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Latest items? Unedited? Fringe Report Uncut
Cold Hands
Verdict: Daughter through the looking glass
London - Theatre 503 - 17 May 11 June 05 - Tues-Sat 20:00; Sun 17:00
The intimate space of award-winning Theatre 503 is converted into the hostile and impersonal drawing room of elderly Violet - played by Gabrielle Hamilton - in this world premiere of Christina Katics new drama.
Devoid of identity or personal belongings by whitewashed chairs, mirrors, table and pictures - apart from the speckled rose wallpaper - Violet looks forward to a night when she can reminisce.
Unfortunately for her - and the audience - this long-planned treat is interrupted by interfering neighbour Anna (a laboured and unconvincing performance by Deborah Asante), and the untimely and implausible arrival of Mandy (Sadie Shimmin), Violet's daughter from Australia.
Writer Christina Katic tries to explore themes of parenthood and inheritance, as Violet has to re-adopt the role of mother, after many years of being on her own. The main problem is that Mandy's arrival is not through Violet's front door, but from the mirror over the mantelpiece - where she is suspended for most of the action.
Norman Coatess set starts as an impressive reminder of Alice Through The Looking Glass, but begins to deny the characters any real sense of intimacy - and sadly, but more importantly, ultimate empathy. Conducting dialogue which tries to handle raw and sensitive issues based on the needs of the elderly - and the difficulties of being a distant daughter - via suspension half-way through the front-room wall only serves to alienate.
As a result, Sadie Shimmin as daughter Mandy gives a performance that is far too dominating - where both physical and vocal gestures and mannerisms become external and isolated.
Gabrielle Hamilton (Violet) - an actress of great charm and engaging seniority - does however manage to provide the focal point. She delivers an at times vulnerable (but often funny) portrayal of a lonely lady - who is simply happy in her own company and being left alone by the needs of others.
At times, however, this causes an insecurity in the fluidity of the piece - and in lines being lost through the challenge of memory for an actress who readily admits to being (a superb) 82. This naturalism could add to rather than detract from the play, but seems to result in an increase both in pitch and urgency from the other two leads, rather than the appearance of listening or a greater sensitivity in their performances.
Director Sue Dunderdale fails to unite characters, situations or what this piece is apparently trying to convey, by relying on a theatrical device best suited to writers like Beckett.
At a structural level, Cold Hands could do with an edit. As it stands, it is over-long and doesnt seem to know where it is going. The coldness of the play invites an audience to be unmoved and unimpressed.
Cast Credits: (alpha order): Deborah Asante - Anna. Gabrielle Hamilton - Violet. Sadie Shimmin - Mandy.
Company Credits: Writer - Christina Katic. Director Sue Dunderdale. Set Designer - Norman Coates. Sound Designer - John Leonard. Lighting Designer - Phil Hewitt. Producer - Jenny MacDonald & Theatre 503. Workshop Development Royal Court Theatre. Production supported by Arts Council England, Stage One, Peggy Ramsay Foundation. Venue Credits: Theatre 503: Artistic Director Paul Higgins.
END
(c) Mike Miller 2005
reviewed Thursday 19 May 05 / Theatre 503
Fringe Report (c) Fringe Report 2002-2012
www.fringereport.com
