Journey's End at Duke of York's Theatre

It was strange returning to the Duke of York’s Theatre, my last visit here was for the terrifying Ghost Stories, for which the theatre had been elaborately decorated with duct tape and hazard warning signs. This month it plays host to R.C. Sheriff’s ‘Journey’s End’ returning to the West End for only fifty-five performances before embarking on a National Tour.

It is a devastating story, based on the author’s own experiences of life in the trenches. A brave young group of officers face the tragedy and terror of the Great War with courage and humour. We are invited to watch this compelling homage and to remember the men that sacrificed so much for their country. I was first struck by how instantly absorbing this script is. Sheriff writes in such a natural but exciting way - conversations that might first appear mundane are utterly enthralling. There is also a degree of poignant realism: he understands and knows the pain these men endure.

The play is brilliantly executed thanks to the powerful vision of director David Grindley; he draws on the smallest subtleties and nuances in the script to create an intense piece of drama. It helps that the all male cast are faultless, presenting themselves with such conviction that it is painfully moving from start to finish. Graham Butler is exquisite as the young hero worshipper, Raleigh. He is the newest and youngest addition to the company arriving with an insatiable energy. His commanding officer Captain Stanhope is quite the opposite, despite only being three years older he is bitter and hardened by his time at war. He no longer wishes to remember his schoolyard friendship with Raleigh, challenging the younger boy harshly. James Norton gives a mesmerising performance as the bullying Stanhope, despite the ugly character traits, he manages to show a sensitive side occasionally that makes this character remarkably human.

Designer Jonathan Fensom has created a simple but effective set that really draws you into the action. Only using half the height of the stage, it is a claustrophobic dirty trench, equipped with only the meagre necessities. There are no scene changes and yet somehow the play remains thrilling throughout - perhaps it is the close proximity that keeps it exciting. The curtain call sees the men silhouetted against a list of fallen heroes - it is a tragic contrast to the cramped trench setting.

Despite being written in the 1920s Sheriff’s account of the First World War experience remains a profound, touching and undated memoir.

Journey's End continues until 3 Septmeber, book tickets here.

The Woman in Black

I know I am very affected by emotive shows, but at the end of a week of terrifying productions my emotions have reached new extremes. After Ghost Stories I vowed I would not let myself get so scared by a performance again. That pledge evaporated almost immediately when, a few nights ago I went to see The Woman in Black.

The Woman in Black is currently celebrating its 21^st year at the Fortune Theatre in Covent Garden. With only two parts (and the unknown actress playing the ghost) the play is a real showcase for the two male actors: Michael Mears (Arthur Kipps) and Orlando Wells (the actor). Mears is fantastic on stage, capturing the atmosphere of the piece exactly. Wells also is great fun to watch, he seems to know the part so well that he can play with it as he desires. His little quirks are matched by Mears and together they are a great duo.

The Fortune Theatre is rather dingy and dangerously intimate for a show like The Woman in Black, especially when, once again I had the creepy aisle seat. In fact before the actors came on I was reminded of the interior of a cheap hotel in a stereotypical scary movie. The stage is slanted and covered in gauze-like material. The performance combines theatrical illusion and trickery with a disturbing narrative, scaring even the coolest of hearts.

In comparison to Ghost Stories this play is more realistic and therefore more believable. There is an interval and a traditional dramatic structure, unlike Ghost Stories, but the underlying message is more sinister and upsetting, and the chilling final outcome left me shivering for hours after the play had ended.

THE POWER OF OUR SENSES - Ghost Stories

WARNING: PLEASE BE ADVISED THAT GHOST STORIES CONTAINS MOMENTS OF EXTREME SHOCK AND TENSION. THE SHOW IS UNSUITABLE FOR ANYONE UNDER THE AGE OF 15. WE STRONGLY ADVISE THOSE OF A NERVOUS DISPOSITION TO THINK VERY SERIOUSLY BEFORE ATTENDING.

This is the warning given before you attend GHOST STORIES, dubbed the scariest show in London. As the final curtain falls the audience are asked (over the PA System) to kindly not give away any of the show’s secrets, so I’m afraid I can’t go into too much detail, instead I thought I would talk about the effect of the show on me and how this is achieved.

The show sets out as a lecture in which the audience are all involved. Andy Nyman is brilliant as Professor Philip Goodman and reminded me slightly of Ricky Gervais. The other three men that make up the cast are also very convincing, but I think that’s about all I am allowed to say! The professor talks to us directly from the stage and asks us to participate at times. The audience is lured into a false sense of security and laughter which only heightens the anxiety. Physically we are involved too – with elements of the story around us in the theatre. You become part of the scene. This is thanks to writers and directors, Jeremy Dyson and Andy Nyman, who have done a miraculous job creating this deeply unsettling script and production.

Ghost Stories takes you away from theatre conventions. The auditorium is decorated (if you can call it that) with rubbish and tape and plastic to look appropriately dark, dingy and uncomfortable. As you take your seat, there is no light or programme sellers to welcome you in, instead a dimly lit theatre is haunted with a soundtrack of drips and rumbles and eerie screeches. There is no interval which builds up tension and you are warned: if you leave the theatre during the performance you will be unable to return.

I came away from the Ghost Stories experience with a strong opinion: this show aims to scare and shock and it definitely succeeds in both missions. It uses the power of the senses to manipulate the audience. Hearing is used most prominently think of the overwhelming effect of film music. The use of silence also contributes to the ambience. Sound is thrown around confusing you and constantly making you worry about what is behind you (I must have looked round several dozen times). Sight is the most overt of the senses used to frighten – and the special effects and lighting contribute enormously in this show. Smell and touch are also used during Ghost Stories, more subtly. At times a gentle wind is blown through the audience. They also manage to send aromas associated with the story across the theatre, for instance, when bleach is mentioned in the script the smell of bleach gradually wafts through the auditorium.

All these elements combined with the hype in the audience and I was properly terrified. It didn’t help that behind me sat two St John’s Ambulance staff, I quickly asked them if they were attending for fun or work and was disturbed to find out that they were here ‘just in case’. Then as the show began I noticed the seat next to me was empty, and began stupidly to convince myself that it was to be used during the performance. Maybe a person would suddenly appear, or a hand would reach up from it and grab me. The only sense that remains is taste, and although it wasn’t used directly, I definitely left the theatre with the taste of fear in my mouth.

BOOK HERE.