The lights dimmed and the audience settled into their seats for the latest work of Brimstone Theatre, this time for their ‘fresh interpretation’ of Paul Burn’s ‘DNR: Do Not Resurrect’. To the sound of, what seemed like one hundred Murray Mints unravelling in cannon, this four-hander opened. The play deals with what we all surreptitiously fear: our demise, whether it be grandiose or, in this case, clandestine in the wings of reality in an ‘OAP Home’. Ken Fraiser, our lead protagonist, ‘Can count backwards from twenty, name the Prime Minister, and tell you when the war broke out. He’s officially not muddled. But he’s pretty sure somebody is trying to kill him.’ This play explores end-of-life framed through the vehicle of dark comedy verging on satire, and it does it well!
The performance was hosted in The Studio of the Royal Court theatre and though it doesn’t allow for much creativity with staging, is perfect for this performance and created an intimate performance venue. The staging itself was effective owing to Katie Moncaster. We saw naturalism within elements of the set juxtaposed against a strips of anachronistic newspaper cuttings of old and new. That paired with the non-naturalistic lighting in the flashback vignettes, almost gave us a feel of total theatre. I must admit, some of the lighting choices did seem slightly contrived relying on a pallet of ethereal purple wash at every point of time-shift. I can only speak for myself but I feel that the audience really didn’t need this to suspend their disbelief, and furthermore, it didn’t add much to the performance. That said, effectively staged. I do only wish the Royal Court would do more to soundproof this auditorium more as act one was interrupted by the sound of plates being washed from the dinner service of the main house.
Directed by Rowan Dyer, this performance was successful. It had real lovely moments that had been crafted to the enjoyment of the audience, who were mostly, without wanting to be crass, within the age demographic suitable to the content of the play. The reoccurring ditties and leitmotifs were favoured amongst the crowd, and though I found them to be a little overwrought, my opinion was outweighed and in this case: invalid.
I loved the rapport that had been build amongst the actors playing the roles of Ken and his two healthcare assistants Magda and Liam, they created superb moments of endearment and really evoked a reflection and critical thinking from the audience. The play had a lovely pace to it and seemed very well crafted. Paul Codman, who played the role of Ken, a chary old man determined to make his Last Will and Testament whilst still, in his opinion, in sound mind, played the character excellently. He left the audience comfortable and engaged as his skilfully weaved between characterisations of his childhood to present day. Great acting on offer here and an admirable use of comic timing and line delivery. I could imagine this role to quickly become cheapened by an actor hungry for laughs but it wasn’t. He managed to fully suspend as I witnessed him go from haggard gait to boyish charm.
I extend this appraisal to Faye Caddick in the roles of Magda, Joan and Katie. Superb! Right until this point I couldn’t tell you if she was Polish, Irish or Scouse; this is exactly my point, she created stunning characterisations with discrete mannerisms, body language and facial expressions. The scenes she led were the most enjoyable to watch in my opinion as she displayed such craftsmanship and dexterity within her roles. Her roles provoked the audience to question morality, faith, and virtue and she was a credit to the cast.
James O’Brien created some great moments within the play through his roles of Liam, Terry and George. O’Brien showed skill in his use of body language, and he managed to employ successfully physicality with accompanying motif and posture to embody the characters he had. I was a little less struck on the character of the child that was the still born son, but that was an issue of mine with the script over the characterisation.
Pauline Davies in her roles of Denise and Granny Murphy has some effective moments and got a decent audience response. She definitely settled into the role after, what seemed like, a nervous and abated start. Again I feel like I held issue with some of the script which seemed a little ‘woolly’ but nevertheless she impressed those in the room with her steadfast personality as we wavered between deciding if she was wayward or not. The character of the granny was less effective, but I feel this will develop over the week and not to put off any future audiences.
A decent script with great actors directed well.
Reviewer - Nick Hill
on - 13/2/19
Thanks, Nick. Nice to be appreciated! Paul Codman
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