This Might Not Be It by Sophia Chetin-Leuner, Bush Theatre Studio,  3 February 2024

Photo of The Bush Theatre by Spudgun67, CC BY-SA 4.0

Our first visit to the theatre of 2024 and it was worth the wait.

Set in an NHS mental health service unit for juveniles, the play tells the simple story of a youngster who enters the workplace imagining that he might make a difference in a hurry.

Then reality bites.

The play is beautifully written by Sophia Chetin-Leuner, and very well directed by Ed Madden, who should, if nothing else, pick up a nominative determinism award for directing this particular piece.

Despite the plethora of short scenes, the story and characterisation develop organically and clearly over the 90 minutes or so of the piece. I had to suspend a fair bit of belief around the central conceit that a youngster might implement an NHS patient administration system alone in just a few weeks without encountering or causing any profound issues, but that only proves that I have spent too much of my working life thinking about informatics.

The cast all performed their parts convincingly, with top marks to Debra Baker who played the “seen it all before administrator” Angela.

Denzel Baidoo was the most comedic of the three, playing the naïve trainee Jay. One short scene, set to music, when Jay thinks he is alone in the office will live long in our memories.

You should be able to find formal reviews here, through this search. Mostly very good.

If you are reading this piece soon after I have upped it, you have a chance still to see this production at The Bush, as it has been extended to 7 March. In Janie’s and my opinion, it deserves a transfer to gain a wider audience. It is a fun piece that made us both laugh a lot, but it also tackles a great many pertinent issues of our times in a thoughtful and warm-hearted way.

Word-Play by Rabiah Hussain, Royal Court Theatre Upstairs, 29 July 2023

The Royal Court Theatre, Sloane Square by Stacey Harris, CC BY-SA 2.0

This was our first visit to the Royal Court Theatre Upstairs since before the pandemic. Until then, we were fairly regular visitors to that small space. Our previous visit, in 2019 had been a rare miss for us…

Word-Play was definitely not a miss for us, far from it, although Janie did find the short scenes with the actors playing different characters in different times and places more than a little disconcerting.

But we both agreed that the acting by all five cast members; Issam Al Ghussain, Kosar Ali, Simon Manyonda, Sirine Saba, and Yusra Warsama, was superb. Many of the scenes worked terrifically well, especially the more intimate ones. Word-Play is a very ambitious piece of writing and we shall certainly look out for Rabiah Hussain’s work again.

Here is a link to the Royal Court resource for this play/production.

This link should find plenty of reviews, most of which are good or very good – one or two not so.

It’s running until late August 2023 and we would certainly recommend this innovative piece of theatre if you get to this page in time to get a ticket.

The Retreat by Jason Sherman, Finborough Theatre, 29 April 2023

Our first visit back to The Finborough Theatre since the pandemic. Coincidentally, our previous visit was our last visit to any theatre before the pandemic, and that piece was also at least partly about Israel:

Since that 2020 visit, The Finborough has been awarded a coveted Pub Theatre Of the Years Award 2022, which is quite something…

…especially as The Finborough currently has no pub. But that’s not important to us, as we were always “only there for the theatre”, not “only here for the beer”.

Here is a link to the Finborough’s resources on The Retreat.

Janie and I were both very taken with The Retreat. It is set in 1993, in the shadow of the Oslo Peace Accords, although the play is set in Canada, pitting a Hebrew School teacher/would-be script writer with a pair of seasoned but warring (with each other) film makers.

If the play errs at all, it is a bit long, running to nearly two-and-a-half hours. Ironic, really, given that the central conceit of the play is about script editing. But that space gives room for the characters to develop and for the darker recesses of their behaviours to become apparent to the audience.

Janie and I thought all four cast members performed very well but were especially taken with Jill Winternitz as the somewhat vulnerable young woman and Jonathan Tafler as her father.

We’re back at The Finborough in a few week’s time to see the next thing and can hardly wait after enjoying this production. We’d almost forgotten how much we like this type of small-scale intimate drama.