‘The Night Watch,’ adapted by Hattie Naylor from the novel by Sarah Walters is a unique choice to end an excellent season at the Crescent Theatre. It is directed by the seasoned and hugely talented Michael Barry who knows when to tease and how to please to ultimately satisfy his audience.
Which is just as well as the journey as dictated by Naylor’s stylish script consists of a first act of cul-de-sacs and complexities, followed after the interval by torchlight shone explanations as the clock is turned back.
The play is set in London during the 1940s, starting in 1947 then going back to 1944 and concluding in 1941. It consists of a series of beautifully crafted vignettes covering a variety of mostly unrelated stories which finally form a tapestry. However, despite the reversed chronology it is left to our imaginations to colour in some of the conclusions. Personally, it left me thinking how far we have advanced as a society and that naivety does not excuse persecution.
William Gripton is compelling as the gentle factory worker Duncan Pearce He gives off an air of secrecy and haunting self-shame, which is explained when we learn he spent most of the war in prison. Joe Palmer makes a bouncy opposite to Duncan as Robert Fraser a reporter sent to interview him.
Duncan is carer for his uncle Horace Munday. Except it turns out Munday isn’t his uncle but his ex-prison officer come later -day ‘companion’ and Fraser the reporter was in prison alongside Duncan.
Andrew Cowie gives a masterful performance as Munday, his phrasing and expressions take you almost into his soul and his enchanting rendition of ‘A Nightingale Sang in Berkley Square’ is as poignant as it is beautiful.
Rachael Maltby is an actress that brings integrity to everything she does, here she plays the haughty factory manager Mrs Alexander doubled with a golden-hearted east-end factory girl Mickey.
Grace Cheatle digs deep and strikes gold in portraying Kay Langrish, a troubled lady who lives her life in a twilight zone, never quite finishing anything and undergoing therapy. Beth Gilbert is joyous as Helen Giniver as is Jess Shannon as her stylish partner Julia Standing. Turns out Helen and Kay used to be a couple before Helen met Julia.
Annie Swift completes a stellar company as Duncan’s sister Viv Pearce.
The common theme is of course same sex relationships in a time when it was illegal and the backdrop of nightly air raids gives the whole play an edgy platform.
Nicholas Patinson’s set is quite an accomplishment, in fact the most expansive I think I’ve ever seen in the Ron Barber Studio. It sprawls from wall to wall with a full room setting either end plus a raised area in the middle. Looming above are a cacophony of windows gazing down ominously. John Gray has designed his lighting to add even more depth and his blitz moments along with Kevin Middleton’s sound literally rock the room. Jennet Marshall’s exemplary costume design complete the mission.
Barry uses every inch of set, he has scenes going on within scenes whilst carefully judging his sightlines. The intimacy director Fi Cotton has got all ‘those’ moments just right on content and timings.
A Crescent triumph indeed!
The Night Watch runs at The Crescent until Saturday, July 19. Click here for times, tickets and more information.
*****
