Review: 'The Low Road', The Royal Court, 30th April 2013

The Low Road promises ‘a fable of free market economics’, which, for those of us who habitually skip over the Business section, is a somewhat daunting prospect. However, luck being onside, writer Bruce Norris fulfills this dubious précis in a manner universally accessible and (contrary to my initial fears) surprisingly entertaining. And, anyone who feared the Dominic Cooke was going to wave farewell to his residency at the Royal Court may sleep soundly having witnessed this 3 hour, 20-performer bawd-fest which uses mid 18th century Massachusetts as its vehicle for a tongue-in-cheek satire on capitalist regime. Oh, and it’s narrated by Adam Smith…of course.

The plot revolves around the story of Jim Trumpett, an illegitimate child abandoned on the doorstep of a small-town brothel, who, following a chance encounter with Smith’s writings, develops a insatiable thirst for money which grows to engulf his marvellously repulsive self in later life (played with admirable repugnance by Johnny Flynn). After finding himself literally shackled to slave and heir to a Lancashire estate John Blanke (Kobna Holdbrook Smith), two lives collide, as do two attitudes, the privileged individual seeking money above all else and the incarcerated man yearning for emancipation.

‘The Low Road’ offers an interesting comment on how equality, sharing and community spirit are at risk of dwindling entirely (illustrated by Trumpett and Blanke’s hilarious yet touching encounter with a religious community who have secured their inevitable extinction through a universal vow of celibacy). A temporary jolt in context after the interval, though a brash break in continuity, is far more thought provoking than detrimental, blasting the protective layers of an historic setting and hurling the subject matter into the present day. An eclectic clash of traditional theatre and modern political thought with a touch of the absurd chucked in, it’s only on for a couple more days. With that in mind, follow this advice, head to Sloane Square and turn right when you get out the tube station, you won’t be able to miss The Royal Court, and you certainly shouldn’t miss this. 5/5

Review: 'In the Republic of Happiness', Royal Court, 10th December 2012

Crimp’s latest offering opens with a promise of traditional festive fare. The dysfunctional family, porn guzzling Grandpa, two daughters, one pregnant, one volatile, deaf father and harrassed mother; have all united to bicker incessantly over their Christmas Dinner. This is until all is swiftly overturned by the arrival of the toe-curlingly unsettling ‘Uncle Bob’ (Paul Ready). Events turn progressively sinister as conversation nauseatingly begins to hint that this new visitor may be both Uncle and Father to the new addition to the family. 

For Crimp’s next bombshell, Miriam Beuther’s (incredible) set blasts open to make way for what appears to be the set of Jeremy Kyle. ‘The Five Essential Freedoms of the Individual’ is on a screened backdrop as all the cast members take a seat and proceed to talk over each other…for about 45mins, with musical interludes sung by the cast members

Needless to say, Crimp has no intention of breaking out Christmas Pudding and The Snowman in the Royal Court this year. However, chaotic, music-infused ‘Happiness’ somewhat loses momentum after the first 15 minutes of ‘Jeremy K’ time. Whilst one can see the merit in throwing an audience into an uncomfortable endurance test, I found myself disenchanted and bored with characters that had held such promise in the first half hour. Admittedly, given Crimp’s unabashed comment on the relentless, hollow pursuit of ‘individuality’, removing the characters’ quirks is probably the point.

Whilst I think I ‘got it’, the most telling comment I can make is that my only thought at the curtain call was deciding whether I needed a wee or not. Considering Crimp’s incredible preceding work, I was disappointed not to feel a mite challenged or unsettled as I left. 2/5