★★★★★ The House of Yes
I looked up
the definition of a dysfunctional family in the dictionary, and it said, see
Matthew Parker's production of The House of Yes. And you must see it, and
quickly, as there are only seven more available performances at Islington's
Hope Theatre as I write.
In the
eighty minutes of this super-stylish production, we ‘meet the Pascals, a family
living in the shadow of the Kennedy clan. Outside their Washington D.C. home, a
hurricane is raging. Inside, at the eye of the storm, a series of twisted and
dangerous events have been set in motion that can only have one destination'.
Shamelessly
quoting the plot synopsis, and decidedly without any spoilers, ‘it's
Thanksgiving in 1983. Jackie-O is beyond excited to have her twin brother Marty
home. He's excited too, but for different reasons. He's bringing home his
fiancée to meet the family. Younger brother Anthony is impressed, perhaps
worryingly so, and mother Pascal is too zoned out on pills to be paying much
attention to anything. The scene is set for an evening of sick machinations and
mind-games that will leave the players with scars that will never ever heal'.
And boy, are there some warped brilliant setups as the story unfolds. The
audience is kept fascinated, agog and, like the man sitting a few seats from
me, crying with laughter – unless it was just a bad cold?
Once again,
Hope-regular Rachael Ryan has designed a dazzlingly apt representation of faded
grandeur with bright golden highlights of fabric and paint emphasising a
lifestyle of a by-gone era. And cleverly supporting and underscoring the action
throughout is Simon Arrowsmith's expert soundscape.
Director
Matthew Parker has assembled a brilliant ensemble that embodies the
peculiarities and peccadilloes of the Pascal family.
Gill King as
Mrs Pascal, omnipresent, manipulative and unquestionably ruthless as she
negotiates what is known by many families as family business. All she needed
was a cigarette, and I would say she was channeling her best Bette Davis!
Fergus Leathem and Kaya Bucholc as Marty and Lesly, Wendy Macleod's Brad and
Janet, who also arrive in the middle of a storm and equally face unrivalled
weirdness. Bucholc performance as wronged fiancé is genuinely bewildered and
utterly heartfelt. She struggled unsurprisingly to understand what was going on
around her as she explored her relationship with both brothers. Colette Eaton
as Jackie-O was a beautifully nuanced and controlled performance, decidedly
uncomfortable in its detail but fascinating to watch. It was also good to see
the immense talent that is Bart Lambert back at the Hope as Anthony. Once
again, his performance is captivating as he explores his obsessions and
infatuations both physical and emotional, with a performance of sinewy detail
and compulsive joy.
Matthew
Parker is firmly at the helm of this production for the last time after a
five-year tenure as the Hope Theatre's Artistic Director. Exploiting MacLeod's
text, whether in tricky, self-conscious or uncomfortable social/sexual
situations or capitalising on the laugh-out-loud moments, his directorial
dexterity is on top form. Maybe even making camp the new black in this
quintessential production?
I am a great
believer in the old adage that no one is indispensable. But I sincerely believe
Matthew Parker is a thoroughly proper chap, and if I gave awards, he would be
in line for the first Chappie! That having been said, I hope his future is
golden. He is an enormous talent and with one of the biggest, genuinely
positive smiles in the business known as show!
Finally,
miss The House of Yes at your peril as it will be talked about for years to
come for a whole host of reasons. Go, and you'll know why!
House of Yes
plays until Saturday 26 October 2019
For tickets, click here https://www.ticketsource.co.uk/thehopetheatre/e-ydrzla
For tickets, click here https://www.ticketsource.co.uk/thehopetheatre/e-ydrzla
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