Batter up: Jam @Finborough


No doubt there are days when teachers just wish they had a baseball bat to put a little bit of distance between themselves and their students.

In Jam by Matt Parvin, teacher Bella Soroush is lucky enough to do just that. It's currently playing at the Finborough Theatre.

The premise in this two-hander is that ex-pupil Kane ruined Bella Soroush's life. Something happened and so she moved schools, moved towns and got on with her life. But now Kane has tracked her down and claims they have unfinished business.


With all this potential for malevolence, you never get a sense of any real peril facing either character.  An uneasy soundtrack underscores the proceedings, but as the piece wears on it's hard to understand where the drama is.

One of Kane's past atrocities amounted to bringing a smelly cheese board to school. And Bella doesn't like smelly cheese. At this point you could be forgiven for thinking Bella is a touch neurotic.

There isn't much time to explore why British school standards lag behind many other developed countries. Nor does it equip the nation for the skills it needs given its heavy reliance on immigrants (at least for now). Perhaps the answer lies in the pointless discussions that take place here.

But even if the story doesn't add up to much Jasmine Hyde as Bella and Harry Melling as Kane are terrific to watch.

Melling's Kane is a bit of a man-child. Alternating between stand over man and schoolboy, you get the sense he realises the best years of his life (being at school causing trouble) are behind him.

Hyde is a revelation as she shifts from being a victim to being yet another teacher with dubious motives for entering the profession.

Directed by Tommo Fowler, Jam is at Finborough Theatre until 17 June.

⭐︎⭐︎⭐︎



Photos by Matthew Foster


Popular posts from this blog

Opera and full frontal nudity: Rigoletto

Image
David McVicar's oddly modern production of Rigoletto is back at the Royal Opera House.

This modern and minimalist dark production has evolved over the years. It is better lit now but there is still an orgy and full frontal nudity within the first thirty minutes. This enables anyone not in the stalls an excellent view of a flaccid penis and a nicely shaved bush. But as time goes it seems more and more superfluous to the main focus of this tragedy of a court jester who seeks revenge. Here is hoping that the production continues to evolve...

Conductor John Eliot Gardiner keeps the music well paced. Dimitri Platanias in the title role sounded great and received a rapturous applause for his interpretation of the role. You get a sense more of the doting father rather than the court jester or cursed man here.

Vittorio Grigolo plays the Duke and sounds too lovely to be the cad the role calls for, but it is hard not to like when he is on stage anyway. And it is easier to understand the…
Read more...

Fluffing it: Rouge @Underbellyfest

Image
It's not enough for a circus act nowadays to offer a series of acrobatic feats. Nowadays, they are pushing all sorts of conventions. There's the all-male, the all-female, the all minimalist. Rouge is the all gender fluid pan-sexual circus for grown-ups who like a bit of everything. But only if that everything includes a little bit of nudity and a bit of mild titillation. 
The men wear eyeliner, the pairings are male-female, male-male and female-female.Strong female types abound throughout. It's a unique concept that's marred by its own timidity. It's currently playing at the Underbelly Festival on the Southbank.
The performers are interesting enough. There's the aerial trapeze, the ring, and the strap. All are deftly executed. There's a terrific flame swallowing routine which seems all the more intense in the confines of the Spiegeltent.
An inventive sequence happens where the performer is wearing a lampshade and combines hula hoops with a frantic strip dance …
Read more...

Nursing crisis: Persona @Riversidelondon

Image
There’s something reassuringly contemplative about Ingmar Bergman’s Persona. No matter what humdrum life you may be leading, at least you haven’t gone mute from too much acting. It’s not the only message to take away from this stage adaptation. Even when things seem lost in translation from screen to stage, the blurring of lines of the roles people play in life still resonates. It’s currently playing at the newly reopened Riverside Studios at Hammersmith.

The piece centres around a famous stage actress Elizabet (Nobuhle Mngcwengi), who has stopped speaking and appears to have had some form of breakdown. As part of her recuperation, she travels with a nurse (Alice Krige) to a remote summer beach house. Alone with the waves and silence, they both are left to recover.

Krige and Mngcwengi create an intimate and engaging portrayal of this ambiguous relationship between the actress and the nurse. Are the conversations real or imagined? Who is the patient and who is providing the treatment?…
Read more...