Skip to main content

A second reviewing of The Hook by Arthur Miller at Royal & Derngate (Royal), Northampton

An unexpected availability last night left me back at the Royal & Derngate for not only a second helping of The Hook but also its post show talk. I confess I love a post show talk, even if I haven't yet been brave enough to ask a question at one. Other people always seem to have more interesting questions and I also tend to take a sleep on it to think of relevant ones in any case.

In hindsight however, I should have asked about thoughts on development between the previews and the end product that I saw on my second viewing. Having seen the final preview exactly a week before, it was quite amazing to see the alterations to the show I had seen then, both subtle and in one case quite a revelation.

Although I didn't dwell on the negatives in my review at the time (I leave the criticism to them "professional" critics), also it being a preview it was wrong to do so. I was amazed to see how pretty much all of them I had spotted had been addressed. It's true to say that most were tech moments of issue. The second viewing saw no alarmingly writhing safe as it tried its best not to go back down the trap. There was also no moment where the stage crew were starkly visible removing that step ladder. It was indeed a triumph of building a perfect form on the back of the previews and for the first time it made it quite clear to me as just a paying punter how important they are to the director and his team.

There were other little moments that I saw as well, for me I felt that Joe Alessi as Louis had suitably toned down the ballot antics a notch, making it less comical and therefore that bit more powerful. Also unless my memory is completely failing me, I was sure there was a scene missing involving Jamie Sives (Marty) and Sean Aydon (with the baseball).

The big revelation though was the ending. The final scene which I had felt at the time was a tad on the clumsy side, with it leaving an awkward few moments of darkness as the cast assembled to take their bow, had been cut altogether. It did perhaps leave it finishing spectacularly suddenly (although the original was still quite sudden), but it was however a much smoother and professional presentation. An excellent evolution from preview to main performances.

The Q&A was once again excellently informative as director James Dacre and a selection of the cast (including the wonderfully Scottish and quite fidgety Jamie Sives) offered their thoughts on a number of very good questions from the audience. There was "How do you remember your lines?" question as someone who will remain nameless was happy about. There were however a number that offered interesting insights into the development of the piece. We learnt that in all of Miller's papers on the piece the screenplay ended with the same ballot results of the actual story. We also learnt that there were many different endings offered, and that the team took the deliberate decision to use the ambiguous version. This was deliberately to engender post show discussion. It did this, as myself and a few others in the crowd had already discussed the rather unclear ending before the Q&A. I think we all had different hopes for what lay ahead for Marty and that is a credit to Miller's piece and James Dacre's production that it truly stimulated this.


My original review of The Hook can be found here: The Hook Review

Performance reviewed: Monday 15th June, 2015 at the Royal & Derngate (Royal), Northampton.

The Hook runs at the Royal & Derngate until Saturday 27th June, 2015 before touring.

For further details visit the Royal & Derngate website at http://www.royalandderngate.co.uk/

Popular posts from this blog

Review of War Horse at Milton Keynes Theatre

Michael Morpurgo's novel War Horse was published in 1982. While it was highly regarded and thought to be his best work, perhaps it eventually came to most people's attention when this striking play stormed the stage, thanks to the National Theatre, back in 2007. Now, War Horse arrives at Milton Keynes Theatre as part of another vast UK tour. Adapted by Nick Stafford in association with the award-winning Handspring Puppet Company, War Horse tells the story of the First World War through the eyes of one horse, Joey, sold for a record price from a family battle but eventually shipped off to war-torn France much to the distress of his original owner, 16-year old Albert. The sprawling and epic story should take some staging, but the vast cast, beautiful structure, stunning folk music and, of course, what this play has become known for, magnificent puppetry, all bring the story to life. This production, directed by Tom Morris and revival director Katie Henry, is a magnificent thin...

Review of Murder She Didn't Write at Royal & Derngate (Royal), Northampton

Murder She Didn't Write , stopping off for a four-day run at Royal & Derngate on a lengthy UK tour, treads the now well-worn path of an improvisational evening of theatre entertainment. Unsurprisingly, from the title, this show from Degrees of Error's takes a murder mystery as its inspiration, with the story influenced by ideas from the audience each evening. Due to this, Murder She Didn't Write and a review are very much an individual affair. What I saw in my evening at the theatre will differ significantly from what the audience will see the following evening; however, the fine performers will remain. The touring cast, in no particular order, is Lizzy Skrzypiec, Rachael Procter-Lane, Peter Baker, Caitlin Campbell, Stephen Clements, Douglas Walker, Harry Allmark, Rosalind Beeson, Sylvia Bishop, Emily Brady, Alice Lamb, Sara Garrard, Peta Maurice and Matthew Whittle. For my performance, Skrzypiec, Procter-Lane, Baker, Walker, Bishop, and Clements were on stage alongsid...

Review of Immune by R&D Youth Theatre at Royal & Derngate (Royal), Northampton

The cover note for the script of Oladipo Agboluaje's Immune describes it as "a challenging science fiction play with a large cast", and the word challenging in this case is not a lie. This is a fast paced, multi-cast changing script which leaves little room for error for its young cast in the performance. If the script isn't enough to handle for the young performers, director Christopher Elmer-Gorry and designer Carl Davies have made the situation even more complex for the actors with the set and stage work. Having to manhandle great panels on wheels and a huge cube, which also splits in two occasionally, during scene changes requires skill, coordination and cooperation of a high level. As if all this is not enough, the actual story is epic enough for the relatively small stage of the Royal. Attempting to form an apocalyptic world (albeit only happening in Plymouth) offers challenges in itself, but Agboluaje's script does that in a sort of apocalypse in the teac...