The performances are two short plays with approximate running times: Dig (25 minutes), interval (20 minutes), No More, Salvator (35 minutes).

Dig

There is a substantial set - quite a large part of a small forest - by Lucy Read - with a foreground log and plenty of mist. Although it is convincing and superbly designed, it does slightly overwhelm a very short and fairly insubstantial play (by JD Smith). Director Ellie Joseph goes for intensity and dramatic stances, with plenty of stalking around the stage. Coupled with emphatic, intense acting and breathing by Stefan D'Bart playing Joey, and very long silent gum-chewing and sauntering by Victor Perez as Sam Manzullo, delivery can feel like over-direction and over-acting, but this may be an intentional approach. Aonghus Weber plays George as sardonic, bouncy and relaxed, even as cirumstances look terminal.

George stopped paying his protection money to Joey six weeks ago, and started collaborating with the police. The reason involves illness, being fed-up with paying and feeding gangsters, the honour and financial security of a fiancé in Greece, and his realisation of mortality - quite a lot for 25 minutes. George has reflected on his life and decided that provoking the gangsters is a practical approach which solves everything.

Joey is an unconfident gangster. He hasn't had a successful life from school onwards, and is both nervous of what he has to do to George, and unprepared for being disobeyed. Also he doesn't want to sweat in his clothes - a smart tight suit with jacket over pistol holster. He needs to enforce his boss's commands, or face possibly fatal consequences. But with George, threatening, grave digging, execution - the elements Joey is contemplating - don't go to plan.

Sound design and orginal music by George Dennis is superbly done. Blood is expertly brought into play - not too much, and colour convincing - by production staff and Aonghus Weber. JD Smith's script perhaps attempts to get too many big topics in. The dialogue could benefit from cliché removal, and rigorous pruning, rewriting and polishing. Most if not all of the spoken fucks could go, they don't substitute for clear writing. There is a lot of exposition, and the play doesn't really take off. It's not clear if it is funny or serious - mixing slow assassination and agony with comedy doesn't work easily here. Perhaps a longer play could allow the plot elements and nuances of character more space.

No More, Salvator

Lucy Read's simple set of stepladder, human Mona Lisa, and picture frame is ingenious and exactly right for this clever short play. Perhaps some visual idea of Salvator Rosa's painting, constantly referred to, would help, but the decision towards minimalism also works well. Lighting by Mark Jones is atmospheric, and there's a nice touch of projected delicate window-bar shadows across the set. Sound design and original music by George Dennis is great, with skilfully-assembled people-at-art-gallery noise at the start, switching to atmospheric music during the play.

The plot is Salvator Rosa coming daily as a spirit to the gallery and being bitter about Leonardo (da Vinci, 1452-1519, the painter of the Mona Lisa). Salvator Rosa and Mona Lisa spar over her huge and his tiny profile, drink coffee together - and there's a possible romantic dimension. Mona Lisa teases him about his fame in his own day, and his obscurity now.

Stefan D'Bart delivers Salvator Rosa in a very winning way - his Salvator elicits sympathy easily. From time to time his Salvator breathes over-intensely to express feelings, emotes, and strikes quite a lot of dramatic poses. This can feel like over-direction and over-acting, but in this piece it works fairly OK, as this Salvator comes across as a bit of a drama queen, and that may be what he does. That apart, it's a skilful performance and there's a delightful warmth about what Stefan D'Bart does with the character. Polly Whybrow is blissful as Mona Lisa. Her Mona Lisa has elements of distain, winsomeness, a sense of superiority and being pleased with herself; but shows herself quite fond of Salvator - as a kind of work-colleague - and flirty too. What could be an off-putting prima-donna characterisation is not, because of a touching underlayer of gentleness, vulnerability. Belinda Wylie sparkles as a tourist with some original adjectives. Victor Perez shows a light way with gently-comic acting as a tourist.

Director Ellie Joseph paces the action briskly. There's a certain amount of dramatic posing and some seemingly unnecessary movement around the set both of which feel distracting but may be an intentional approach. Mona Lisa makes her famous grin when passing behind her frame, which is funny once, but not so much when it is repeated a few times. It's not clear why she needs to pass behind her frame at all - it is known that she is a painting - and this diverts from the action. Mona Lisa's emphasised soreness and difficulty climbing her ladder likewise get distracting after the first time. There's a clever finale for Mona Lisa with her picture frame which is unexpected and very effective.

Writer Michael Hart's dialogue between Salvator and Lisa is crisp, funny and moving. The actors create the feeling of a strong bond between the characters, seemingly based on sharing a work-place - so the clever script provides a level for office banter - sharing a time in history, and a need for each other's companionship. There is a plot incident towards the end, but the play more or less peters out, as if the writer is unsure how to finish it. It doesn't matter - there are several good moments to take away, and some fine one-liners eg Salvator: 'I never thought hanging around in the Louvre would grant me anonymity.'

Historical Notes: No More, Salvator: Background information about the historical characters portrayed can be found at sources including: Salvator Rosa (1615 – 1673), (http://en.wikipedia.org/wiki/Salvator_Rosa). The Louvre (http://www.louvre.fr). Mona Lisa aka Lisa Gherardini (1479-1542 or c 1551), (http://en.wikipedia.org/wiki/Lisa_del_Giocondo). Mona Lisa painted (1503- c 1506) by Leonardo Da Vinci (1452-1519) (http://en.wikipedia.org/wiki/Leonardo_da_Vinci).

Cast Credits: Dig (alpha order): Stefan D'Bart - Joey. Victor Perez - Sam Manzullo. Aonghus Weber - George. No More, Salvator (alpha order): Stefan D'Bart - Salvator Rosa. Victor Perez - Male Tourist. Polly Whybrow - Mona Lisa. Belinda Wylie - Female Tourist.

Company Credits: Dig : Writer - JD Smith. No More, Salvator: Writer - Michael Hart. Dig - and - No More, Salvator: Director - Ellie Joseph. Designer - Lucy Read. Lighting Designer - Mark Jones. Sound Designer / Original Music Composer - George Dennis. Technical Operator - uncredited. Stage Manager - Amy Jewell. Assistant Director - Vikki Alexander. Assistant Stage Manager - Belinda Wylie. Casting Assistant - James Harrington. PR - Jennifer Eldridge (Target Live). Producer - uncredited. Company - CurvingRoad. Curving Road: Artistic Director - Sue Guiney. Executive Director - Sonja Rein. 2010 Board Members (alpha order): Karen Brush, Guy Chapman, Sue Guiney, Jon Haynes, Ellen Muglia, Samantha Potter. Thank you: Donors: Katherine Berman, Michael Berman, Maggie Baker, Jim Baker, Karen Brush, David Brush, Tasoulla Christou, Richard Christou, Karen Conway, Gregory Conway, Leslie Doyle, Richard Doyle, Deb Durkin, Arend Dikkers, Bev Frydman, Michael Frydman, Don Guiney, Sue Guiney, Linda Lakhdhir, David Lakhdhir, The J Paul Getty Trust, Mary Marsh, Reid Marsh, Kathy Miranda, Stan Miranda, Ellen Muglia, Richard Muglia, Leslie Patel, Sanjay Patel, Cassie Murray, Bill Plapinger, Kirsten Poler, Dwight Poler, Tori Robertson, Stu Robertson, Jill Smialek, Ken Smialek, Claudia Spies, Michael Spies. Thank you: Help on this production: Helen Devine (Old Red Lion Theatre), Martin Race (Old Red Lion Theatre), Cian Barry, Alexander Guiney, Cassie Atkinson, Natasha Velyn-Goldup, Alex Warren, Jessica Dennis, Luke Thompson, Steven Webb, Gareth Kennerley, Leo Richardson.

END

John Park

reviewed Friday 11 June 2010 / Old Red Lion Theatre, London UK

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