Review by Seth Wilby
⭐️⭐️⭐️⭐️
Upon entering the Salisbury Playhouse, you are greeted with a stage dressed only with two coat-rails, some pieces of turf, and a large tent in the background. However, this is not an abandoned retail unit but a new production of Stones in his Pockets. It seems too simple,. and that is exactly what this show does best – It is gloriously simple. With some seamless character switches, this cast of two (yet playing fifteen) take you on an incredible journey with them. It is rare that a Wednesday evening performance in Salisbury gets a standing ovation, but this managed to hit all the right notes.
First shown at Belfast’s Lyric theatre in 1996, before going on to the West End and Broadway, winning awards galore, Stones in his Pockets returns on a UK Tour in a new, modernised production. Set in a rural Irish village, this play follows the locals employed as extras when everyone’s lives are turned upside down with the filming of a big Hollywood blockbuster. Focusing on locals Charlie Conlon and Jake Quinn, the comedy of this two-hander deals with a more tragic tone come the second half, as the contrasts between the Hollywood romanticism and the harsh, unfortunate reality are highlighted.
The material at the heart of this show, written by Marie Jones, provides it a strong base. The balance between comedy and tragedy is dealt with perfectly, and it never seems like one overwhelms the other, yet both are displayed to just the right extent, even allowing for the mood to switch rapidly between each while still keeping the audience both emotionally invested, and comedically interested. The narrative arc taken by our main characters is marvellous to see, as Charlie and Jake go from excited to abused and then devastated to hopeful. In a very meta line at the end, it is declared that people don't go to the movies to be depressed, since that’s what the theatre is for, yet this show does so much more than just depress you. It’s heartfelt and hilarious despite its tragedy.
Directed by Matthew McElhinney, this production knows exactly what to do to yield the right emotional response, flowing smoothly for the full two and a half hours, with the realities of what this town is going through displayed immaculately and authentically. Gregor Donnely’s set and costume design provides the production with a satisfyingly simple backdrop, as well as the costuming allowing seamless transitions between characters, enhancing the performances but never intruding. The movement and choreography (by Fleur Mellor) appear equally stripped back all while providing a large amount of characterization and humour, with a three minute dance number near the end garnishing rapturous applause.
Thankfully, the show never feels dated, with all its themes maintaining a relevance in today's world and the subtle changes in text (including references to Alexa and Amazon Prime) weaving in undetectably by sticking to the mood of the existing story. This modernisation is partly due to the large projected backdrop (AV design is by Ben Collins and Alex Tabrizi), used to place the action and also to display film clips, juxtaposing the live action admirably. The Salisbury Playhouse’s intimate feel is perfect for this show, with all the technical elements allowing the audience to become part of the show, as helped by some subtle (and other less subtle) glances from the cast, with this world feeling genuinely real, and incredibly truthful.
The jewel of this production is its cast. Gerard McCabe and Shaun Blaney are impeccable, embodying everything the show demands. Each emotion is handled gracefully, with the audience fully connecting to every character in exactly the right way. What’s most impressive, though, is their multi-roling. Between the two of them, a whole range of characters are portrayed, ranging from Hollywood seductress to elderly local and everything in between, and each portrayal is equally as exquisite. The nuances in McCabe and Blaney’s performances are near perfection, with such minor subtleties as a rotated hat or removed jacket still providing major switches in character from changes in posture and accent, ensuring the story is never confused. It would be easy to forget that all these parts were being played by the same two, a true testament to their capabilities as both dramatic and comedic actors. Never does it feel like any character has been underdeveloped or any moment played up too much. There may be only two performers on stage but this needs nothing more than these two. McCabe and Blaney are truly stellar with a chemistry for the ages and performances that would be very hard to match.
I began this review by stating how this show was gloriously simple. That point remains, yet this production is far from basic. It’s fast paced, engaging and genuinely funny, with a majestic hold over the sadder moments. Two incredible leading performances bring each element together flawlessly, and every nuance is exemplary. Devastatingly human at times and an absolute joy at others, ‘Stones in his Pockets’ is a fabulous show executed to perfection.
Stones In His Pockets plays at Salisbury Playhouse until 19th October and then heads to Octagon Theatre in Bolton from 22nd October – 2nd November. Tickets from https://www.wiltshirecreative.co.uk/whats-on/category/salisbury-playhouse and https://octagonbolton.co.uk/
Photos by Alex Tabrizi