Song's praises sung
Lynn Freeman
Parlour Song, directed by Susan Wilson, Circa Two, reviewed by Lynn Freeman
YOU can see playwright Jez Butterworth’s reverence for Pinter in the fractured dialogue and oddness of the story.
It’s done well, mind you, a homage from a skilled young writer who is making his own mark on the British theatre scene. While Parlour Song is set in a housing estate, the dilemmas facing the three characters are universal. They loved and long to be loved, they feel trapped but have nowhere else to go, they are full of insecurities and doubts.
Ned and Joy are married and live in a mirror image semi-detached house with neighbours Dale and Lynn. Fortunately they get on well. Unfortunately Ned and Joy are both suffering personal crises.
Poor Ned thinks he’s losing his mind, as his property starts to go missing – nothing substantial but things keep disappearing even when under lock and key. He fears he is not able to satisfy his wife, the ironically named Joy. Another reviewer described her as looking and acting like Myra Hindley, I wish I’d thought of that line because it’s perfect.
Gavin Rutherford specialises in roles like Ned, big hearted men beaten down by life’s injustices, and again he makes you care for this poor guy.
Heather O’Carroll knows how to play women who on the surface are all hard angles, slowly melting them away to reveal someone complex and capable of intense feeling.
As the hale and hearty bling-wearing Dale, Christopher Brougham is delightful. Unlike his neighbours he’s an opportunist rather than a deeply tortured soul. He’s also our narrator.
Butterworth brings together all kinds of different theatre devices, from the naturalistic to the surreal, in this taut one hour 15 minute play.
It could have been a mess in less gifted hands and performed by less talented actors. This though is a little gem, nimbly directed by Susan Wilson. It is unsettling, and sad, and for both reasons it gets under your skin. The dark gauze set by John Hodgkins is cleverly multi-purpose and lit to perfection by Jennifer Lal.
YOU can see playwright Jez Butterworth’s reverence for Pinter in the fractured dialogue and oddness of the story.
It’s done well, mind you, a homage from a skilled young writer who is making his own mark on the British theatre scene. While Parlour Song is set in a housing estate, the dilemmas facing the three characters are universal. They loved and long to be loved, they feel trapped but have nowhere else to go, they are full of insecurities and doubts.
Ned and Joy are married and live in a mirror image semi-detached house with neighbours Dale and Lynn. Fortunately they get on well. Unfortunately Ned and Joy are both suffering personal crises.
Poor Ned thinks he’s losing his mind, as his property starts to go missing – nothing substantial but things keep disappearing even when under lock and key. He fears he is not able to satisfy his wife, the ironically named Joy. Another reviewer described her as looking and acting like Myra Hindley, I wish I’d thought of that line because it’s perfect.
Gavin Rutherford specialises in roles like Ned, big hearted men beaten down by life’s injustices, and again he makes you care for this poor guy.
Heather O’Carroll knows how to play women who on the surface are all hard angles, slowly melting them away to reveal someone complex and capable of intense feeling.
As the hale and hearty bling-wearing Dale, Christopher Brougham is delightful. Unlike his neighbours he’s an opportunist rather than a deeply tortured soul. He’s also our narrator.
Butterworth brings together all kinds of different theatre devices, from the naturalistic to the surreal, in this taut one hour 15 minute play.
It could have been a mess in less gifted hands and performed by less talented actors. This though is a little gem, nimbly directed by Susan Wilson. It is unsettling, and sad, and for both reasons it gets under your skin. The dark gauze set by John Hodgkins is cleverly multi-purpose and lit to perfection by Jennifer Lal.
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