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Advice for
the Young at Heart The Door,
Birmingham Rep ***** WITH a hard backdrop of rioting London in
1958 and 2011, this slick production bridges two different eras with a
dramatically tense script. It is a sharp reflection of the morality of our
current age and time with flawless performances from the entire cast. The play focuses on Candice, a mixed-race girl
with a desperate inner conflict of morality and loyalty. Equally, Sam,
Candice’s deceased grandfather also presents us with a chilling dilemma
in the midst of an earlier riot, for very different reasons. Strong performances certainly give writer Roy
Williams’ script all the more hard-hitting, especially from Alix Ross as
the mesmerising Candice. She sublimely captures the heartbreaking and raw
experiences of the young gang-woman and truly opens our eyes. Through
Ross’ performance, we are taken on a tragic and heart-felt journey,
though misunderstood at the beginning, which leaves us feeling a sense
of utter empathy by the end of the play. Candice’s childhood friend, Clint, played by the
loveable Adrian Richards offers a well needed spark of humour to the
tense atmosphere. Richards presents a cute naivety at first, but
perfectly shows profound transition from a bouncy teenager, to a
fountain of deep emotion. Richards and Ross are a mesmerising to watch as a
duo, as are Matt Bradley-Robinson and Joe Stamp, who play brothers Sam
and Kenny. Bradley-Robinson and Stamp give the audience a coarse and
indeed shocking account of discrimination in 1958 London, allowing the
connection between two eras to unfold in the mind. With the help of
Williams’ strong writing, every actor gives the audience an individual
account of the personal effects of two political conflicts. Through Candice and Sam, Williams constantly
reminds us of the chilling events that gripped the country from two
generations. The 2011 riots of London are still etched in our
minds, with easy to reach footage and media coverage still current,
which makes this play a perfect topic for young adults. The distinct parallel between two eras only
highlights Williams’ poignant exploration of the transformations of gang
culture over time. Candice and Clint are teenage friends, living in the
present whilst the elder Sam and Kenny are from the distant, but
seemingly more real adult world of late 1950’s Britain. With strong and heartfelt performances and moving
writing, complete with excellent directing by Natalie Wilson, this is a
play that needs to be seen. Elizabeth Halpin
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