Theatre review: Reykjavik

PREVIEW DISCLAIMER: I caught Reykjavik's final preview performance before they invite the press in.

Add Richard Bean to the ever-growing list of playwrights who really just want to write a ghost story: It's fair to say I've had mixed reactions to his plays, but while the writer's biggest hits have been with comedy, the mournful, haunted Reykjavik is probably the best of his plays that I've seen. Set in 1976, with the Cod Wars (Iceland demanding, and invariably getting, an increasingly large area of exclusivity for fishing its waters) nearing their end, the fishing industry that makes up a huge proportion of Hull's economy looks under serious threat. But for Donald Claxton (John Hollingworth,) whose company owns several boats, there's a more immediate problem: One of his trawlers has sunk in the freezing waters off Iceland, and all but four of the crew are dead. It's something all the trawlermen know is a possibility, and the city has traditions for dealing with it.

Theatre review: Big Big Sky

The studio venue with the most disproportionate set design budget in London recreates a real place from Tom Wells' past, as Hampstead Downstairs plays host to Big Big Sky, and designer Bob Bailey takes us into a café where the playwright used to work. In the village of Kilnsea where Wells grew up, the café is at a particularly remote point, because it serves the hordes of birdwatchers who arrive every spring and summer, hoping to catch sight of some of the rare sea birds that flock to the coast. Angie (Jennifer Daley) only gets customers between April and October so she closes the café every winter, and will soon close it for good - the play essentially tracks her last year running the place, as a new bird observatory nearby will put her out of business. She's helped out by local teenager Lauren (Jessica Jolleys,) and most days Lauren's widowed father Dennis (Matt Sutton) pops in just after closing, hoping to get a free Cornish pasty from the leftovers, and maybe a chat with Angie.

Theatre review: Utility

Emily Schwend's Utility concludes another successful season at the Orange Tree, albeit one that's felt more quietly consistent than full of explosive hits. This, too, is in the same vein, an American kitchen sink drama about a woman just about keeping her head above water. The play starts with Amber (Robyn Addison) tentatively agreeing to let her husband Chris (Robert Lonsdale) move back in with her and their kids after a separation. It's implied, if never explicitly stated, that there was another woman, but in any case this doesn't seem to be what she's worried about: He's charming and well-meaning, but Chris is also unreliable and can barely seem to manage a couple of shifts at work every week, so Amber feels he'll end up being just another mouth to feed as she works two jobs. This week she's also got to worry about preparing an eighth birthday party for her daughter.

Theatre review: The Hypocrite

2017 is the year of Hull as UK city of culture, and although they're based in Warwickshire the RSC have got in on the act, co-producing a new commission with Hull Truck Theatre. The city is at the heart of The Hypocrite, which although being written in the style of a Restoration comedy takes its story from true events from well before the Restoration, indeed before there was any need for a Restoration, as the titular character, Sir John Hotham (Mark Addy,) was the Governor of Hull in 1642, just as the Civil War was about to break out. His story was a scandal that put the city at the centre of the action, so it's natural that Hull's best and funniest living playwright should be chosen to tell it. But he must have been busy so they just got Richard Bean in to recycle some of the more successful bits from One Man, Two Guvnors.

Theatre review: Cinderella (Lyric Hammersmith)

It's my annual trip to the Lyric Hammersmith's pantomime, and the third year Tom Wells takes on writing duties (and possibly the last - next year's Aladdin has, bizarrely, already been announced and put on sale, with Joel Horwood back as writer.) But for 2015 it's the story of Cinderella (Krystal Dockery,) the orphaned girl made to cook and clean up after the wicked Madame Woo (Sara Crowe) and her daughters - Cinderella is unusual among pantos in having two dames, the ugly stepsisters Booty (Matt Sutton) and Licious (Peter Caulfield.) Her only friend is Buttons (Samuel Buttery,) and her only hope of escape is the ball held by Prince Charming (Karl Queensborough,) to which everyone in Hammersmith has been invited. Her stepmother will do everything she can to stop Cinderella going to the ball, but she does have one last magical ally who'll make sure Cinders gets her prince.

Theatre review: Toast

The second Richard Bean play I've seen this year, and the second to make reference to the Pitcairn islands - and we haven't even got to the one actually called Pitcairn. Instead this is a revival of his first play, which takes inspiration from Bean's job in a bread factory in his year out before university. Toast is set some time in the 1970s in the break room of a Hull bread factory; a time when the trade unions were at their most powerful, but although there's recently been a strike for higher pay, it was a complete failure. This may be because the union rep, Colin (Will Barton) is ineffectual, but it could just as well be because strike action would be a hard ask for people who barely ever seem to leave the ovens. Working anything up to 80-hour weeks, some, like Peter (Matt Sutton) have families to support, but for the likes of Cecil (Simon Greenall) and Nellie (Matthew Kelly) the job seems to be a genuine part of them.

Re-review: Jumpers for Goalposts

If Jumpers for Goalposts was worth travelling all the way to Watford for when if first opened - you can read a brief synopsis in my original review here - Shepherds Bush is certainly not too far to go for a repeat visit, as Tom Wells' play arrives in London triumphant after a national tour. I've been recommending this play left right and centre (forward) since I heard it would be coming to the Bush, and it seems I've not been the only one because the run had almost sold out and been extended long before performances here even started. If you weren't one of the people who took that advice the first time round, get in there quick now while there's a few dates still available, because a repeat visit only confirms what a little gem of a show this is, and a more intimate space only improves the experience.

Theatre review: Jumpers for Goalposts

Andy Rush must have really impressed the creatives on The Kitchen Sink - he's barely out of Hello/Goodbye, helmed by that show's director Tamara Harvey, when he crops up in writer Tom Wells' latest play. Watford, where Jumpers for Goalposts premieres for Paines Plough with the intention of subsequently touring, is further than I like to travel for theatre but Wells' past work's been so good I was tempted to make the trip even before other bloggers insisted I must. Set around a gay and lesbian five-a-side football tournament (soccer to Americans and other aliens) it follows a team whose self-deprecating name, Barely Athletic, conceals a rabid desire to win - at least on the part of head coach and team captain Viv (Vivienne Gibbs.) The manager of a local gay pub, Viv has put a team together from a couple of regulars; and as her sister has recently died, she's also recruited as "token straight" her brother-in-law Joe (Matt Sutton,) in the hope that the distraction will help him cope.