“Maybe I’m meant t’stay ‘ere. Maybe…”
Barrow Hill is Jane Wainwright’s debut play, set in her native Derbyshire. 86 year old Kath Bilby is determined to save her local Methodist Chapel from being converted into flats as her family ties to the place are numerous and considerable. But when she finds it is her own son Graham, seeing an opportunity to address financial difficulties, who has won the building contract, both mother and son are forced to deal with their divided allegiances in this delicately moving tale at the Finborough.
Wainwright presents the idea of family loyalty and community as a double-edged sword. The succour that Kath finds from the wealth of family history and intimate familiarity around her is contrasted with the stifled ambition of grand-daughter Alison, itching to explore life beyond Derbyshire though keenly aware of how tightly the family bonds are felt. There’s a subtle grace to much of the writing here, Janet Henfrey’s determined feistiness convinced of her path of action and filling the void in a life where so many of her friends have died, and Cath Whitefield’s brusque wit just about hiding the more sensitive soul longing to come out. Continue reading “Review: Barrow Hill, Finborough Theatre”
“I may have been a brilliant scholar, but I was woefully ignorant of the facts of life.”
Given that last year was the first time I had made the trip to Chichester and took in the vast majority of their 2011 Festival, it is perhaps a little ironic that of the five plays I saw there, a third one has now opened in London. But I have no problems revisiting quality theatre and the double bill of South Downs and The Browning Version is certainly that. As part of the Rattigan centenary celebrations at CFT, David Hare was invited to write a response to The Browning Version and the two public school-set plays were mounted together in the intimacy of the Minerva Theatre to great effect. It has now transferred to the Harold Pinter Theatre (surely forever destined to be known as ‘formerly the Comedy…’) where I caught the last preview with my Aunty Jean who was down for the night.
And it was a great decision. I enjoyed Jeremy Herrin’s South Downs again, but to my mind it is The Browning Version, directed by Angus Jackson, that has become richer, deeper and thus even more heartbreaking and by any rights, ought to become one of the hottest tickets in town. My original review of the plays can be read here and the cast has transferred almost in its entirety (I think just one boy has been replaced for the West End run) so I won’t say too much more here aside from a few further reflections. Particularly, I don’t think I gave enough credit to Alex Lawther’s Blakemore and Liam Morton’s Taplow first time round, who both made their professional debut at the Minerva and who both produce empathetically balanced schoolboys with nuanced mixes of eagerness, thoughtlessness and naïveté, boyhood crushes and unaffected good-naturedness. Continue reading “Re-review: South Downs/The Browning Version, Harold Pinter Theatre”