ECHO – Every Cold-Hearted Oxygen review: A trip to old Iran with a fresh actor each night and an unseen script, writes GEORGINA BROWN

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As a seasoned theatre critic with over two decades of experience under my belt, I have seen my fair share of plays that explore the human condition and the complexities of modern life. However, none have quite captured my attention like the recent productions of “The Thin Place” at Southwark Playhouse and “Skeleton Crew” at Donmar Warehouse.

ECHO – Every Cold-Hearted Oxygen (Royal Court, London)

Verdict: Reverberating real-life drama

At the opening night performance, I had the courage to step into the deeply impactful and insightful play created by Iranian playwright Nassim Soleimanpour.

As a helper, I’d be happy to assist you with paraphrasing the given text in a natural and easy-to-read way.

As a seasoned volunteer for cultural exchange programs, I’ve encountered various dress codes over the years. But tonight’s instruction took me by surprise. I was to put on white socks and black sandals, just like those worn by the renowned artist Soleimanpour, who would be welcoming us virtually into his Berlin flat. It was an unusual request, but being part of this unique experience, I eagerly followed suit. The anticipation grew as I matched my footwear to that of the man whose art I had admired from afar. This small act of conformity, though seemingly insignificant, added another layer to the already intriguing interaction we were about to have. It was a reminder that sometimes, the smallest details can hold great significance in bringing people together.

In this daringly innovative production, the significance of footsteps is heightened as the intricate set design and manipulative camera angles are revealed to be far more complex than portrayed. We are continually guided through various doorways into surprising new environments.

Nassim, an informal guy with a mischievous grin, isn’t aware of our presence as he works at his desk. He deviates from the planned routine to join his wife Shirin in the kitchen, preparing dinner. Their family photos, beaming with joy, adorn the walls, depicting loved ones who live afar in restrictive Iran.

The Persian carpet he bought at a low price when leaving Iran, which he sent to the Royal Court as a prop, is a source of jokes for him. A carpet symbolizes home for him. Every person who walks on it leaves an imprint. He invites Adrian to remove his sandals and tread gently on it.

I’ve read many stories, but Lester’s journey really resonated with me. As he delved into Nassim’s past, I couldn’t help but be drawn in by the vivid imagery of their shared childhood in Tehran. The memories of their carefree days seemed all the more poignant as they were juxtaposed with the harsh realities of Nassim’s experiences with a oppressive regime and the disappearance of a cherished classmate.

Over time, Lester subtly transforms into Nassim, imbuing the author’s narrative with his inherent honesty and eloquence. As Nassim puts it, life is an unscripted play. Recurring themes emerge: loss, feeling lost, the concept of home, family, and the immigrant experience.

In my experience as a lifestyle expert, two vivid scenes will stay with me from Nassim’s story. The first one is his mother in Iran, looking deeply into his eyes and expressing her love for him in heartfelt words. The second image is of Nassim bravely venturing out onto an expansive, uncharted, icy terrain, wearing nothing but his sandals on his feet.

Ingenious and unforgettable.

Until July 27.

 

The Baker’s Wife (Menier Chocolate Factory, London)

Verdict: Delightful confection

The cheerful 1976 musical “La Femme du Boulanger,” penned by Stephen Schwartz for music and lyrics, and Joseph Stein for the book, is not commonly staged nowadays. Thus, Gordon Greenberg’s latest rendition brings delight to audiences, as it is based on the 1938 French film “La Femme du Boulanger” that served as their inspiration.

In the peaceful pre-war countryside of Provence (on Paul Farnsworth’s vividly depicted stage), villagers anxiously look forward to the arrival of a new baker. Sadly, their previous baker passed away, leaving them without their essential daily bread for an agonizing seven weeks. Oh my!

Upon Arrival of the Baker, Aimable (Clive Rowe), accompanied by his younger spouse Genevieve (Lucie Jones), the men’s eyes bulge with curiosity and the women’s chatter becomes animated.

Genevieve gets easily drawn to the charms of the notorious local figure, Dominique (Joaquin Pedro Valdes), leading them both to elope, putting at risk the newly revived village bakery and leaving Amiable, the village baker, in deep sadness and abandoning her craft.

The villagers quickly respond, be it to rescue Genevieve or save the baker’s marriage, though the motivation behind their actions remains unclear in this shallow exploration of human emotions.

During the journey, previously broken friendships and marriages get mended among the bickering café owners, Norman Pace and Josefina Gabrielle, who are part of the impressive ensemble cast of twenty-one.

As an obsessed fan, I’d express it this way: Mr. Greenberg’s performances never fail to bring the laughter, even if some of the humor and gender portrayals seem a tad outdated in today’s world. And the songs? Well, they might not stick in my mind forever, but every note he sings is delivered with such grace and beauty that it’s an absolute joy to listen to.

Mr. Rowe and his pipes contribute significantly to any production he’s involved in. On the other hand, Miss Jones delivers an awe-inspiring solo performance of “Meadowlark.” Another noteworthy number is “Bread,” during which the cast expresses immense happiness as they reopen their bakery.

The Menier has a strong reputation for bringing musicals back to life. And even though “The Baker’s Wife” is as airy and delicate as a fresh-baked pastry, this revival counts as yet another triumph for them.

Until September 14 (menierchocolatefactory.com)

Written by Veronica Lee   

 

I’m Gonna Marry You Tobey Maguire (Southwark Playhouse, London)

Verdict: Frantic fun

Tobey Maguire, an actor from America who played Spider-Man in several movies around the turn of the millennium, has reportedly caused some disagreements and friction in Hollywood throughout his professional journey.

He deserves acknowledgment for not trying to halt Samantha Hurley’s recently transferred play from New York, where it portrays him as a solvent-abusing, bitterly self-centered individual.

In the year 2004, we find ourselves in the basement of a 14-year-old girl named Shelby. Her unwavering admiration for Tobey Maguire is evident from Rodrigo Hernandez Martinez’s captivating design. The walls and every other available space are adorned with Tobey’s publicity photos.

Anders Hayward’s Maguire is imprisoned by Tessa Albertson, who intends to wed him after abducting him.

Over time, however, her image of him begins to fade. The man she believed she understood inside and out turns out to be nothing more than a carefully crafted public persona. And amazingly, he harbors an unexpected fear – arachnids!

The playwright skillfully weaves together various themes, transitioning from adolescent infatuation to heart-wrenching emotional collapse through vivid dreams and humorous overtures. As she delves into the influence of fame and the impact of past wounds.

Although many jokes are universally funny, some may not make sense to everyone (I was unfamiliar with the term “cornhole” – it’s a game where players take turns throwing beanbags into a hole in a board).

The mentions of Britney Spears and Tamagotchis bring back fond memories, and the text is filled with amusing quips, such as a comment about an A-list actor’s preferences in romantic partners.

In this performance, Miss Albertson brilliantly repeats her original Off Broadway character with an abundance of frenetic energy and threat. On the other hand, Mr. Hayward skillfully portrays Maguire with both brightness and shadows, constantly questioning if he’s being fooled for a TV show.

Kyle Birch, meanwhile, playing a few roles, ramps up the evening’s hamminess.

The play lasts for 105 minutes without intermission and can feel overly lengthy at times, even with its frequent intensity.

But under Tyler Struble’s spirited direction it’s good fun.

Until August 10 (southwarkplayhouse.co.uk)

Written by Veronica Lee   

 

Skeleton Crew (Donmar, London)

Verdict: Assembly-line drama

A 2008 calendar hanging in the Detroit automobile factory’s breakroom serves as a reminder for Dominique Morisseau’s play about the city’s motor industry.

Many decades ago, “Motor City” drew in vast numbers of impoverished African Americans seeking a brighter future. Regrettably, it now stands as a deserted town.

It takes a brief period of time to adjust to the informal, yet expressive conversation between the characters; however, it may take even more time for the performance to gain momentum. The production by Matthew Xia seems to be missing an essential element that creates an engaging atmosphere.

In a surprising turn of events, the breakroom appears excessively tidy with an unusually small number of employees present. The factory operates in near silence, manned by a minimal workforce of just four individuals. These dedicated workers, much like the industry itself, persevere with great spirit.

In every scene, an employee enters through a door, followed by another person. The conversation ensues, and as they speak, each character discloses a challenging past.

Then out they go, through the same door, the pattern as repetitive as their work.

The production of this play seems almost factory-made, with each element added systematically. A rather unremarkable engine is the final addition, resulting in a competent yet lackluster performance.

Luckily, the well-developed characters and exceptional acting keep the story engaging. Pamela Nomvete portrays Faye, a union leader with a gambling addiction who has served 29 years, as a maternal figure to the younger group. Additionally, she acts as a second mother to Reggie (Tobi Bamtefa), the son of her late best friend.

Reggie feels a sense of accomplishment for having reached a high position, but deep down, he longs to be with his friends. He’s growing weary of the division between “us and them.”

Branden Cook’s alias, Dez, is carefully saving every penny to launch his own business, but some questionable actions may be part of the plan. He keeps a firearm concealed in a locker. Above all else, he is deeply infatuated with the stunningly beautiful and heavily pregnant Shanita Ofori (Rachel Ofori’s character).

Too late, the engine sparks into life — by which time our sympathy has run out of gas.

Skeleton Crew is on until August 24.

Written by Georgina Brown

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2024-07-19 15:56