Tom Stoppard’s 1984 play appears, on its surface, as a whimsical farce with moments resonant of the Carry On films of the 1950s through to 1970s. However, this is no easy task to pull off; as it requires a great deal of comic timing and energy to uphold the momentum of such a dialogue heavy script. I am happy to say that this was achieved and successfully presented to us; the audience, by the show’s director, Rachel Kavanaugh, in tonight’s performance at ‘The Lowry Theatre’.
‘Rough Crossing’ is a play set on a high-end 1930s ocean liner, bound for New York. Aboard the ‘SS Italian Castle’ are a group of actors and playwrights, desperately attempting to rehearse a play that they have not yet finished writing. With secret affairs, incapable waiters and often rough waters, madness ensues. An uplifting play, speckled with cheery musical and dance numbers, helping to reassure audiences that everything will work out all right in the end.
Turai (played brilliantly by John Partridge) was the witty driving force of the narrative. With a mind as sharp as his outfits, Partridge presented the character with allure and charm. He managed to keep the play light and humorous by appearing to glide across the stage so effortlessly. This was also achieved very impressively by Charlie Stemp, who played Dvornichek. Their attention to detail in character and mannerisms was second to none. Stemp played the useless, but loveable waiter, Dvornichek, almost with an air of Lee Evans performing a stand-up comedy routine.
It must be said, however, that all of the cast performed their roles well. With Issy Van Randyck as the flirtatious actress, Natasha, and Simon Dutton as the less knowledgeable actor, Ivor. Both handled the prospect of performing a play within a play without difficulty. This is, after all, a play that is very aware of itself, making comments on several occasions about actors and playwrights. The role of the foolish and fanciful playwright, Gal, was performed by Matthew Cottle, and the actor, turned musician due to his speech problem, Adam, was played by Rob Ostlere.
However, it wasn’t only the actors that made this well-rounded and fast-paced show. The set and costume designer, Colin Richmond, managed to create the illusion of wealth and grandeur by replicating the 1930s costumes as well as the front section of an ocean liner. Coupled with the lighting and sound (by Ben Cracknell and Dan Samson respectively), a marine setting was believably created.
The musical numbers and choreography broke up the dialogue well, and did not seem out of place in this opulent setting. The dance routine at the end of the show, in particular, was a wonder to behold; thanks to the choreographer Alistair David, and of course the actors involved. With original music from Andre Previn and Tom Stoppard, which was brought to life by Rich Morris and Louisa Green for this 2019 production.
Director, Rachel Kavanaugh, did well to transpose such a wordy play onto the stage and still retain the audience’s attention throughout. This play does, however, seem to be aimed at a slightly older viewing age and may not be adored by all. This also isn’t a play with a strong political message and it won’t alter your view of the world, but it is a thoroughly enjoyable and fast-paced two hours of musical comedy in which you needn’t worry or have a care in the world. I didn’t find myself glancing at my watch or have my mind wander once. So sit back, have a cognac (or two), and enjoy the splendour of this show.
Reviewer - Megan Relph
on - 18/2/19
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