Review: Jerusalem, Tower Theatre

Jez Butterworth’s Jerusalem is widely considered one of the finest plays of the 21st century. It feels like just yesterday it returned to the West End with its original cast.

While the story might be epic in scope, the staging is not. It doesn’t need a huge budget and a fancy West End production; all that is really needed is a dishevelled caravan in a woodland glade and the leftovers from a big party the night before. So, it sits just as well here in Tower Theatre as it does on a grander stage. Rob Hebblethwaite and Sophie Clark’s set design brings us to Rooster’s caravan, the woodland drawing us in.

I wasn’t in London to see Jerusalem the first time around, but when it was revived with Mark Rylance returning, I thought it one of the finest performances I have ever seen, and it is impossible not to draw comparisons. Here, Director Jonathan Reed is wise enough not to imitate; his Rooster, ably played by Giles Fouhy, isn’t so bombastic, dialling down the charm a little bit and instead showing a little more of Rooster’s edge.

It feels here that Rooster is slightly less the centre, drawing people in, but more an enabler providing a space for parties, for escapes from the real world, and of course he just happens to provide a few illicit substances. The cast are convincing throughout, a chaotic energy with a feeling that much is built on a house of cards. While a couple of performances inevitably stand out, Butterworth’s script gives everyone a moment, and the ensemble rises well to the challenge.

All of the humour in the script is nicely hit here, with the cast making the most out of Butterworth’s sharp comic beats. Tim Waghorn’s Ginger, constantly the butt of jokes, gives a strong supporting performance and has a moment where he threatens to steal the entire evening talking to his coconut. Richard Tinworth puts in an excellent turn as the Professor, his droll delivery contrasting nicely with the manic exuberance of youth.

Running at over three hours, albeit with two intervals, Jerusalem never feels its length. Reed, sticking with the original script, keeps the story going with confidence. Nothing feels rushed and Reed is content to take time when time is required. Rooster’s storytelling in particular is given the necessary time required to set the ending up to land with proper weight.

There is also strong work in Andy Peregrine’s lighting design, in particular narrowing the lights and focusing on key moments as stories are told. When Rooster tells the story of meeting the giant who built Stonehenge, the lighting tightens nicely in on Rooster, accentuating his delivery. His words are all we need, both for the motley collection he has gathered around and the audience beyond. Here you can easily see the sway that Rooster holds over those around him and the pull he exerts on these young outcasts. These moments are so key, as myth and reality slowly begin to merge.

Reed and his team successfully show that the scale (and budget) of the West End is not needed. The messy spirit and myths of Jerusalem are captured well. As myth and reality blur, the drum beats and the giants rise just as impressively on a small stage as a large stage – proving that Jerusalem’s power is still in the strength of its imagination.

Director: Jonathan Reed
Set Design: Rob Hebblethwaite and Sophie Clark
Costume Design: Kate Els
Lighting Design: Andy Peregrine
Sound Design: Laurence Tuerk

Jerusalem plays at Tower Theatre until Saturday 9 May.