This Modern Day Telling of Oscar Wilde's Celebrated Work "The Picture of Dorian Gray" Is Sensual, Stimulating, Daring, Homoerotic and Decadent

 By James V. Ruocco

"Dorian was a very special person to me. What happened to him was just tragic."

Originally published in serial form for "Lippincott's Monthly Magazine" back in 1890 and then as a novel the following year, "The Picture of Dorian Gray" by Oscar Wilde,  embodies 19th century narcissism, decadence and obsession as it collectively portrays the loss of youth, the corruption of the mind, the descent of moral degradation and the perversion of ethics, self-indulgence and influence as seen through the eyes of the title character.

A fascinating work infused with weight, detail and veracity, the novel is a towering achievement as forceful and demanding as it is chilling, eerie and wildly inventive. It also contains the signature wit, flamboyance, energy and incandescent dazzle Wilde was famous for.

The story itself pinpoints the cryptic journey of the title character who, after admiring a full-length portrait of himself, sells his soul for the right price and remains forever young while the actual portrait ages and records every sin and every poisonous act he commits with an ugliness from which there is no escape.

"The reason I will not exhibit this picture is that I am afraid that I have shown in it the secret of my own soul."

In the Barn Theatre's modern take (this adaptation was written by Henry Fillous-Bennett), on Wilde's prolific fantasy fable, co-produced with the Oxford Playhouse, the New Wolsey Theatre, the Lawrence Batley Theatre and the Theatr Clwyd, "The Picture of Dorian Gray" is set in 2021 right in the middle of the COVID-19 pandemic and a world where social media is the name of the game - ugly, straightforward, grounded, loud, obsessive and shameful.

The big question: By abandoning the Victorian setting and mindset of the original novel, does this production actually work?
You bet it does.

Ambitious.
Reflective.
Homoerotic.
Immediate.
Truthful.
Radical.

The Faustian-like undercurrents and conceptualization of this fascinating new work not only give it the bite, sting, shock and purpose it deserves, but shrewdly frame the artistic ground and stratum of the presentation with compelling observation, style and illumination. To miss it would be the ultimate original sin. 

Written by Henry Fillous-Bennett, "The Picture of Dorian Gray" evokes recognition and timeless essence as it moves through our minds, scene by scene with a rawness, honesty and consciousness that serves the material well. Immediately, we are thrust into the story, so much so that it's impossible to look away. Bennett, in turn, offers thoughts, conversations, musings and arguments weighted by language that is skillful and imaginative.
It's a potent mix of this and that with storytelling that reflects and respects Wilde's conceit, his quandaries, his decadence and  his preoccupation with both heterosexual and same sex couplings. Oddly, there is no physical painting of Dorian, but Bennett has other ideas that enhance the character's advancement, his ugliness and the decaying of his soul, mind and body, which eventually lead to his death. It's a creative progress that is well worked and well thought out.

"There are many things that we would throw away if we were not afraid that others might pick them up."

"The Picture of Dorian Gray" is being staged by Tamara Harvey whose directorial credits include Tim Rice's "From Here to Eternity: The Musical," "Uncle Vanya," "Educating Rita," "Pilgrims," "Closer," "Breeders" and "Dancing at Lughnasa." An intuitive director whose fresh take on theatre is fraught with truth, nuance and opportunity, Harvey charts Dorian Gray's descent into darkness with invention, fervor, vibrance and capability. She always knows what buttons to push and push them she does. 

As director, she takes chances and runs with them. She surprises, cajoles and shocks. She slaps you in the face and gets you all riled up. She kicks you in the ass. She pushes you over the edge. She messes with your mind. She catches you off guard. She turns you upside down. She entertains. She keeps you guessing. She grabs you by the throat with her crafty interventions. And then there are times, when you never quite know what she's thinking, a conceit that heightens both the theatrical experience at hand, it's interplay, the drama and its storyboard of ideas, thoughts and confessions.

But she doesn't stop there. Working side by side with her crew of camera operators and editors including Benjamin Collins (director of photography), she creates a wild, staggering portrait (no, pun intended) that preys upon and rips apart social media, its obsessions, its egocentrics, its mind games and its tempting, provocative allure. It's all very much in the moment: selfies, Zoom, flashbacks, documentary style interviews, texts, clicks, chats, tweets, artsy edits and camera trickery, flirtations, sexual interplay, split screens, likes, dislikes, numbers, etc. That said, it's all smartly controlled and edited with a voyeuristic style and propulsion that draws you in immediately and keeps you there until its savvy, justified conclusion.

"I don't want to be at the mercy of my emotions. I want to use them, to enjoy them, and to dominate them."

"The Picture of Dorian Gray" stars Fionn Whitehead as Dorian Gray, Joanna Lumley as Lady Narborough, Alfred Enoch as Harry Wotton, Emma McDonald as Sibil Vane, Russell Tovey as Basil Hallward and Stephen Fry as the Interviewer. 

Fionn Whitehead plays the pivotal role of the narcissistic, bisexual Dorian Gray (in this telling, he is intrigued by both men and women) with a chilling rage and eerie calm and numbness that is exactly right for the character. He is sexy. He is charming. He is personable. He is real. He also makes Dorian's obsession with social media - in this case, his YouTube channel - a dominant factor in his life, which, in turn, works especially well, given the production's documentary-like influences and elasticity. They don't get any better than Joanna Lumley, cast in the part of Lady Narborough, Dorian's most ardent admirer and friend who spends a great deal of time on camera being interviewed by Fry's character. It's a polished, mannered performance that intrigues and fascinates in true social media fashion.
As Henty Wotton, the aristocratic antagonist of the story, Alfred Enoch intrigues, preys, flirts and seduces with apparent innovation and purpose. Emma McDonald, in the role of actress Sibil Vane, aptly projects the insecurity, angst and vulnerability of a young woman pushed to the brink of suicide once she discovers that Dorian no longer loves her. Russell Tovey, as Basil Hallward, the artist obsessed with Dorian, offers a completely plausible performance, marvelously conveying the character's infatuation, pent-up desires and anxiety. As the Interviewer, Stephen Fry's investigative line of questioning makes his otherwise brief screen time completely memorable.

Clever, intriguing and digitally connected, "The Picture of Dorian Gray" is an ambitious, collaborative effort that pays homage to Oscar Wilde's original story, its flamboyance, its engagement and its iconic madness, It is one of the UK's finest theatrical achievements hitting highs with its artistic savviness, its willfully perfect direction, its multi-layered performances and its highly credible glimpse of life during the pandemic as time marches on with uncontrolled mania and uncertainty.

"Humanity takes itself too seriously. It is the world's original sin. If the caveman had known how to laugh, history would have been different."

 "The Picture of Dorian Gray" can be streamed online, now through April 17, 2021. Tickets are £12.  To book the production, go to barntheatre.org.uk. Once you purchase your ticket, you will receive a booking confirmation that includes your screening link. It is active from the date you book the production for viewing and will expire after 48 hours.

 

Original Theatre's Thrilling Production of "Barnes' People" Gives Voice to the Late Playwright's Quartet of Liberating, Intriguing, Observant, Darkly Comic Monologues

 By James V. Ruocco

The works of Olivier award-winning playwright Peter Barnes ("The Ruling Class," "Red Noses," "The Bewitched," "The Candlemaker") are intellectually ambitious, filled with gravity, grace, persona, angst and clawing desperation and disenchantment. If we care - and yes, we do - it's because Barnes has established a confident voice mixed with just the right amount of curiosity, bafflement, intelligence and cruel emotion.
Moreover, he is an observant writer unafraid to express himself through dialogue and conversations that toy with our senses, force us to listen attentively and purposely shake us up in articulate, driving and attention-grabbing ways.

With his stage plays, he establishes a viable pulse between the actors, the audience and himself that allows him to get the message across, let the emotions get inside our heads and more importantly, establish a profound affect, mixed with words that unfold with passion, remarkable force, presumption and vulnerability.

"Barnes' People," an intoxicating mix of four individual monologues, only furthers that notion. Presented by the Original Theatre Company and Perfectly Normal Productions, this superbly crafted theatre piece is an original, confidant showcase of talent, hair-raising delirium, hypotheticals, indulgences and marvelously orchestrated intelligence. 
The ultimate result, of course, is that everyone suffers. Everyone has secrets that need to be explored and uncorked. Everyone has something to lose. Everyone has opportunity. It's also no fluke that everyone wants to prove that he or she is special despite their complicated agenda.

Powerful.
Extraordinary.
Persuasive.
Observant.
Moody.
Intriguing.

The play, filmed entirely at Windsor's plushy Theatre Royal (I want that chandelier), is both timely and powerfully poetic. It is easily one of the UK's best dramatic works of 2021 and one that stands on its own ground in much the same way as Alan Bennett's "Talking Heads," Brian Friel's "Faith Healer" and Conor McPherson's "Port Authority."

"A True Born Englishman."

"If people know your secret, they're stealing something from you, aren't they? Keep your mouth shut is my motto. Better still, ask somebody to keep it shut for you."

In "A True Born Englishman," Adrian Scarborough plays Leslie Bray, a Head Footman and Keeper of the First Door at Buckingham Palace, a position he has held for 25 years. Hired first as a Third Door Opener, Bray's employment at the Palace of Queen Elizabeth II is one filled with a lifetime of closely guarded secrets, protocols and traditions, social prestige, poor pay, odd Christmas holiday gift giving,  upholding the dignity of the crown and very strict rules and regulations which include precisely timed acumen when dealing with the Queen and never looking directly into the eyes of the Royal Family when speaking to them.

First and foremost, this is an entertaining, glorious work that kicks "Barnes' People" into high gear. It is never malicious, gossipy or outrageously perverse. Instead, Barnes offers an inside look at the Palace as orchestrated by one of its loyal and most respected employees. There are some snappy zingers and one-liners. Lots of cheeky, observational humor. And plenty of inspired dialogue chock full of spontaneity, tailored navigation and natural, tea-sipping conversation.

Director Philip Franks steeps himself in the humor, voice and aesthetics set forth by Barnes. He wants us to feel the play's genuine, scripted moments, which we do. He wants us to care about and appreciate Bray's words, compulsions and influences. Working alongside cinematographer Tristan Shepherd, he crafts a most satisfying work that seizes our attention with magnificent emotion, nuance and subtlety.

Perfectly cast as Lesley Bray, Adrian Scarborough increases our willingness to believe with a mesmerizing performance of truths, connections, modulated activity and raw, often chatty communication. An actor with extraordinary range and stage presence, he has researched the material well (make no mistake about it; he's the real deal), bringing immediate punch and brevity to the piece along with an air of nostalgia and bluster perfectly in sync with the playwright's storytelling techniques, characterization and narrative uniqueness.

"Rosa"

Dr. Rosa Hamilton works with old people institutionalized, on the brink of death in unkempt care homes or those who have become a complete burden to their families. Overworked and tired of being surrounded by death and decay, she is desperate, full of self doubt and more importantly, contemplating whether or not to resign from the four residential homes she manages in London's East End ("waiting rooms for death," we are told)  and the 600 patients who have become her responsibility.

To carry on, she pours ample doses of Scotch into her "Keep Calm and Carry On" coffee mug whenever she feels down and depressed. She fights the system with cynicism and anger. She argues endlessly with the bureaucracy and ploughs daily through the piles of paper and files that sit on her messy, unorganized desk.

As developed by Barnes, there's a sense of despair, control and revelation to "Rosa" which the playwright develops with that kind of theatrical storytelling that gets under your skin, grabs you by the throat, keeps you generously engaged and kicks you in the ass. Peppered with sarcasm, humor and truthfulness, his choice of language and wordplay is tough and engaging, hitting all the right chords, beats, pauses and structures. "Rosa" is finely honed and developed. You're hooked and unable to look away. You can't help but wonder what the next page or two has in store for you. And when it is finally over, you are more than satisfied with Barnes and his master plan for an honest, riveting monologue.

Directing "Rosa," Philip Franks captures and portrays the emotional wounds of Dr. Hamilton with a one-on-one authority that lets us inside her world to experience the tremendous ache she carries with undiluted resonance, mystery, reflection and regret. He knows exactly what he wants and runs with it. Choice editing and cinematography by Tristan Shepherd keeps the mood raw and stimulating, a conceit that gives this interpretation perspective, landscape and lingering self-absorption.

Rosa, as played by Jemma Redgrave, portrays her character's anguish, misgivings, options, proudness and darkness as naturally as life itself. She is in complete control as she tackles words and dialogue that keep changing shape depending on the moment or scene arc in the story. She takes chances. She is a master interpreter. She knows how to play and develop a scene without the slightest hesitation. She becomes the character and runs with it rather than just acting out a part.
What's amazing about "Rosa" is the perceptive richness and observance she brings to the project. Her direct eye contact with the camera, her body language and her inspired unpredictability is incredibly moving. Moreover, she knows the details of what's going on here, the transition from play text to stage performance and the razor-sharp edge necessary to make the material fly.

"Billy and Me"

"Little Billy Barton is only a dummy," we are told.

But is this puppet, made entirely from a block of wood, in complete control of Michael Jennings, his ventriloquist stage partner of 25 years? Or has Jennings, a man who has lost his grip on reality, on the verge of yet another emotional breakdown?

The empty auditorium of the Theatre Royal lends itself nicely to this disturbing yet assertive monologue that frames Jennings' moods, his frequent bouts with diagnosed schizophrenia and his definitive eclipse into the minds and hearts of his puppets - Billy, the Major, Uncle O' Pat and Aunt Agnes. It's a feat that Jon Culshaw tackles with unflinching agony, well-placed depiction and an uncanny sense of real darkness and edge. Voicing all four puppets with raw credulousness, the actor is completely lost in the moment, reciting important dialogue that rings true in chilling, incredibly bleak, unhealthy fashion.

Staging "Billy and Me," aided by Tristan Shepherd's moody camera work and edits (his close ups and reaction shots of the puppets are appropriately spine-chilling), director Charlotte Peters delivers a complex, ingenious portrait of a doomed puppeteer and his dummies. Her approach, like others before her, is deceptively simple. Here, she gives Culshaw apt direction, allowing him to speak directly into the camera, thus, displaying his troubled plight in both surprising, eerie and truthful ways. She also allows Shepherd's camera to roam about casually when framing the action from an actor/audience perspective or backstage in the wings. It's a creative process that works especially well and one that heightens the drama and angst of Barnes' play text.  

"Losing Myself" 

In "Losing Myself," Michael Kelly plays Adams, a desperate but kind hearted man who has lost his own voice, his faith, his ideals and his hope. Seated on a bench at Cramer Street Cemetery, a dirty, run-down stretch of land about to be redeveloped, he chats openly with his friend Maurice Baker, a man who died back in 1950.

As playwright, Barnes fuels the fire with a heady mix of truths, misery, straightforwardness, humor and revelatory outpouring. In turn, his natterings unfold with impact, confidence and dramaturgical relish and give Kelly the perfect fodder to sink his teeth into.

Director Philip Franks lets Kelly soar with wryness and unquiet spirit, a task the actor - so natural and so at ease - greets with empathy and matched perfection. At the same time, Franks doesn't miss a beat. He lets the details of the story make their mark with tremendous urgency and reality. Tristan Shepherd's cinematography and editing is again showcased with direct-to-camera ability and acknowledgement, thus giving Kelly the chance to mold and create a vivid, noteworthy performance, played out against the backdrop of the Theatre Royal, the ideal stomping ground for Barnes' candid, character driven exploration.

"Barnes' People," presented by the Original Theatre Company and Perfectly Normal Productions, is streaming online, now through July 31, 2021.  Tickets to each segment are £10 and £12.50 (includes digital programme). Tickets to the entire 4-part series are £30 and £32.50 (includes digital programme). For paid and free content, you must register and create an online account. Once you are logged in, you can watch and purchase the production.

You can view "Barnes' People" on any device with an internet connection and browser. To do this, just enter the URL - originaltheatreonline.com/login - and submit the details you have been given above.

The Southwark Playhouse Production of "The Sorcerer's Apprentice" Is A Lively, Entertaining New Musical Chock Full of Good Cheer, Enchantment, Wisdom and Vitality

 

By James V. Ruocco

A sorcerer.
An apprentice.
A spell.
A secret.
A belief in magic.

It's immediately apparent that a hit is brewing with pleasurable buoyancy, lengthened hindsight and wickedly grinning unity and nostalgia. 

To the point, London's Southwark Playhouse has done it again.

No tricks.
No overblown theatrics.
No forced conversations.
No padding.
No whipped up soundscapes or stings.

Just pure musical theatre of the simplest kind, enjoyed with a bag or popcorn, an ice-cream soda, a bowl of  crisps and some freshly spun candy floss.

This is a production that captures the mood and spirit of a J.K. Rowling tale, but plays out in our heads like an old-fashioned technicolor musical that sparkles, sings and dances.

Taking its inspiration from Johann Wolfgang von Goethe's 1797 poem and Walt Disney's iconic 1940's film "Fantasia," this musical stage version of "The Sorcerer's Apprentice" retells the story of a proud male sorcerer who, in an attempt to save the world from destruction, gives his curious but rebellious young apprentice a crash course in the art of magic, science and sorcery to embellish the skills and mindset necessary to produce a newfound magical process via hands-on training and the belief that magic does really exist in the real world and not just in the world of fantasy.

Of course, there are changes. The sorcerer and the apprentice are now father and daughter. This, being a stage musical rather than a big sci-fi movie fantasy, the story is more lightweight, definitive, sweet-minded, silly and sometimes cartoonish. Some scenes are played for laughs. Some scenes are highly dramatic. Then, there are moments that recall the nostalgic whimsy of certain 1960's Walt Disney movies or the skits, interludes and camp found in the British music hall shows of yesteryear.

Adapted for the stage by Richard Hough," "The Sorcerer's Apprentice" is dramatised with imagination, continuity, impulse and channeled vision. It is set in the small town of Midgard, which immediately reminds one of Yorkshire, Whitby or Haworth even though the actual setting is Scandinavia. 
As the musical unfolds over three, well-paced and charted acts, his belief in the material and its overall effect on his audience reaches its required potential, tone, illumination and synthesis. There is no guesswork, whatsoever.  Well-thought and developed scenes glide seamlessly from conversation to song, then back again. All of the characters have purpose, understanding and individuality. Nothing is thrown for the sake of being thrown in or to make the production play longer than it should.
Elsewhere, much attention is given to the magical element and sorcery of the story (the energy of the Northern Lights is being sapped for profit by the town's money-obsessed refinery), a conceit that Hough develops with language plain and simple that is understandable, thought-provoking and creative and more importantly, moves the action forward without the slightest hesitation. In turn, no one gets lost in the shuffle, confused by the scientific-oriented dialogue, the changes in some of the characters or the many plot developments that shape and build the story until it reaches its rightful conclusion.

The musical score, an 18-song pastiche of spirited and engaging show music, has been composed and orchestrated by Ben Morales Frost with lyrics by Hough, who also wrote the book. The songs, in order of sequence, are  "Magic in the Air," "Nature Will Provide," "Invisible," "Ode to My Father," "A Blessing and a Curse," "Mother Knows Best," "The Power of Magic," "Let There Be Light," "Spellbound," "Rise of the Brooms," "Brand New Me," "Echoes in the Dark," "Nature Will Provide (Reprise)," "You Hardly Know Me," "Damn You," "Brand New Me (Reprise)," "No More Excuses" and "Magic in the Air (Reprise)."

Every composition, as conceived by composer and lyricist, lives up to its namesake (Alan Williams serves as musical director) and is performed with expertise and aplomb in its own right. Written with a warm sense of truth, hopefulness, sweetness and harmonic balance and interplay, all 18 musical numbers serve the story well, the characters who sing them and the three-act scenario for which they were created for. Every member of the cast has the right, richly expressive sound and song style necessary to make them snap, crackle and pop, make them knotty and immediate, make them humorous and serious or simply dazzle beyond any orchestral accompaniment.

"The Sorcerer's Apprentice" is being staged by Charlotte Westenra whose directorial credits include "Waiting for Lefty," "Watermill," "Talking Heads," "The Wicker Husband" and "The Dickens Girls."
Here, she takes us on an incredible journey and keeps the Southwark stage alive with ripe, finely-tuned moments, both dramatic and comic, all of which convey the play's sense of hope, tradition, family, survival, renewal and independence. It's an achievement that she tosses off brilliantly in a confined space that reflects the important urgency, playfulness and momentum of the piece and its distilled musicality.

Due to COVID-19 restrictions, the musical itself, was not performed before a LIVE audience. This edition, recorded for online streaming earlier this month, has been filmed in its entirety using the same cinematic process utilized for Southwark's most recent staging of "The Poltergeist." It also doesn't use the Zoom platform. Instead, Westenra's directorial concept is framed through close ups, long shots, reaction shots and other edits that capture the magic and aura of the musical without ever upstaging the actors or the material. It's a process that works most advantageously and brings a certain closeness to both actor and audience that is often voyeuristic and theatrical. It's also very carefully timed and mapped out with no glitches, bumps, halts or hiccups whatsoever.

"The Sorcerer's Apprentice" stars David Thaxton as Johan Gottel, Mary Moore as Eva Gottel, Mark Pickering as Fabian Lyddeker, Yazdan Qafouri as Erik Sondersson, Dawn Hope as Lamia Lyddeker and Nicola Blackman as Isabel Grammaticus and Mrs. Arno. The ensemble, a quartet of four, are represented by Vicki Lee Taylor, Ryan Pidgen, Tom Bales and Kayleigh Thadani. Changing roles, costumes and body language faster than you could say Harry Potter, they are absolutely magnificent. They happily connect with the material, the songs, the music and the characters they are playing. But because they to it ever so intuitively, their onstage stage appearances quickly become fun for all.

Thaxton delivers a standout, nuanced performance as the put-upon sorcerer and father who must contend with his daughter's rebellion and thirst for a life made better though magic and sorcery. Vocally, he has a particularly remarkable voice (previous credits include the Phantom in "The Phantom of the opera," Raoul in "Love Never Dies," Enjolras and Javert in Les Miserables"), which he covers with excitement, precision and sweetness. He also brings an earnest sincerity to the music, whether singing a ballad or something more upbeat. Moore brings a wondrous sense of accomplishment, angst, mystery and determination to her role, matched by a brilliant vocal style that is confident, uplifting and emotional. Throughout "The Sorcerer's Apprentice," her voice comes shining through with vocal tones, phrasings and melodic savviness that make any musical number she sings become remarkably alive.
Qafouri is winsome and completely charming as the curious scientist who eventually becomes smitten with the young female apprentice. Their interaction with one another including a first kiss, is nicely conveyed without any Disney sappiness or candy-coated bubblegum.

They don't come any better than Pickering, an actor who plays the villainous, but overly campy factory proprietor with zest, punch and very inspired tomfoolery. As Lyddecker's mother, Hope delivers a convincing, serio-comic turn that's always fun to watch whenever she's on stage. Blackman, in the dual roles of the town magistrate and an overly concerned neighbor, offers a highly spirited, enthusiastic performance, which she pulls off effortlessly.

Every so often comes a musical that you want to embrace, treasure and commit to memory. "The Sorcerer's Apprentice" is all that and so much more. It hops. It soars. It delights. It enchants. It glides. Five minutes into the start of Act 1, is works its magic and keeps you happy entwined and entertained for a full two hours. The music delights and cajoles the way a West End musical should. The story itself unfolds with magic, honesty and warmth. Charlotte Westenra stages the production with strength, command and passion. The entire cast, from leads and supporting players to members of the ensemble, in turn, succumb to her celestial, heartwarming spell. And once the story reaches its conclusion and the cast gathers on stage to take their final bows, you, like those before you, will probably want to see the production again. And why not?

To schedule another time and show date, simply repeat the entire booking process. It's as simple as that and just a click or two away.

The Southwark Playhoue production of  "The Sorcerer's Apprentice" is being streamed online, now through April 11, 2021. Prices are £12 plus a £3 booking fee. To book tickets, go to southwarkplayhouse.co.uk. Look for "What's On" and click "The Sorcerer's Apprentice." This will take you to stream.theatre. Hit "Book Now" and pick the performance of your choice. 
This production is a ticketed event and only available to view at your chosen time and date. Running time: 2 hrs. plus a 10-minute interval.

A Complex, Honest and Truthful Play, "Good Grief," Presented Online by London's Original Theatre, the Hosts of the Event, Delivers a Striking Balance of Emotion, Sorrow and Intimacy That is Absolutely Brilliant.

By James V. Ruocco

A play about grief, loss, life and survival is at the heart of Lorien Haynes's "Good Grief," a riveting piece of theatre impressively told, acted, staged and directed. Overflowing with inventiveness and immediacy, this is one of those plays that London theatergoers - and pretty much everyone else - crave with abject fascination.

Sharp.
Moving.
Enthralling.
Honest.
Glib.
Exciting.

Smoothly translated with care and attention, "Good Grief" hews to the conventions of real theater, heavily footnoted with dashes of cinematic flurry and responsibility that quickly sparks the flame during its 50-minute running time.

The play, written by Lorien Haynes, delves deeply into the lives of two people - Adam and Cat - both of whom are forced to deal with the death of Liv, a young woman who has just died of cancer. Adam, her husband and Cat, her closest of friends, grapple openly with her passing revealing anger, frustration, confusion and resentment while, at the same rime, trying to hide their sexual attraction for one another until they finally sleep together.

For Haynes's, pacing, character and trajectory are important here as is buildup, investment, resolution and a bit or two of hellbent twists and turns that no one saw coming. Her narrative scope, both original and weighty, is divided into eight individual scenes - February, March, April, May, Four Hours Later, Still May, June, October. All of this is delivered with collective affinity, deliberation and imagistic style. In turn, it warrants immediate attention and voice, delivered in natural, evocative ways that keep the play flowing at breakneck speed.

Staging "Good Grief" using a highly theatrical and cinematic approach, director Natalie Abrahami crafts a catchy, influential work of small, large and powerful moments that unfolds with edge, feeling, tenderness and excitement. The fact that you never quite know what lies ahead on the pages of scenes that have yet to be performed, heightens the play's element of surprise. For example, is something wrong or about to go wrong? Is survival, woundedness and coping with the death of a loved one, worth the aggravation? Is the potential for shame and panic about to be revealed? What personal belongings of Liv's are being kept, given to close friends or being sent to charity? Is the sex between Adam and Cat real, contrived or full-on? That said, the energy of this narrative and its many unanswered questions are entrenched with pride, passion and clarification by Abrahami.

The director's cool, precise approach to Haynes's playscript is also triggered by intimate, clever, in-your-face staging that is very well thought out, justified and imagined. The camerawork, editing, close ups and long shots (Emma Dalesman serves as cinematographer) thrusts the at-home viewer right into the center of the action. Enhanced by music, scene-by-scene titles and straightforward storytelling that often seems voyeuristic, this creative concept allows Abrahami to produce confident, winning results. 

From time to time, the backstage crew is also glimpsed transforming the place via scene changes into a workable environment similar to that on stage. It's a nice effect, edited with sharpness and precision, augmented by Isobel Waller-Bridges's catchy background score. To heighten the "Good Grief" experience, it's also best not to take a break or pause the action. By watching it straight through without interruption, the momentum of the piece is never broken, lost or compromised. 

The performances by Nikesh Patel and Sian Clifford are magnificent. As actors, they naturally project the grief and anxiety of their characters. They are focused and always in the moment. They fight. They argue. They flirt. They reminiscence. They criticize. They understand. They laugh. They touch. But they do it without contrivance and are always aware of the foundations, conversations and interactions of Haynes's script and its dramatic effect on them and the at-home audience.

Raw, powerful and thrilling, "Good Grief" relishes in its own emotional amplitude and diversity. The material itself never misses a beat thanks to Lorien Haynes' seamless, propulsive dialogue. The two-member cast brings an electrifying pulse and presence to the play text. The direction by Natalie Abrahami conveys the angst, desire and restlessness necessary to make the production soar. "Good Grief" is also facilitated by a dramatic appropriateness that is truthful, resonant and accomplished.

"Good Grief," produced by Platform Presents and Finite Films, is available to stream online, now through April, 15, 2021. Tickets are £15 (you can watch anytime, as many times as you like). Prior to purchase, you must register your account at Original Theatre online in order to watch the production.

A Play Review: "The Poltergeist," a Clever, Fascinating and Darkly Acerbic Work by Acclaimed Playwright Philip Ridley, Southwark Playhouse, London, UK

By James V. Ruocco 

In the distance of the Southwark Playhouse stage, an actor's footsteps are heard in the background. Step by step, they get closer and closer until the character of Sasha, played by the attractive, moodily intense Joseph Potter plants himself downstage center stage to face his at-home audience.

"I've woken up with a headache," he explains. "I get them a lot. But this one...oh, it's a doozy!"

Thus begins Philip Ridley's "The Poltergeist," a wildly inventive, quirky, invigorating piece of theatre that gets under your skin, pushes you over the edge, slaps you in your face, kicks you in the ass and purposely messes with your head. Then again, that's the point of this play as shaped and molded by the playwright in bold, intimate, candid stokes that makes this 95-minute production completely absorbing and fascinating from the moment it begins.

Electrifying.
Satiric.
Outrageous.
Blatant.
Voyeuristic.
Ovation Worthy.

Ridley, as both storyteller and playwright, snaps his fingers, clarifies the addictive plotlines and large number of scenes, keeps track of all the characters (since this is a one-man show, Potter plays all the different parts, both male and female) and times the ever-changing themes and strategies with bloody brilliance.

He also knows what he's doing and where he wants "The Poltergeist" to take you. He builds a punchy narrative that works most advantageously. There is clarity, precision and cheekily etched sarcasm in his non-stop, full-on language. He digs deep with unflinching depravity and vision. He never once scrambles to jump forward without a purpose. Instead, there's an ease and remarkable vibrancy to the experience that never once falters.

As penned by Ridley, "The Poltergeist" puts Sasha front and center and pretty much everywhere else as he confronts his own sanity or lack of it, throws himself into a past, present and future with little or no prospects, drowns in his own self-proclaimed misery and through it all, manages memories of a happier time, when at 15, he was going to take the world by its balls as an artist with paintings and a first-class art exhibition that was going to make him a very rich young man. But sadly, everything went wrong and went up in flames, forcing Sasha to live a life of regret.

The play also traces Sasha's relationship with his boyfriend Chet; his strained relationship with his brother Flynn and the rest of his family; old childhood photos and memories of his mother's parlor salon where she happily entertained her many female friends; Sasha's dependence on co-codamol painkillers; his painting of an attention-grabbing art mural at the age of 15; a birthday gathering for the family which he doesn't want to attend; and finally, his explosive decent into madness and loss of reality. There are also some amusing, cheeky bits about lemon-drizzle cupcakes; his niece Jamila's overblown birthday party; his sexual escapades with Chet; and all those annoying mobile phone calls and chitchats with his family that are playfully done with Green overseeing the action.

Fittingly, "The Poltergeist," filmed on an empty stage last year at Southwark Playhouse, has been directed by Wiebke Green, a British-German director who has staged three other works by Ridley - "The Beast Will Rise," "The Beast of Blue Yonder," "Shivered." Her other directorial credits include "The Comedy of Errors," "Orlando" and "Heather's Wedding." Here, she thrusts the audience into Sasha's dysfunctional world with an in-your-face, brutally honest force that smartly complements the playwright's voice and vision, his dissection of the central characters and his brutal, clever, intimate and poetic patterns of storytelling.

Moreover, she doesn't rush things or fill the stage with unnecessary stage movement and blocking that could detract from the material at hand, upstage Potter or knock him down or completely out of the picture. Her staging is simple, matter-of-fact and timely. There are pauses, breaks and moments in the piece that require Potter to shift gears within a millisecond jumping back and forth into the body and mind of each of the characters he is asked to play, but, thankfully without a lot of body language or vocal variety. Green's deft approach never once leaves us hanging in the balance. We know who's who, who's saying what and how it all fits into the framework of Ridley's story. Given the fact that "The Poltergeist" is being streamed online, you can also hit rewind, play a scene over again or jump back to hear an important piece of dialogue you have enjoyed. 

Joseph Potter, an amazing actor with phenomenal control, polish, drive and emotional range, addresses playwright Ridley's script with the motormouth frenzy, it requires. He's crazed. He's possessed. He's panicked. He's silent. He's scared. He's tormented. He's gleeful. He's wicked. He's sarcastic. He's jealous. He's sexually overt. He's out of control. He's completely fucked up.

The actor who reminds one of "Half a Sixpence" star Charlie Stemp, jumps head first into the material displaying a narrative crispness and directness even when acting out a huge group conversation that reveals the showmanship and style of a classically trained performer who is having the time of his life bringing Ridley's words to life under the directorial genius of Green at Southwark Playhouse. He never once misses a beat.

A powerful, ambitious work, "The Poltergeist" thrusts you into Sasha's world with that one-on-one greatness and intimacy Ridley demands. Director Wiebke Green's take, her choice camera angles, cuts, edits, close ups and long shots serves the material well and capture the angst, twitchiness and potency of the playwright's one-man show. The level of professionalism on exhibition here is magnificent and of the highest order. Then again, Southwark Playhouse wouldn't have it any other way.

The Southwark Playhoue production of "The Poltergeist" is now being streamed online through March 7, 2021. To book tickets, call 020 7404 0234. Prices are £12 plus a £3 booking fee. If calling from America, add the +44 international calling code before the actual UK number.

A Book Review: "The Ickabog" by J. K. Rowling

By James V. Ruocco

" 'The Ickabog' is a story about truth and the abuse of power. To forestall one obvious question: the idea came to me well over a decade ago, so it isn't intended to be read as a response to anything that's happening in the world right now. The themes are timeless  and could apply to any era or any country."

J.K. Rowling

The works of J.K. Rowling, most notably the "Harry Potter" series, are rife with insight, imagination, character, color, thought and escapist invention. Her choice of words and how they are put to use page by page, chapter by chapter, is both a talent and trademark mix with stirs, shakes and surprises that draw you in and capture your attention in both moving and riveting ways. Moreover, no detail is left unsubscribed which makes each of her works not only fun to read, but brings a wholeness to the stories that are ambitious, adventuresome and delightful.

"The Ickabog," a story written by Rowling over ten years ago, is set in the imaginary land of the prosperous Cornucopia, a place populated by kings, lords, villains, heroes, children, cooks, shop owners, sheep, creepy child minders, cheese makers, pastry chefs, soldiers and monsters who eat people alive. Intended to be read aloud, the book itself is something quite special with Rowling working her own brand of creative magic with chapters that are lively, engaging, justified, witty, surreal and fast paced.
Once you start reading it, you're hooked to the point where it's impossible to pause, take a break or wait until the next day to read the next chapter.

"After the last 'Harry Potter' book, I wanted to take a break from publishing, which ended up lasting five years. I also wanted to step away from children's books for a while. So the first draft of  'The Ickabog' went up to the attic, where it remained for nearly 10 years. 
"This year, however, I took 'The Ickabog' down from the attic in a very dusty box and worked to finish the book reading chapters nightly to my family. In turn, I became immersed in a fictional world I thought I would never enter again."

J.K. Rowling

True to form, all character introductions are extremely well done, positioned and painted in the mind of the reader in vivid, understanding and relatable ways, Nothing is over-the-top or overloaded, just characters situated comfortably in Rowling's vivid and gripping "Ickabog" story.

As penned by Rowling, the characters themselves are a colorful lot endowed with secrets, quirks, ideas, thoughts and observations that make each and every one of them stand out within the confines of "The Ickabog" story. Among them: King Fred the Fearless, Lord Spittleworth, Lord Flapoon, Daisy Dovetail, Bert and Bertha Beamish, Roderick Roach, Ma Gunter, Basher John, the Ickabog, Lady Eslanda, Martha, Dan Dovetail and Gordon Goodfellow. The development and forethought is particularly impressive as is Rowling's command of characterization, choice character arcs and the carefully constructed relationships between each of the main and supporting characters.

As a novel, "The Ickabog" is a refreshing read, all colorfully mapped out by Rowling in flowing abundance, emotional connection, inspiration, melodrama, horror and compassion. At times, it is light and fluffy like cotton candy or candied apples. Depending on the chapter, it can also shift in tone and become quite scary, frightening and violent with plenty of well-positioned dialogue and exposition to back things up. It is also packed with tantalizing cliffhangers about the actual Ickabog myth, its legend - real or imagined - and a eerie sense of mystery, since no one is quite sure what it looks like because no specimen has ever been captured. Not to worry, though. Near the end of the novel, Rowling delivers a surprise twist and revelation regarding the dreaded creature which heightens the story's plot evolution and brings "The Ickabog" to its rightful, satisfying, wonderfully imagined conclusion.

With 64 chapters in length, "The Ickabog" leaves a strong impression. Rowling's interest in the emotional chasms of the story, the characters and the story arcs, reveals a descriptive dexterity and verbal gear that unfolds in an animated dimension of invention, discovery and purpose. It also leaves you wanting more page after page. Then again, that's one of her greatest strengths because she is never predictable or formulaic. You also willingly absorb lots of information as she works her narrative magic with appropriate attitude and thrill-seeking spark. How it all will end is part of "The Ickabog's" enjoyment, if only because you're not exactly sure what surprises are in store or what Rowling will pull out of her literary hat and bag of tricks.

Learned, well-written and enlightening, "The Ickabog" is a fairy tale adventure that is endlessly rich, anxious, flavorful and wonderfully entertaining. It achieves its aim of fantasy and escapism. Every detail has meaning and value. Its worldbuilding we never doubt. It offers practical resolutions and conclusions. It is darkly comic and propulsive. It shares the page-turning verve of the "Harry Potter" novels. And finally, it is a work of fiction that you're not likely to forget for quite some time.

"Writing is about structure. It's about discipline, It's all those things that your schoolteacher told you that you needed. So when I write, I have to stop pretending that I was anything other than what I was and begin to direct all my energy into finishing the only work that mattered to me.

"With 'The Ickabog,' I chose to write about what I knew in terms of feelings, beliefs, interests, family and friends. And that makes all the difference in the world because writing is one of the loneliest professions in the world."

J.K. Rowling

"The Ickabog" will be published in hardback format on November 10, 2020 in both the United Kingdom and the United States.  It is no longer available to read online.

Ten Non-Fiction Books About London That You Must Add to Your Reading List

By James V. Ruocco

There are hundreds of non-fiction books about London, its people, its politics and its traditions brimming with glorious, page-turning detail that is inspired, imaginative, passionate and instantaneously redeeming.

Lots of words.
Lots of chapters.
Lots of color.
Lots of documentation.
Lots of unassailable truths.

So, let's dive in.

Listed below are a select few of them - 10 in all - that you must buy, read and obsess over.


Pretty City London: Discovering London's Beautiful Places

By Siobhan Ferguson (author)

The beautiful places of London and its many hidden gems are the subject of this vibrant, visual odyssey that is full of character, style, charm and influence. Author Siobhan Ferguson takes the reader through the secluded mews, the tree-lined streets, the cafes, the flower markets, the bookstores, the artisan bakeries, the tucked-away eateries, the gram-friendly neighborhoods for a ride that is well worth taking.

Her knowledge, matched by her focused, stunning photographs, provides the reader with a world of pretty places and locales that he or she will want to check out when visiting London. There's even plenty of helpful tips on how to set up and photograph the future memories of your visit.

The London Encyclopaedia

By Christopher Hibbert, Ben Weinreb, John Keay, Julia Keay (authors)

More than 6,000 entries and articles are featured in this mammoth historical reference work examining life in the capital city of London. Everything that is important to London's history and culture is documented and cross-referenced from the first settlers on the banks of the Thames River right up to the present day.
The book itself, a challenge for both its editors and writers, is assured, comprehensive and informative. It's a capital achievement with all sorts of fun, useful tidbits, details and observations well worth highlighting and remembering for future reference.



Letters From London

By Julian Barnes (author)

In this colorful collection of 15 essays that portray contemporary London life in the 1990's, Julian Barnes, the celebrated author of "Flaubert's Parrot," displays an accomplished wit and idiosyncratic style and intelligence that is both formidably articulate and consistently pleasurable. Topics include the Lloyd's of London insurance disaster, the Harrods takeover, the Salman Rushdie death sentence and the rise and fall of Margaret Thatcher.

London: A Travel Guide Through Time

By Dr. Matthew Green (author)

Six different periods of London's history - the reign of Queen Victoria, the age of William Shakespeare, 14th century medieval life, the Great Plague of London, the Blitz, the 18th century coffee houses - are chronicled by author Dr. Matthew Green in this vibrant and colorful account of the world's most extraordinary city.
Comprehensive, clear and evocative, this book is filled with colorful accounts of London's storied past, all narrated in a choice, light-hearted manner by a storyteller who makes history fun, memorable and engaging.



London: The Biography

By Peter Ackroyd (author)

A history of the city of London traveling through time from the ancient Druid Celtic culture to the early 21st century, author Peter Ackroyd's spin on this whirlwind journey is well structured, thematic, public and developmental.

For Ackroyd, London is a living, breathing, colorful entity, and that is exactly what he has written. His writing is constructive, quirky, affectionate and appropriate. And, oh yes, his storytelling skills come packaged with fascinating fact, legend, insight and luxuriant knowledge.

Literary London

By Eloise Millar and Sam Jordison (authors)

The best literary landmarks in London are the inspiration for this behind-the-scene's glimpse of the stomping grounds and favorite places of English literature's beloved writers, poets, playwrights, essayists, diarists and novelists.
Authors Eloise Millar and Sam Jordison move through time and genre following the footsteps of Oscar Wilde, Dylan Thomas, Lord Byron, Elizabeth Barrett Browning, Virginia Woolf and Julian McClaren Ross, among others.
The anecdotes, the acknowledgements, the accounts, the nuggets and the ideas are straightforward, refreshing, detailed and enlightening. Suffice to say, an outing or two to the the many places discussed is a given.



David Gentleman's London

By David Gentleman (author)

The personal observations of author David Gentleman unfold with charm, drive, nuance and extensive commentary in this loving tribute to London's past and present.

The sketches - watercolour and loose line print - are detailed and composed with an old world charm that gives the reader a choice, in depth glimpse of the capital city.

Lots of places are covered - The West End, Queen Anne's Gate, St. Paul's Cathedral, Trafalgar Square, The River Thames, The Parks, Westminster Abbey, The East End - with Gentleman providing apt, descriptive historical perspective.

The London Nobody Knows

By Geoffrey Fletcher (author)

Author Geoffrey Fletcher's offbeat glimpse of life in London doesn't focus on the city's big landmarks, tourist attractions and formidable history. His journey opts for eccentricity, extravagance and tawdriness as he journeys to Victorian musical halls, Holborn's public toilets, art nouveau pubs, a Hawksmoor Anglican Church on Commercial Street and Ravenscroft House, among others.
His eye for the unusual is preserved through lofty verbiage and laments about London's every-changing landscape, its embalmed and cherished memories, its manic explorations and its seedy underbelly where anything can happen and does.  

I Never Knew That About London

By Christopher  Winn (author)

Traveling through the streets and districts of London, author Christoper Winn presents facts, stories, snippets and observations about the capital city that inform, intrigue and amuse. 

Visit the house where Handel and Jimi Hendrix both lived. Take a ride on the world's biggest Ferris Wheel on the South Bank of the River Thames. Climb the Monument's (built in 1677) 311 steps and take in a spectacular view of the city of London. Take a peak at London's first naked statue. Go behind the closed doors of Parliament. Find out where the "sandwich" was invented and who is said to be its inventor. What's not to enjoy!

The Victorian City: Everyday Life in Dickens' London

By Judith Flanders (author)

Everyday life on the streets of Dickens' London is meticulously chronicled in this captivating, smartly researched 19-century portrait by Judith Flanders. Through her eyes, we are led through the markets, the sewers, the gin palaces, the filth, the cemeteries, the bars, the slums, the shops and the scraps of orange-peel on the pavements. It's a journey that is stirring, inspired and completely unforgettable.