Neil Simon, perhaps America's greatest comedy playwright knows exactly how to turn a very serious and dramatic subject; a political kitchen-sink drama, into a comedy. I know and have seen many - even acted in a few - of Simon's more well-known acerbic comedies (The last being Come Blow Your Horn), however, this evening was the first time I had ever seen a production of this anti-comedy, 'The Prisoner Of Second Avenue'. - a rather atypical piece of writing for Simon, but undeniably and unquestionably his script: every sentence was pure Simon.
The play follows the lives of a middle-aged married couple living in a New York appartment in 1971. The political background to the state of America at that time helps one to understand the situations and frustrations they find themselves in, and Neil Simon's wonderful writing brings these characters vividly to life.
Written in two acts and 5 scenes, it is also quite a long play, and the vast majority of it is a two-hander; a duologue between husband and wife. We have to wait until the second scene of the second act before anyone else appears on stage.
As always with Oldham Lyceum, the set was incredible. In such a small space the set design team had made a spacious-looking living room, complete with French Window and balcony with another appartment block beyond, as well as a small kitchen and several doors leading off to various other parts of the flat and the corridor. This space was then filled with many retro items and soft furnishings with a clear attention to detail.
Vin Kenny played the lead role of Mel Edison; a man whose life teeters on the edge, due to 'a plot' (or maybe just the government or the system) and as his life seems to spiral out of control and then regain self-esteem again, just in time to watch his wife take the same steps he once took and the cycle begin again. Kenny's performance was, in one single word, masterful. His well-considered characterisation was both hugely relatable and sympathetic as well as Kenny having an enigmatic stage presence. Pauline Walsh played his loving and long-suffering wife, Edna, with an obvious understanding of the role and a deal of sympathy, working well and having a good rapport with Kenny; whilst the minor roles of the Edison siblings and radio announcers added greatly to the overall feel and dynamics of the play.
The correct accent required for this piece was never fully there. Kenny gace a very brave try and succeeded for the vast majority of his Hamlet-sized role, whilst others, especially Walsh seemed to be struggling with this requirement of the characters.
Sensibly directed by Phil McCarthy, it remained very true to the feel, the ethics and the intent of both the writer and the time period, and McCarthy's work on character, time and arc were well observed and sensible. The one point I would make is that the pace of the play was, by and large, too slow, and the actors were far too slow in picking up on their cues. The one thing needed in a Simon play, in general, is a lack of pauses: he is, you could argue, the opposite of Pinter in this regard. And the play would have benefitted greatly from the pace being upped right from the start; it would even have shaved a few minutes from the running time too.
It seems that Oldham's Lyceum is, like many other amateur theatres around, struggling to find and engage with younger people. I am in my early fifties and was undoubtedly the youngest audience member this evening. This is such a huge pity and doesn't bode well for the future of amateur theatre in general. So therefore I say to all you readers under fifty, make your way to an amateur theatre near you as soon as possible, and if you're anywhere near Oldham, you would be hard-pushed to find a better and more proficient society than the Lyceum. In fact, they are so good that I long since stopped reviewing them as an amateur company and write my reviews now as I would with professionals.
Reviewer - Matthew Dougall
on - 3/2/20
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