THE YORK REALIST To 11 October.

London.

THE YORK REALIST
by Peter Gill.

Riverside Studios (Studio 3) To 11 October 2009.
Tue-Sat 7.30pm Sun 6pm Mat 10 Oct 2pm.
Runs 1hr 50min One interval.

TICKETS: 020 8237 1111.
www.riversidestudios.co.uk
Review: Timothy Ramsden 28 September.

Revival demonstrates this play’s strengths..
There’s a director mentioned here, of the 1961 York Mystery Plays, called Peter. So is the author of The York Realist, also a fine director. Peter Gill famously resurrected D H Lawrence as a playwright some forty years ago at the Royal Court (where Realist played in London during its 2001/2 premiere tour). The revival’s at Riverside studios, where Gill was founding Artistic Director.

But he didn’t direct the York Mystery Plays in the open-air ruins of St Mary’s Abbey York, where they were revived every few years from the early 1950s. Within those late medieval dramas covering the biblical cycle from Creation to Doomsday is the work of the anonymous dramatist called the York Realist, who put everyday detail into the play of the crucifixion.

There’s too much stolidity in young Yorkshire farmer, and able amateur Mysteries actor, George to undergo even a metaphorical crucifixion, though there’s a side of him he has to sacrifice. Behind a devotedly attentive Mother (Stephanie Fayerman, excellently combining family certainty and social insecurity – though surely she’d never offer guests tea-cups without saucers) and her clear replacement, neighbourly Doreen waiting fondly by, baking pies, he understands where he’s rooted.

Doreen quietly accepts he’s not the marrying type (polite 1961 term for his sexuality). George also knows his time in London with middle-class assistant-director/lover John was not something he could adapt to for life. His heavy Yorkshire accent signifies the class difference; like his mother, he’s only sure when on familiar ground.

This first revival hasn’t the intensity of Gill’s premiere. In particular John seems too quiescent to raise the stakes on the young men’s relationships. But Stephen Hagan gives a strong centre both in his acceptance of his easygoing life, and occasional moments of anger when he can’t smile his way around situations, and there’s decent playing throughout.

Kate Guinness’s set – realistic furniture spaced amid gaps - expresses the void surrounding apparent normality. At the Royal Court, I noted the laughter of metropolitan sophistication. At Hammersmith, Adam Spreadbury-Maher’s honest, open production is more appropriately received, with some laughter but a lot of absorbed interest.

George: Stephen Hagan.
John: Matthew Burton.
Mother: Stephanie Fayerman.
Doreen: Sarah Waddell.
Barbara: Fiona Gordon.
Arthur: Sam Hazeldine.
Jack: Jack Blumenau.

Director: Adam Spreadbury-Maher.
Designer: Kate Guinness.
Lighting: Steve Lowe.
Sound: George Dennis.
Costume: Mia Gray.
Dialect coach: Elspeth Morrison.
Hair/Makeup: Sarah Russell.
Assistant director: Amy Draper.

2009-09-28 15:08:31