AN IMPRESSIVE DEBUT
Colin Lawrence reviews Four Nights in Knaresborough
presented by Black & Blue Eyed Productions at Corpus Christi Playroom
“Will no one rid me of this turbulent priest?” With these words Henry II sealed the fate of Thomas Becket by sending four knights to Canterbury Cathedral in December 1170. Their task was to arrest the Archbishop, but things went horribly wrong when he chose to resist and was then assassinated, guaranteeing him martyrdom. Who were the four killers, and what happened to them after the murder? Paul Webb's play endeavours to fill in a missing year of their lives spent in Knaresborough Castle, concentrating on four specific nights.
The over-use of modern slang, clunky historical rhetoric, tiresome and overlong crude jokes about bodily functions together with constant profanity, wastes what is in essence a promising idea for a play. It's as if the author was confused as to what type of play he wanted to write. Is this meant to be an historical drama, a comedy (there are shades of Blackadder and A Knight's Tale), a political statement (about the power of the crown), or an examination of four characters in sexual turmoil (a bit too much meanness and moodiness at times)? Instead, we're left with a lightweight piece of commentary trying hard to be something it's not.
That said, this was nevertheless an entertaining production, and the company is to be congratulated on an impressive debut. With its strong cast, a simple but effective setting, atmospheric lighting and sound, director Suzanne Jones ticked all the right boxes and managed to effectively present the play within the unusual configuration of The Playroom.
Guy Holmes as the morose Morville, gave a convincing portrayal of a man wallowing in self-pity and despising his colleagues as he descends into his own private madness. Fitz, the primary assassin, played by Steve Read, has his own demons which are revealed at the end of the play. This was a performance which grew as the play progressed culminating in a moving speech in which he sought to justify the act of murder. Declan Lynch's Traci illustrated the coldness and detachment of a man who, with his confused sexuality, cannot love effectively, but still manages to involve himself passionately with others. The youngest of the four, Brito, a soldier of fortune, is a man lacking any scruples whose frustration at being confined manifests itself both sexually and physically to the detriment of everyone around him. Mark Bak captured the crassness of the character perfectly and delivered the performance of the evening, conveying both menace and tenderness in his pursuit of the unfortunate widow, Catherine who acts as the conduit between the killers and the townsfolk. In love with Morville but embroiled in a sexual relationship with Brito, Cathy McCluskey, as Catherine gave a strong performance relieving the pressure which constantly threatened to explode in this depressing household. Supported by Michael Husband and Lovell Jones with Michael Comfort and Lindsey McCauley who changed the various settings with ease and strong technical team, including realistic action sequences choreographed by Brian Richardson, the production's cinematic style flowed well.
With its passé Brit gangster dialogue and a nod in the direction of ‘Reservoir Dogs', this was a good production of a not very good play. Now in the pipeline as a film, it would be nice to think that Paul Webb, who has written the screenplay, can now fully realise the potential of the story. Sadly my guess is that we're probably in for a mediaeval ‘geezer' movie.
Published in 'Combinations' magazine October 2007