Theatre review: The Enfield Haunting

One of the most famous poltergeist cases ever documented, The Enfield Haunting has been the subject of multiple books, movies and TV series, so a stage version - courtesy of writer Paul Unwin and director Angus Jackson - was probably inevitable. Every so often someone attempts to do big jump scares in the theatre, and with the latest spooky juggernaut 2:22 A Ghost Story mainly known for its rotating cast of random leading ladies with big Instagram followings, there's still room for something to provide the actual chills and thrills recently vacated by The Woman In Black. But while there's some interesting elements to this starrily-cast premiere, the screams of audience terror they might have been hoping for don't come. Lee Newby's set certainly looks creepy enough - the innards of the small, cluttered two-storey house where a young family has lived for 5 years.

Theatre review: Summer and Smoke

I’ve only seen one show directed by Rebecca Frecknall before, a production of the obscure Tennessee Williams play Summer and Smoke at Southwark Playhouse in 2012. Well either Frecknall herself or Rupert Goold must have thought she had unfinished business with it, as she now makes her Almeida debut with… a production of the obscure Tennessee Williams play Summer and Smoke. In a small Mississippi town early in the 20th century, Alma Winemiller (Future Dame Patsy Ferran) is the local minister’s daughter, timid, bookish and prone to panic attacks, with a slightly affected accent – which she puts down to her father having spent time in England, but most of the town sees as further evidence that she’s pretentious. She’s been quietly besotted with her neighbour, the doctor’s son John Buchanan (Matthew Needham) since high school and, after some time away studying medicine, John has returned for the summer.

Theatre review: The Believers

Cynical, spiky and driven to the end of their tethers by their difficult child Grace, if Joff (Christopher Colquhoun) and Marianne (Eileen Walsh) had any belief in god it would be pushed to the limit by their home getting flooded. In this hour of need they're taken in for the night by the neighbours they barely know: Ollie (Richard Mylan) and Maud (Penny Layden) are religious and new age-ey, and to complete the contrast their own daughter Joyous seems to be practically perfect in every way. Although they're polite because of their circumstances, the two couples' differences, especially with regard to faith, make for an instant dislike. But a few drinks and joints later Joff and Marianne allow Maud and Ollie to perform a simple blessing over Grace that they believe will calm her down. It does, but the effect on both families ends up being a lot more drastic than expected.

Theatre review: Lovesong

For the second night in a row I'm at a play featuring a long-married couple right at the end of the woman's life, which is a bit unfortunate as it's hard to take tonight's show entirely on its own merits. At least Frantic Assembly's Lovesong is the superior show by some way. Written by Abi Morgan, Lovesong shows us British dentist Billy and his librarian wife Maggie, who moved to small-town America about 40 years ago, alternating between those early days of their marriage and the final week as Maggie prepares for her death. Edward Bennett and Leanne Rowe play the young couple, Sam Cox and Siân Phillips their older selves. The action is kept pretty simple but stays interesting throughout, the younger duo creating their memories together, the older not always recalling them as they package up the belongings they've built up along the way. (One stark contrast with And No More Shall We Part is that here Maggie's decision to choose when she dies has been made and discussed offstage, Morgan's narrative more interested in presenting the whole picture of how this rounds off the couple's life, than in presenting the moral dilemmas.)

This being Frantic Assembly, directors Scott Graham and Steven Hoggett keep things visually interesting with sparingly-used projections and ventures into dance - though at times they jar, at others these movement sequences add much to the show's heart, and Carolyn Downing's sound design is hauntingly used. The performances are excellent as you'd expect, although knowing how good a comic actor Ed Bennett is, it always feels a bit of a waste seeing him in a straight drama.

The story is overshadowed by the couple's inability to have a child (I think the point of them having moved to America was to have them take a while to make friends, leaving them with only each other in the absence of a child) and once again there's suggestions of infidelity (though here it felt more organically integrated into their life story.) Jan was my theatre companion tonight and he felt the fact we largely saw them in difficult times was suggesting they'd had unhappy lives overall. I wouldn't agree, I thought the way the older couple were still going strong said that ultimately we were being shown a happy relationship. The unfortunate timing of another of my accidental "theme weeks" meant I was kept at a bit more of a distance than I might perhaps have been. No such problem for much of the audience, which despite the Lyric Hammersmith's usual high percentage of (well-behaved¹) school parties contained rather a lot of audible sobbing by the end.

Lovesong by Abi Morgan is booking until the 4th of February at the Lyric Hammersmith.

Running time: 1 hour 35 minutes straight through.

¹except for the one girl in the row in front of us who I'm sure spent much more time looking at her phone's brightly glowing screen than at the stage