home
|
about
|
news
|
contents
|
gossip
|
photographs
|
venues
|
brighton
|
dublin
|
edinburgh
|
film
|
features
|
interviews
|
awards
|
fashion
|
recipes
|
no more drinks
|
newsletter
|
links
|
contact
Latest items? Unedited? Fringe Report Uncut
The Little Years
Verdict: Scenes from a troubled life
The Little Years spans 1950-1995, the story of troubled Kate and those she affects. It's drama, about 60 minutes, with a cast of 5.
Kate at 13 in 1950 is resentful of the recognition of her poet brother William's talent by their widowed mother Alice - and by eveyone else except Kate. She broods on mathematical theory, avoids friendships, is gauche, is misunderstood by school and family.
Grown up, Kate inhabits life's sidelines, eventually giving up her mathematical and intellectual ambitions for psychiatric treatment and a safe job.
William - unseen in the play - succeeds as a poet and dies. He's married Grace, they've had a child, Tanya. Tanya reads Kate's diaries written aged 12, with her outpourings of advanced philosophical and mathematical theories. Tanya is inspired to seek a future in maths, wins prizes, and goes to university.
Roger Quinn's an artist becoming famous, has an affair with Grace. He's profoundly affected by Kate's analysis of his coming fame, and allows it to recede - he becomes a failure, but a contented one.
The play suggests that mathematical talent wouldn't have been recognised in girls by their parents or schools in the 1940s/50s. In reality, British-educated scientist Dorothy Crowfoot Hodgkin (1910-1994), who won the Nobel Prize in 1964, was a well-known and prominent member of the intellectual establishment renowned for the originality of her thinking, and a member of the Royal Society. British-educated scientist Barany Rosalind Franklin (1920-1958), the 'Dark Lady of DNA', was at the time making a major contribution to analysis of the DNA helix. Later, child prodigy Ruth Lawrence gained a first-class degree in maths at Oxford at age 13.
Unfortunately, this is the only distinctive point made by an otherwise often limp and unexceptional script - though there are occasional sharp lines - Grace (of Kate): 'What kind of men does she like?' / Alice: 'Liars'. The play's rescued by an outstanding cast.
Gillian Axtell presents an Alice of patience, forbearance, dignity, and lustful flickerings towards Kate's God-fearing headmaster.
Bettrys Jones exudes self-satisfied angst and petulance as Young Kate, with an excellent preening smugness as her 1990s equivalent, Tanya.
Andrew Macbean gives a fine performance as conceited (though self-aware: 'They call me the Barry Manilow of the painting world') artist Roger Quinn; a prayerfully pleased-with-himself headmaster; a reflective Welsh mausoleum manager.
Cathy Rakoff plays a mute schoolboy - a touching and subtle performance, and shoulders the burden of adult Kate. Her Kate is better than the script, which gives stronger lines and much of the time of the play to the other characters. Cathy Rakoff creates an effective characterisation mainly through the strength of her own ability.
Genevieve Swallow ( FR Awards 04 - Best Actress) creates a lively Grace, moving her through the wide range of moods and reactions the script requires. Hers is a Grace of power, humour, compassion and resolution, forming a strong 3-dimensional characterisation in one of the evening's strongest performances.
There's enigmatic and graceful music from composer Peter Michaels; spare and original design from Sam Dowson; some taut lighting design from Kevin Leach. The multiple exits and entrances and complex dynamics of the scene changes rely on hard work backstage, provided by stage manager Stuart Burgess and stage management staff Hannah Wye, Sophie Acreman, Clare Spillman.
Adam Barnard directed The Principle of Motion at Edinburgh Fringe 03 with wit and verve. A lively play (also dealing with mathematics over a time interval), it sparkled. The director concentrated on strong performances, a cunning mechanical set, clever scene-changes.
With The Little Years, the scene-changes become too clever: young Kate comes on stage to move furniture and exchange glances with her older component; other characters sweep in dramatically from the stage's 4 entrances (it's in the round) and give additional meaningful looks. It's all a bit too subsidised-theatre, as if between the two plays the director has swallowed parts of Peter Brook. With both plays, Adam Barnard shows his credentials in stimulating inspired performances, something many directors can't do. It would be good to see his next play putting the smart stuff to one side, using a humdrum conventional theatre, and concentrating on the essentials - there's no doubt he's capable of excellence.
Tonight's performance has an enthusiastic reception from a full house. The audience includes playwright Alison Trower (Many A Slipped Twixt Cap and Dick).
Cast Credits (alpha order): Gillian Axtell (Alice). Bettrys Jones (Young Kate, Tanya). Andrew Macbean (Roger Quinn, Mr Castle, Mr York). Cathy Rakoff (Kate, Norman). Genevieve Swallow (Grace).
Company Credits: Writer - John Mighton. Director - Adam Barnard. Composer - Peter Michaels. Designer - Sam Dowson. Lighting Design - Kevin Leach. Stage Manager - Stuart Burgess. DSM - Hannah Wye. ASM - Sophie Acreman. Technical ASM - Clare Spillman. Thanks to: Katherine Bond (Canadian High Commission), Colin Williams (Windchill Factor), Adrian Osmond & Sherrie Johnson (da da Kamera & Adrian Osmond).
Venue Credits. Artistic Director - Sam Walters. Administrative Assistant Marketing & Press - Becky Wootton. Press - Tei Williams. Development Officer - Sarah Frain.
END
John Park
reviewed Friday 25 June 04 / Orange Tree Theatre / Richmond Upon Thames
Fringe Report (c) Fringe Report 2002-2012
www.fringereport.com
