The Ones That Flutter

Photo by Shelia Burnett

Writer: Sylvia Reed

Director: Abbey Wright

Design: Helen Goddard

Theatre 503

15 September - 10 October 2009

A review by Jafar Iqbal for EXTRA! EXTRA!

Playwright Sylvia Reed seems to have created quite a buzz for herself in her short writing career. With numerous successes in America, she has also had the privilege of being the holder of Donmar Warehouse’s annual SPF writer’s residency. Part of that success can be attributed to The Ones That Flutter, an award-winner in its own right. Now the acclaimed play is brought to Theatre 503 in London, with experienced veteran Michael Feast playing the lead. So we have a critically acclaimed writer, a critically acclaimed script and a critically acclaimed actor. With so much critical acclaim (no more repetition, I promise), you’d be eagerly expecting a fun evening at the theatre; and, my friends, you are not disappointed.

The Ones That Flutter is emotionally-charged from beginning to end, and that is where the main strength undoubtedly lies. You are drawn in from the very beginning, with prisoner Sam Hunter (a brilliant Richie Campbell) delivering a cryptic opening monologue. From then on, and as soon as Michael Feast utters his first line, we are hooked. As prison warden Roddy, Feast is outstanding. He doesn’t say much in the first half of the play, but we instantly react to the pain and frustrations he is hiding purely from Feast’s silences and facial expressions – they are more than enough. As the play progresses and the story gets closer and closer to its dramatic crescendo, Feast rises to the occasion.

It is somewhat misleading in the production’s preview that this is the story of a relationship between prisoner and warden, because this is all about Roddy. While the bond between the two men is integral to the plot (with Roddy the man looking after Hunter as he gets ready to be executed), it is Roddy’s life that shapes it. From his abusive childhood (Feast plays Roddy’s father with equal brilliance) to the turbulent relationship with his estranged daughter Julie Ray (Louise Brealey), the flashbacks all piece together the reasons behind Roddy’s isolation from the outside world. He is given some sort of peace when the play draws to an end but it does come at a sacrifice, as Hunter proves.

Much has been said already in this review about Feast’s excellent portrayal of Roddy, but this should not take anything away from the rest of the cast. Campbell is fantastic as the man about to be executed. Reed never makes it known what crime he has committed and cleverly so, as the sympathy and love we feel for him might dissipate. Louise Brealey is also on top-form as the estranged and frustrated daughter. She seems to switch between calm and anger effortlessly, and the scenes with her and Feast are entrancing. Pandora Clifford, as Rachel, has few scenes but is strong in her role as Roddy’s estate agent, trying to buy his property from him. Oliver Coopersmith, again, is only in one scene, but his depiction of a young Roddy is fantastic.

The performances are aided by a well-designed set, and designer Helen Goddard deserved credit for that. We are sucked into the world of the play instantaneously and the staging helps to do so. Music and lighting also play a major part in this, all the facets of theatre production working together to create a show that was almost flawless.

There is no doubt that The Ones That Flutter deserves all the awards and accolades it has gotten – this is a play that needs to be seen by everybody. From the excellent script to the brilliant direction and, of course, Michael Feast at his best, The Ones That Flutter is must-see.

Box Office: 020 7978 7040

Performance Times: Tues-Sat 7.45pm, Sundays 5pm

Tickets: £13 / £8 concessions (Tues Pay What You Can)

Theatre503, The Latchmere, 503 Battersea Park Road, London SW11 3BW

http://www.theatre503.com

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