REVIEW: KNOCKING ON THE WALL at Finborough Theatre 31 October – 25 November

‘Every part of the production feels considered, with nothing left to chance’ ★★★★

The Finborough Theatre’s production of ‘Knocking on the Wall’ is the trilogy of play’s first outing in over 35 years. The production is, therefore, precisely what the Finborough does best – a work of social and political significance, once buried, now revived. Indeed, playwright ENA LAMONT STEWART describes how her most famous play, ‘Men Should Weep’, was ‘exhumed’  within her lifetime by the left-wing agitprop theatre company 7:84. First performed in 1947, the play was revived in 1982. Today, ‘Men Should Weep’ is still one of the set texts for Scottish Higher English, though teenagers will struggle to see a production.

The three plays in ‘Knocking on the Wall’, were each written in the 1970s. In their own way, each play deals with division; representatives of seemingly oppositional groups are forced to communicate despite the obstacles that prevent true understanding. In the opening piece, ‘Towards Evening’, an estranged brother and sister with wildly contrasting experiences are brought back together, resulting in the painful comparison of one fate with another. While Leonard has studied and travelled the world, none of this has been possible for his sister Edie. Likewise, in ‘Walkies Time for a Black Poodle’, a former factory worker, Ella, has ascended the social hierarchy by marriage and in so doing comes to blows with her educated, middle-class housekeeper. Finally, ‘Knocking on the Wall’ brings together a nervous, cloistered former teacher, who’s frenzied behaviour and dramatic mood swings are incompatible with the carefree, confident young plumbers apprentice who turns up at her door.

It's not difficult to see how Lamont Stewart’s writing creates conflict, however, more interesting is the emergence of delicate connective shoots that spring between conflicting parties. The estranged brother and sister, for example, may have been treated differently by the world at large, yet they find themselves in the same place after all these years, sharing the same house and tentatively planning a future together. There is something deeply Scottish, or perhaps Calvinist, represented in the relationship here; it is surely no coincidence that the characters Edie and Leonard share with their author an upbringing in a manse. Edie is somewhat fractious and very sensitive; her emotions frequently overtake her, which seems only to irritate her brother, who longs for respectability, peace and quiet. The women in Lamont Stewart’s writing long to transcend their isolated, repressed reality, while the men around them seem comfortable to adhere to the rules.

The production is thoughtfully conceived, with wonderfully choreographed set changes in which the actors quietly and methodically peel apart the set to reveal something subtly but powerfully different. As a result, every part of the production feels considered, with nothing left to chance. Likewise, a judicious use of music and costume encourage reflection and help to situate the audience in a specific time and place. While aspects of the writing appear dated and there are moments where important backstory is conveyed less gracefully, it is clear that Finlay Glen’s direction has mined the dialogue for truth, and this comes through strongly in the performances.

There are a number of exceptional performances here. Furthermore, the repertory convention allows the actors to show their versatility across a number of roles. Janette Foggo’s transformation from the nervous, achingly lonely sister into the restrained, mannered housekeeper, is a particular highlight. Likewise, Robert Hands’s brief turn as a stricken man towards the end of the evening is quietly powerful. In the title piece, Jasmine Hyde plays a housebound, anxiety-ridden woman with great compassion and is utterly absorbing.

Read director Finlay Glen’s excellent feature on the playwright Ena Lamont Stewart here

Photo credit: Craig Fuller

KNOCKING ON THE WALL

Ena Lamont Stewart

Finborough heater, 31 October – 25 November

Box Office  Knocking On The Wall – Finborough Theatre

 
Directed by: Finlay Glen
Set and Costume Design by: Delyth Evans
Lighting Design by: Zoe Ritchie
Sound Design by: Hattie North
Executive Produced by: Michelle Dykstra
Produced by: Georgie Polhill for Dryad Theatre Limited in association with Neil McPherson for the Finborough Theatre.

Cast

JANETTE FOGGO
JOANNE GALLAGHER
ROBERT HANDS
JASMINE HYDE
MATT LITTLESON

Reviewed by Natalie McKinnon