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Jayden Hanley as the grandson, Everal A Walsh as the grandfather and Daniel J Carver as Malcolm, the father. Pictures: Nicola Young Revealed Coventry Belgrade B2 ***** Daniel J Carver's play Revealed is adroitly staged at the Belgrade by the company's Associate Director Jay Zorenti-Nakhid, and in many ways the most satisfying aspect is just that: the direction. With only three characters involved, the variety of the moves is essential, and the intelligent conception and subtle manipulation of the trio makes all the difference. It keeps the play bustling and alive, and the chacterisation gains greatly from this impulsion - and propulsion. The combative, provocative, agitated action requires constant repositioning. It is treated to that in droves. The play is full of issues and is played out in a series of conflicts. The plot summary highlights the range of issues touched on: 'racism, masculinity, sexuality, parenting and affection (love)' are all part of it. But one might, should, add issues of generation. The interrelation of the splendidly played grandfather (Everal A. Walsh), his 16 year old grandson (Jayden Hanley). It is the pair's relationship, and the wisdom of the former, whose calming personality plays a key part in the youngster's growing up. More so than the boy's father, Malcolm (Daniel J. Carver). It's striking that the second half, where he ceases battling his own father and becomes initially more restrained, until he blows up over the certainty, or perhaps possibility, that his son may be, or at least asserts himself to be, gay. That is more than the absurdly macho parent can take. And even before this later revelation, Malcolm's contribution to the first half is, cleverly and credibly vile. There's no set adjustment: all is played out on an initially quite attractive but increasingly dull setting - the restaurant the father is trying to make a success of. The relationship between grandfather and grandson, for instance, which in many respects is the key to the interchanges, could benefit from some subtler visual differentiation: such contrast might help, for instance, the aggressive character of the at times venomous father (who peppers almost all lines with 'fuck' and 'fucking' - perhaps a needless drawback in the script). But the range of pictures and photos on the otherwise bare wall does tell a kind of story: Martin Luther King, for instance, an example to all.
Father and son: Daniel J Carver as Malcolm with Everal A Walsh as the grandfather While Malcolm twice savagely grabs his son by the hair, is violent and obnoxious (Carver offers a suitably grotesque character) - Walsh's grandfather is absolutely the opposite: sympathetic, protective, refusing (except where necessary) to countenance the virulent rows that make so much of the first part so negative. His comic pottering around and restraining 'I think we need just to relax', 'Sometimes you don't know when to stop', 'let the man (the boy) speak', although the boy retorts 'he's such a liar' 'talking bullshit' regarding his father. Perhaps here we see a classic explosive relationship between parent and teen. These three protagonists all excel in their roles. All deserve praise. Sidney, the grandpa (Walsh), is a wonderful piece of acting at every point. His bizarre antics, bemusing young Luther when he consumes whole mouthfuls of - presumably - vodka (cue hilarious coughing) is the funniest scene in the play. Carver's Malcolm is deliciously revolting: shouting is his norm, and attacking both of the other two, showing not an iota of empathy for his elders (and betters) nor for the feelings and growing pains of his battered offspring. Perhaps he is frustrated. Violence is his metier. Apart from a mention of his 'care' for Luther - not much evidence here - he has not a hint of decency about him. Carver captures the viciousness, intolerance, even brutality of the father with vivid explosiveness. To put it mildly, he's a fucking shit. Hoisting himself to match his elders, young Hanley brings to the fore the vulnerability of a 16 year old. Luther is constantly in danger, and fear enfolds him. We see the confusion of a mid-teenager, his attempts to find his real identity. His desperation. Grandfather Sidney makes convincing efforts to give the boy freedom, to show him that his life is his own, no one else's. Hanley's Luther displays, bravely and with as much courage as he can muster, resistance. He is occasionally audacious - when he challenges the obstinacy of his nasty, abominable, bloodcurdling father. He can, we see, under acute pressure, stand up for himself. Equally, when he exits into the street where a mass of protesters are marching (sound effects, excellent and splendidly precise). So the performance was very good, and an apt representation of the text. If there was a doubt, however, it was precisely about that text. The first half consisted in large part of rows and bitterness (grandfather and grandson apart). It was all rather the same (unlike part 2). Still, the audience found much to laugh at, entering into the spirit of the family tussles. So the production and performers at least served the script nobly, and notably well. Perhaps the audience should have the last say. To 02-11-24. Roderic Dunnett 22-10-24 |
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