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Stella Powell-Jones directs this rare revival of Caryl Churchill’s dark comedy about property ownership that, although set in the 1970s, has never felt so relevant.Summary
Rating
Excellent
Set in the early 1970s in an up-and-coming part of North London, Caryl Churchill’s first professionally produced stage play is a powerful social commentary about house ownership and the renting market.
As is often the case with Churchill’s plays, we meet bizarre characters; including the nervous and eccentric Worsely. Tom Morley plays him with an innate creepiness, yet humorous touch. Throughout the play Worsely tries various ways of committing suicide, never succeeding, just injuring himself. It’s hard to keep up with all the methods mentioned, but each is equally amusing due to his incompetence. Yet, there are still moving moments within this dark comedy, none more so than his impactful speech towards the conclusion.
Worsely works for Marion (Laura Doddington), helping to evict tenants in her newly bought properties. Marion has an empire and doesn’t back down. She is eager to buy anything she can – even a baby. Whilst all the time failing to notice her husband, Clegg (Mark Huckett), who spends half of the play plotting to kill her, the other half in awe of her.
Clegg is a butcher but his shop has been forced to close due to a supermarket opening up next door. Huckett does a fantastic job playing such a loathsome character, every time he opens his mouth a sexist remark is likely to be coming, making me want to scream. As good as Clegg and others are though, it’s Boadicea Ricketts’ acting that stands out the most. Her portrayal of Lisa is convincing and cutting and the audience sympathise with her the most.
Although the Jermyn Street Theatre stage is small, the set utilises the space effectively. At the back of the stage are nine blue doors adorned with various handles and knockers. The doors represent the secrets that are hidden behind them. Additionally, much like the versatile set, things are not quite what they may at first seem. There are several instances where the doors contain concealed elements; a pull out bed appearing from beneath one door to take us into Lisa’s bedroom.
The cast bring on and take off additional props to help transform the space. When we are in Marion’s office, a small table, telephone and luxurious chairs are carried on. Whilst this occurs, music plays in the background and the transition appears flawless: it doesn’t interrupt the pace of the show.
Set in the 1970s, Owners is still relevant today with the housing and renting crisis. With a small stage, the set design illustrates perfectly the claustrophobia that so many of us today feel living in our small London flats, with shattered dreams of getting on the property ladder. Under Stella Powell-Jones’ direction, the production is sharp and expertly captures Churchill’s wit.
Written by: Caryl Churchill
Directed by: Stella Powell-Jones
Assistant director: Aida Rocci Ruiz
Set and costume designed by: Cat Fuller
Owners plays at the Jermyn Street Theatre until 11 November. Further information and bookings can be found here.
