The following theatre review has been written by Philip Fryer
The brave decision by Gwen Stevens to direct the first-ever performance of Radical Change was an excellent one. An ambitious theme is presented in an economic package of three main protagonists, rounded off by a well-rehearsed policewoman at the end. Neat.
Jake James Harrison, as Karl, starts head-to-head with Donna Thornal as Elizabeth, disagreeing over the sound level of his 1980s record player. The discussion quickly morphs into Karl’s ambitions as a ‘revolutionary’, seeking to overthrow the Establishment, to replace Capitalism with Communism. Elizabeth, characteristically bright enough to bargain, switches that to: ‘I’ll listen to your plan in return for 4 days’ peace’.
The debate is certainly ‘entertaining’, Brian Walsh’s chief aim in his plays, as he reveals elsewhere in the excellent programme notes. Karl’s extravagant wishes are easily parried and sometimes ridiculed by Elizabeth. After a bit of resistance she gets her way but is also attracted enough by Karl to support him at a peaceful demo, where Mark Duffus, superbly portraying the PC, attacks him brutally while revealing his softer nature – in love with Karl’s sister.
All this happens apparently effortlessly before our eyes. Stage crew and backstage teams function to perfection to keep us all engaged. The announcements were most helpful in putting the audience into the thick of things, while remaining on the fringe of the action with a minimal cast.
We then wind forward in Act 2 about forty years. Karl, reverting to his real name, Jonathan, and Elizabeth have married. He is CEO of a rich, successful investment company, and the radical change he has undergone causes Elizabeth to reflect. What has been lost in the transformation? The climb socially into very respectable Middle Class is, to her, lacking some of the romance and appeal of the aspiring rebel. Henry, the policeman, has also undergone a total redefinition. Again, Mark’s skill is as astounding as Jake’s and Donna’s in portraying these changes. All of these quite serious themes are presented with faultless high-speed dialogue exchanges, sometimes ‘laugh-out-loud’ funny, at others more of a quiet mental chuckle. A very appealing aspect of Brian Walsh’s style.
Elizabeth regrets the loss of Karl, in the Radical Change process, and blames herself for steering him towards conformity. She has remained largely unchanged, rational as ever, smart and lovable.
‘Spoiler’ rules prevent me from revealing the shock which brings the play to its end. I was half-way home in my car before I twigged. Emotions engaged by the playwright. Empty discussions over politics and social prejudices thrown into relief. All meaningless when measured against the fragile perfection of a life well lived, a human being whose principles remained firm. It made me feel uplifted as I pondered the sadness. This play is true, absorbing, entertainment – and so much more.
Tickets are still available for Radical Change at the Apollo Theatre: book online at www.apollo-theatre.co.uk or call the box office on 210010.
