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Showing posts with label Reece Shearsmith. Show all posts
Showing posts with label Reece Shearsmith. Show all posts

Thursday, 30 January 2025

Theatre review: Inside No.9 - Stage/Fright

"Janette Krankie wouldn't look us in the eye."
"That's 'cause she's only 4ft."

Last year Steve Pemberton and Reece Shearsmith's comedy/horror anthology Inside No.9 ended after, somewhat inevitably, 9 series, but as a final farewell to the show the writer/stars have reunited for a stage version, Stage/Fright. This is a mix of greatest hits of the series itself, and new material that could only work on stage, and although the TV show did experiment with various genres outside of its original Tales of the Unexpected roots, this new stage extension to the canon focuses on the queasy mix of sometimes cheesy comedy and jump-scare horror that feels like the series' purest form (so in the unlikely event that anyone was hoping for the utter bleakness of something like "The Last Weekend" or "The Trolley Problem" drawn out to two-and-a-half hours, I guess they'll be disappointed.)

Thursday, 26 January 2023

Theatre review: The Unfriend

Former Doctor Who and Sherlock showrunner Steven Moffat goes back to his sitcom roots for his playwrighting debut, and brings along some more TV connections - his regular collaborator Mark Gatiss directs black comedy The Unfriend, first seen in Chichester and now transferring to the Criterion. It mines familiar comic territory by throwing some truly objectionable people on stage together, and some of the characters aren't very nice either. Grumpily-married London couple Peter (Reece Shearsmith) and Debbie (Amanda Abbington) meet brash Denver widow Elsa (Frances Barber) on a cruise, and after a lot of emails invite her to stay for a few days. It's only on the day she arrives that they decide to do a quick Google search on her name, and discover she's suspected of being a serial poisoner who's killed at least six people - but had never left quite enough evidence behind for a case to stick.

Friday, 6 September 2019

Theatre review: A Very Expensive Poison

It's seven years since Lucy Prebble has written for the stage, a self-imposed exile because - as the playwright herself admitted when that play got adapted for radio - she was so happy with The Effect that she genuinely didn't believe she'd ever match it. Well, she's finally braved the weight of her own high expectations to debut A Very Expensive Poison at the Old Vic, and instead of taking similar ground to her last play it instead goes back to ripping its story from the headlines like her earlier hit ENRON. It also uses something like that play's genre-hopping, metatheatrical style, although director John Crowley can't quite bring the flair of a Rupert Goold to it. Based on Luke Harding's book of the same name, A Very Expensive Poison follows the murder of Russian whistle-blower Alexander Litvinenko with Polonium 210, a radioactive substance so rare it could be traced back to the precise nuclear plant where it was produced; and despite this the trouble Litvinenko's widow Marina had getting anyone in power to point the finger at the most obvious suspect.

Friday, 14 October 2016

Theatre review: The Dresser

Ronald Harwood is best-known for his contribution to the field of gibbering misogyny, but he also wrote some plays. Sean Foley's new production of the best-known one, The Dresser, comes to London after a short out-of-town tryout, and follows a co-dependent relationship over the course of one night during World War II. For the last 16 years Norman (Reece Shearsmith) has been personal dresser to the grand old stage actor Sir (Ken Stott,) a fairly well-respected name but appaently not enough to ever get the knighthood he desperately wants. They're currently on their latest leg of an endless regional tour of Shakespearean rep, with a company largely made up of the elderly and injured because all the professional young actors are in the army. Tonight's performance is King Lear, but Sir has gone missing.

Monday, 21 September 2015

Theatre review: Hangmen

The Royal Court ended its last season Downstairs with a play about hanging; it begins its autumn season with another one. But where debbie tucker green imagined a Britain where capital punishment is still in place, Martin McDonagh's Hangmen takes us to the day after its abolition. Most of the action takes place in a small Oldham pub run by Alice (Sally Rogers) and her husband Harry (David Morrissey.) But up until yesterday Harry's main job was as the country's second-best hangman, after the legendary Albert Pierrepoint. Any mention of Pierrepoint is taboo in this pub though, as instead of notoriety, Harry's job has gained him a macabre kind of celebrity, and he's been happy to capitalise on it for status. With the abolition of hanging in the news, a reporter from the local paper wants Harry's side of the story, and while he pretends to keep a dignified silence, he can't wait to hold court again.

Wednesday, 22 February 2012

Theatre review: Absent Friends

Alan Ayckbourn's latest play is due to arrive in That London soon but first there's another revival from his huge back catalogue. We're back in the '70s for Absent Friends, one of his bleak comedies of awkwardness and middle-class disappointment. Designer Tom Scutt doesn't get to do one of his more expressionistic sets this time but he's just as adept at bringing the decade taste forgot back to life in all its orange, brown and queasy green glory. The well-off middle-class living room is dominated by a garish wall clock as well as lots of other nice touches - the crocodile seemed particularly true to the time period to me. This is the home of Di (Katherine Parkinson) and Paul (Steffan Rhodri,) on a Saturday afternoon when they're about to have a tea party. Di's holding it to cheer up Colin (Reece Shearsmith,) a friend they haven't seen for a while, whose fiancée recently drowned. But Paul has been having an affair with the monosyllabic Evelyn (Kara Tointon,) wife of jittery John (David Armand.) And with Marge (Elizabeth Berrington) fretting over her accident-prone husband who keeps phoning her from his sick-bed, Colin might be the one in least need of cheering up.

The comedy isn't uproarious but it's sharp and the cast work well together to show us this disparate group of clearly-defined characters who've ended up in each others' lives largely by default (though why the stone-cold Evelyn ever ended up married to loser John is a mystery.) Among the strong ensemble Parkinson is good as the smiling hostess permanently on the verge of hysteria, Armand often quietly steals the scene as his character, with his phobia of talking about death (an unfortunate condition given why they're there,) starts to get the shakes, while Berrington's Marge constantly putting her foot in it is also funny. Having been outside of the group for a while Colin's proclamations about his friends' personalities are comically wide of the mark while containing the odd accidental grain of truth. The rather bleak conclusion has to be that Colin's the happiest in his relationship, as his fiancée died before things could sour between them and he remembers her as perfect. Ayckbourn's wry observations remain apt and as that clocks ticks off the minutes in real time Jeremy Herrin's production captures the uncomfortable comedy.

Absent Friends by Alan Ayckbourn is booking until the 14th of April at the Harold Pinter Theatre.

Running time: 2 hours 5 minutes including interval.