puppet, adds a further dimension to the performance.

The Southwark Playhouse is building a reputation for extraordinary theatre. While Allegro might not be the most gripping of its recent productions, it is still a joy to watch.

Runs until 10th September

Reviewed by Charlotte Darcy

Photo credit: Scott Rylander