Review: FOUL PAGES, The Hope Theatre

The Hope Theatre's own Artistic Director, Matthew Parker, presents the world premiere of Robin Hooper's Foul Pages in a frenzy of neck ruffs paired with leather all wrapped up in homosexual subtext. The Countess of Pembroke (Clare Bloomer) convinces Shakespeare (Ian Hallard) to debut his new play As You Like It in an attempt to persuade King James I (Tom Vanson) to release her former lover Sir Walter Raleigh.

As the actors - all joyously gay - arrive with the Bard and start working on the new piece, it becomes clear that Shakespeare needs more than his talent to pull it off. Political pressure and the tantrums of his performers have a huge role, and Hooper paints a harsh yet comical picture of the cutthroat nature of the entertainment business.

Hallard is a very businesslike Shakespeare, pearl earring and silver hair, he charms the crowd subtly but immediately. As the poet tries to reconcile what the King wants with what's best for the play,his actions lead to almost disastrous results but Hallard brings a stoic side to the character and keeps his cool.

The King's infatuation with one of the young boys, Rob (Thomas Bird) prompts the recasting of the role of Rosalind, but Alex (Lewis Chandler), who has been rehearsing the role all along, isn't inclined to give it up easily.

Chandler give his all as the ambitious Alex. His character is a love letter to the acting world, and, even though sometimes he borders overacting, his passionate delivery fits perfectly. Bloomer and Olivia Onyehara (who plays Peg, maid to the Countess) share an intimate but respectful chemistry, never overstepping their characters' boundaries, the latter especially bringing a homely and mundane feeling to the play.

A show with a lot of ideas crammed into 90 minutes, Foul Pages is majestically saved by Parker. The director deals with what could have been a far too intricate semi-historical plot (complete with a dissident French Protestants storyline) with clarity, handling the play's brief scenes with dexterity. He incorporates techno music in the snappy scene changes, tuning his cast to perfection.

Great source of hilarity and uneasiness throughout the show is the Chop, Raleigh's dog. Played by James King on all fours, it takes a while to get used to the cast's petting and talking to him as a proper pet, but the actor is committed and strangely convincing. His sudden asides are initially perplexing and surprising, but become the best comedic device in the play, throwing off the vibe and adding an unnatural and absurd element to the comedy.

Foul Pages is tongue-in-cheek, and never offensive nor sexist; its writing isn't too sensational but it's witty, its humour leaning into a brash directness. Hooper's script and Parker's rambunctious direction deliver a justly over-the-top and fun-filled piece of theatre.

Foul Pages runs at The Hope Theatre until 17 March.

Photo credit: LHPhotoshots

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