Reader Reviews
The Sweetest Swing in Baseball (Royal Court - Jerwood Theatre, West End)
Back to Show Details| Score | Comment | Date |
 | best - 216.148.246.91) | 05 Dec 04 |
| Gillian did a terrific job... brilliant acting, as usual. - 24.165.105.41) | 18 Nov 04 |
| I think this play is great. This was the best play I have seen in years. The actors are just brilliant. Especially Gillian Anderson, I never thought that she is that brilliant. Her talent is wasted in Hollywood. The lighting is very moody. I think I have to see it again :-) - USER: Whatsonstage.com (218.39.19.72) | 13 May 04 |
| Gilman's play leaves Gillian Anderson (Dana Fielding) with the responsibility of creating all the subtext along with an outstanding supporting cast of four superb actors. Internal and external conflict layered admist some of the best character acting now appearing in the West End leaves all eyes center stage on Dana Fielding or Gillian Anderson. From a fragile, depressed state to presenting herself as the black, Mets, World Series winner, Daryl Strawberry, (The Straw) one small statured woman exhibits one 'big' talent. The price tag is worth that alone. The ending of this play may leave you wondering, "Is she or isn't she really Daryl?", but there is one thing that is for certain whether or not you like the script--Gillian Anderson consistently, night after night, is earning a place among the best the West End has to offer on stage. This kind of talent will never remain dormant so you can be sure that the name Gillian Anderson will be seen both in theatre and film for a very long time in the future. As for Gilman, her writing makes you care through the cast and this cast handles it mighty well. It remains fresh so don't miss this last week and unique opportunity to see a very special little lady produce some quality acting in the warm atmosphere of the Royal Court theatre. - USER: Whatsonstage.com (82.43.171.29) | 08 May 04 |
| Very nice play. I loved the actors and the writing. - USER: Whatsonstage.com (80.141.228.202) | 01 May 04 |
| I didn't know yet that Gillian Anderson is such an excellent actress (not a big TV fan), that's why I only stumbled accidentally into this play and was so pleasantly surprised that I'm looking forward to everything this actress is going to do in the future. The supporting cast and writing was very good, too, IMO. In any case, it's worth watching, I highly recommend a visit. - USER: Whatsonstage.com (217.81.233.109) | 19 Apr 04 |
| Interesting play!I loved the actors, especially John Sharian, he was great! - USER: Whatsonstage.com (200.162.245.142) | 18 Apr 04 |
| An American sport is brought to the British stage in Rebecca Gilman’s hilarious but incredibly touching new play The Sweetest Swing in Baseball. A moral warning of the fickle world of fame, commercialism and envy, combines with scathing criticism of the way we treat our mentally ill in this most recent offering at the Royal Court. Obviously well recovered from stinging criticism for last year’s West End debut, Gillian Anderson of ex X-Files notoriety takes the leading role as successful artist Dana Fielding, a woman so trapped in her own despair her only option is a suicide attempt which finds her in a mental institution. Anderson’s so delicately portrays the hunted, panic-stricken vulnerability with such real pain, it impossible not to be mesmerised by her gaunt form and enormous brimming eyes. Aided by unlikely new friends, a gay alcoholic (Demetri Goritsas) and an hysterically comedic ‘harmless’ sociopath (John Sharian) Dana decides to fake multiple personality disorder to get more time in what has rapidly become her safe haven. A chance encounter with a book stolen from the rehab library leaves Dana pretending to be Afro-American baseball legend Darryl Strawberry, another talent unable to cope with his own success. Luckily for us, Dana does not know much about this “dude” either, so watching her struggle to convince the therapist when she clearly has no idea about him is hilarious. Anderson shows excellent comedic timing, playing against Goritsas’ and Sharian’s fantastically contrasting and hilarious characters. Sharian masters his character of skilfully engaging the audience by playing the funniest lines straight, taking us by surprise when the script turn personal. Goritsas as Michael is slightly stereotyped in that “everybody loves a gay guy” sense, but contrasts well with Sharian’s macho image, despite being given far less depth of character to work with. The story of failed dancer-come-therapist (Crane) provides a moral, if not slightly too convenient, contrast. Ironically Anderson as the multiple personality disorder patient is the only part not double cast in this production, as Gorisat and Sharian both takes on a further minor role. Double casting of Nancy Crane and Kate Harper as sycophantic art dealers and psychiatrists shows us excellent performances from both actresses. Hildegard Betchler’s simple but effective set takes us from apartment to mental hospital to gallery with the simple use of props and set dressings. Coupled with a delicate and beautiful lighting plan and subtle use of music, almost all changes to set and costume happen before our eyes in non-naturalistic style, but the emotional investment of the actors makes it incredibly easy to believe this real. Bravely tackling a taboo subject, perhaps driving the (obviously personal) points home a little too much, Gilman’s script has a wonderful way of making the audience laugh while her characters subtly chip away at our unconscious emotions until we are so invested in the story it is impossible to step back. Whatever your own story, we could all benefit from some truly honest thought about the issues this play raises. While the initial swing comes from Gilman, the home run is all Anderson. And yes, the crowd did go wild... - USER: Whatsonstage.com (194.207.89.137) | 14 Apr 04 |
| This play is so bad it made me cringe whilst watching it. An accomplished performance from Gillian Anderson though. Why she agreed to act in such tosh is a mystery. - USER: Whatsonstage.com (193.128.202.113) | 14 Apr 04 |
| It seemed that when she starred in the ill-fated two-hander What The Night Is For at the Comedy last year, Gillian Anderson was penalised for having a diverse body of work. Whilst some critics were kind about her performance, the majority saw her presence as simple vanity casting; negating the fact that she had a body of thorough stage work, and some impressive screen performances behind her (particularly in The House Of Mirth), because Gillian Anderson has been in The X Files, she simply couldn't be a good stage actor. Right? Not, exactly. What The Night Is For was a weak offering, and the truth of the matter is that her performance was someway between the critical extremes that were hurled at it. Technically proficient, well thought through, but at times a performance that seemed to exist purely to demonstrate that she could 'do theatre'. Hence, the pressure on her now, and the shadow cast over the Royal Court's latest offering should not be underestimated. Truth be told, The Sweetest Swing In Baseball is a sound offering, with some exceptional moments. Compared to her visceral and vital works of true, lean theatricality, Gilman's play seems remarkably slight. Dana Fielding's descent into depression, and subsequent psychophysical re-invention as legendary black, male baseball player Daryl Strawberry is amusing and bewildering for the characters around her, and exhilerating or the audience. Part of the problem is that this much we already know before the play begins; read the programme, or the flyer, and it tells you all this. And 'all this' is the entirety of act one. So much so, that the play doesn't really get going until after the interval. There is not one single, defining moment that drives the story forward until then. So, we have a talented author offering a thoughtful meditation on the definitions of art, "good", fame, strength and perception. The play itself won't send the world spinning of its axis, but it's good enough. It's a swell production, though. Hildegard Bletcher's stark, minamilst and realist set is a wonderfully vacant backdrop, with all sorts of possible suggestions offered by Howard Harrison's moody lighting. Ian Rickson's direction is even-handed, smart and has the right balance of economy in its staging and intensity in its performances to play against the play's slim framework. In multiple roles, John Sharian's no-nonsense bluster and straight talking cuts a neat line through the angst and turmoil of every scene, and he's matched by Demetri Goritsas as Dana's AA-going gay best friend on the inside. Gamely not going down the caricature route, Kate Harper and Nancy Crane have a great time with their prodding and needling of Dana's insecurities. And, Gillian Anderson? It's a massive part, and she's on stage for 98% of the play. It's a truly wonderful performance for the stage, appropriate and immaculately structured by a gifted actor. In no way overshadowing the slight proceedings, Anderson gives us an elegant and unfussy recreation of fragility. Her comic timing is immaculate, and this time, her performance looks like someone who's manage to extrapolate years of work in front of a camera into a theatre auditorium. If the play's metaphors (negative space and all that) are a bit obvious, and the story itself is relatively insignificant, and put to one side, viewed as the rebirth of an actor, the evening is a success. Pared-down, lean, and right in time with her cast mates, this night is for the re-birth of the wonderous Gillian Anderson. - USER: Whatsonstage.com (195.93.34.14) | 10 Apr 04 |
| The Sweetest Swing in Baseball is a play everyone should go and see. Comical even with such a serious subject as depression and suicide. The star of the production is Gillian Anderson, who captures emotions perfectly from the tiniest movement of her body to her facial expression, you can really sense at times the despair and torment of Dana Fielding. Comic timing is perfect the entire cast do a tremendous job with this play and work exceedingly well together. The play in terms of Rebecca Gilmans previous works may not be her best, but her cast choice more than makes up for that. The Sweetest Swing in Baseball makes for a thoroughly entertaining night out. - USER: Whatsonstage.com (81.129.110.5) | 06 Apr 04 |
| A huge disappointment after her earlier plays. Well staged and acted, but such an insubstantial piece. - USER: Whatsonstage.com (172.168.133.253) | 06 Apr 04 |
| Troubled artist Dana Fielding approaches breakdown as her personal life and career start to crumble. A suicide attempt lands her in a psychiatric hospital, where she feels safe and concocts a multiple personality disorder to try to extend her stay. Via her assumed identity, she refocuses on her painting and finds success again. The problems I had with this were not feeling I'd seen enough of a downward spiral to justify a suicide attempt, and the improbable haste with which she knocks off the works that bring about her revival. I also wasn't quite sure where the author was taking us; however, overall it's an enjoyable journey, with plenty of laughs along the way. It wasn't too 'American' as some have complained - it takes a few pops at the therapy culture (as well as the art world) and there is enough explanatory material in the script to fill in the blanks for those of us who are baseball-ignorant. I liked the simple, open, airy set, with its artist's studio touches - plastic drapes, sawhorses and chipboards; mechanically it worked well too. Scene changes are achieved deftly with lighting. The cast acquit themselves very well, especially John Sharian as disenchanted boyfriend Roy and fellow patient Gary the sociopath. Gillian Anderson shows a nice comic touch as well as brittle edginess in some of the early scenes, particularly at Dana's exhibition when she realises it's all coming undone. I do think she's exorcised the ghost of What The Night Is For - this is worth seeing if you can get a ticket. - USER: Whatsonstage.com (195.74.155.107) | 06 Apr 04 |
| Superb acting all round. A hugely impressive performance from Gillian Anderson - economic, detailed, huge range from light comedy to searing emotion, deeply moving. And, once again, wonderful writing from Rebecca Gillman - a revelatory account of the creative process. The Royal Court should be filled to the rafters for this stunning evening. - USER: Whatsonstage.com (195.93.34.14) | 04 Apr 04 |
| very very bad. Embarrassingly 'american' in the worst possible way. Neither therapy nor anti-depressants are a substitute for decent drama. Expected more from the Royal Court. - USER: Whatsonstage.com (82.69.37.108) | 01 Apr 04 |
| Love it!Great story! Gilian was fabulous,and the rest of the cast too. Worth the money!! You all should see it!! - USER: Whatsonstage.com (200.162.245.107) | 01 Apr 04 |
| Rebecca Gilman has surpassed herself with this play, it's very well written indeed, with both sharp wit, subtle tenderness and clever ironies. My only reservation is that I don't think quite enough attention was paid to how Dana (Gillian Anderson) got to her suicidal state, it's explained, but I think rather hurriedly, they seem eager to get to the scenes in the mental institution. But that's just a small quibble. The performances are a pleasure, John Sharian as Gary particularly shines from the supporting cast, all of whom give assured and humourous performances. Highest praise should be reserved for Gillian Anderson, who lights up the stage, moving effortlessly between inner turmoil in the begining, through to some scenes with expert comic timing, never betraying her characters emotional plight. - USER: Whatsonstage.com (195.93.34.14) | 31 Mar 04 |
| The Sweetest Swing in Baseball IS the Sweetest thing going in London Town this Spring. A petite little lady named Gillian Anderson along with a talented supporting cast steps up to the plate at the top of the batting order and swings the action into motion. Any IF’S or MAYBE’S leftover from her West End debut in ‘What The Night Is For’ is another World Series. The West End may have a younger version of Judi Dench sliding onto the plate after this one. Rebecca Gilman’s new play is a good piece of writing that is well acted, and ends in a ‘smack’ right off the wood from Daryl Strawberry’s own bat, literally. Dana Fielding, played by Anderson, desires to extend her stay in a mental hospital following a continual decline in her career as an artest and a personal life that is falling apart. She assumes the identity of Daryl Strawberry, an American baseball player known as ‘The Man Who Build New York’ in order to extend her stay past what her meagre insurance will allow and gets more than she bargained. Dana (Anderson) finds a way to regain the freshness and creative edge she lost as Dana Fielding, the Artist. Within the conflict between her boyfriend, her psychiatrist, and fellow inmates at the institution, Dana (Anderson) reveals her own internal struggle. The action in any good play is found in the actors head and that is where it begins and ends in Gilman’s new writing. Between the unexpected humour that comes from the interplay of conflict between the characters and Dana’s internal struggle, Anderson stretches herself, steps up to home plate, and contacts the ball ‘dead on’ in the name of the ‘STRAW’, or Dana Fielding? You decide? Don’t miss this one as Spring is baseball season and you only need to travel over to the Royal Court Downstairs to see this ballgame. - USER: Whatsonstage.com (62.171.198.4) | 31 Mar 04 |
