Theatre review: Rare Earth Mettle

Like every other industry at the moment, London theatre can't seem to let a year go by without a scandal; and since "getting to run the National despite presiding over the Spacey years at the Old Vic" apparently isn't troubling anyone, it's fallen to the Royal Court instead, and Al Smith's Whoops I Done An Antisemitism binfire surrounding Rare Earth Mettle. The furore surrounded Smith giving a stereotypically Jewish name to the morally dubious millionaire at the centre of the story, which is ironic because this could all have been avoided if he'd just called him something like Melon Husk - it's not like the inspiration is subtly concealed. Instead he's been renamed Henry Finn (Arthur Darvill,) a man who's made a fortune in tech and has ploughed it all into an electric car company (called Edison, because like I say... not subtle.)

Theatre review: Harrogate

The first time I ever went to the Royal Court Upstairs it was for a play called Scarborough, named after a resort town where the central couple had sex in a B&B room (I was impressed by its star Jack O'Connell, wonder what happened to him...) So there's some déjà vu in the fact that Al Smith's Harrogate gets its title from a similar dirty weekend, although this time we're not in the room itself but in a London kitchen a week or two after the fact. Nigel Lindsay and Sarah Ridgeway play characters identified only as Him and Her, but while Lindsay's character remains the same throughout, Ridgeway is actually playing three different people over the course of the evening. Yes, it's one of those plays that's hard to even give a synopsis of without giving everything away so consider everything after the text cut as potentially spoilery.

Theatre review: Diary of a Madman

A loose adaptation from Gogol, Diary of a Madman does deal with mental illness, but it doesn’t do so explicitly for its first hour, instead setting a detailed scene. Al Smith’s Scottish transposition takes inspiration from the popular metaphor of the Forth Bridge, said to take so long to paint that by the time it’s done the other end needs starting again. Here it becomes the job of a single family who’ve been doing it for generations, Pop Sheeran (Liam Brennan) taking a year to put on each new coat before going back to the start. His son’s unable to help him at the moment so the company that manages the bridge has sent along Matthew (Guy Clark,) an English post-grad at Edinburgh University, whose thesis studies the effectiveness of a new formulation of paint intended to cut down on all this work. In one of those plot-driving coincidences, Matthew then discovers that Pop’s teenage daughter Sophie (Louise McMenemy) is the girl he slept with a few weeks earlier.