In recent times, the Garrick has become almost synonymous with JB Priestley. For nearly six years up until April 2001, the theatre was home to Stephen Daldry's multi award-winning production of Priestley's An Inspector Calls (reopened at the Playhouse). And now, after a brief interlude, it's clutching Priestley to its bosom once again.
This time it's the turn of the playwright's much earlier work, Dangerous Corner, coming via Leeds' West Yorkshire Playhouse. In many ways, this 1932 thriller shares much in common with Inspector, which Priestley wrote in 1946. A bunch of well-to-do's are gathered for a party when the spectre of a suspect death arises to implicate them all in a series of vicious revelations, truths and untruths. Storyline aside, the young director Laurie Sansom also brings to mind the earlier production by borrowing some Daldryesque touches - the canned party laughter before curtain-up, for instance.
But there are also many significant departures. Rather than being set in Priestley's own time or earlier (Inspector takes place between the two world wars), Sansom makes the decision to thoroughly modernise proceedings. Thus, Jessica Curtis's country homestead of party hosts Freda and Robert Caplan is anything but cosily twee. Instead, it's all slimline white sofas, blonde wood, strip lighting and glass walls that look out onto an ominous forest of towering trees. And it contains characters who've abandoned 1930s-style cut-glass accents and ennui for Gucci suits, stiletto heels and small bags of white powder.
These are the Beautiful People. All connected to a nepotistic publishing company, they are wealthy, successful and sickeningly attractive. On the surface anyway. The collected ensemble turn in assured performances, gradually allowing their characters' masks to slip, as the evening and the accusations progress, to reveal festering sores.
Especially impressive are Rupert Penry-Jones as the strident Robert whose illusions collapse in stumbling drunkenness, Dervla Kirwan as his besotted friend Olwen, touchingly struggling to rein in her emotions, and newcomer Anna Wilson-Jones, not quite the girlish picture of innocence she seems. The only dud performance note is sounded by Jacqueline Pearce, as ego-inflated novelist Maud who is so grotesque it's hard to decide whether Pearce's acting is extraordinarily good or extraordinarily bad.
The main problem with this Dangerous Corner comes back to Priestley. Despite the company's efforts, the script forces them into occasional melodrama, uttering groan-worthy lines such as "It's quite simple really", "Yes, it's true" and "Of course, I've known for some time", which pop up repeatedly. How much better it could have worked if Sansom had been allowed to modernise the language as much as the set, excising anachronisms and toning it down to suit the palate of today's audience.
Still, for the most part, Sansom's updating works a charm. This Priestley offering is sleek, sexy, spooky and highly charged.
Fantastic !!!
For way too long has the theatre and particularly 'plays' been thought of as a bit of a bore by people of my age, now the west end has woken up and has a director of my age, you can go and see a play that was written 70 years ago but with the influences of a modern, young and extremely talented mind. Excellent young actors and especially directors will get young people back to the theatre. Dangerous Corner is a very fine example. Well Done Laurie Sansom and your cast. - USER: Whatsonstage.com
01 Feb 02
At thirtyfive pounds a pop, one is entitled to expect more than a moderately-god student production. But this was what we got. The main difficulties were with the delivery of Priestley's lines: poor emphases did not help this plotty play's progress. Needs work! Watch more British 30s films to get that intonation right. The blocking was sometimes a little odd, too, although one has to do what one can to make what is a fairly static play watchable. High points: costume, lighting, set and the special effect.
C.J. 12/01 - USER: Whatsonstage.com
01 Jan 02
There seems to be some confusion about this play. Much has been made of the fact that audiences tend to giggle at many of the dramatic revelations, but wasn't "Dangerous Corner" originally classified as a comedy? - USER: Whatsonstage.com
07 Dec 01
I thought the play was creaky to say the least and obviously the work of a new playwright (I believe it's Priestley's first play). The performances were pretty good apart from a fairly wooden turn from Rupert Penry-Jones as Robert. Other than that, the cast managed well to cope with the old-fashioned language and the revelations that seemed to come about every 5 minutes! I liked the set and thought it conjured up the idea of new wealth in the country. After all, do designers have to make everything realistic just to please audiences. Surely we should (and can) be trusted to use our imaginations. All in all though, I would say that it's probably best left unrevived..... - USER: Whatsonstage.com
05 Dec 01
Did Martin steal the money or not?
Did Martin commit suicide or not?
Does anyone really care?
When I entered the Garrick auditorium and was greeted with spooky sounds and
an interesting curtain of birch trees, I
thought this may be a good, old-fashioned thriller, but all we got was
Martin this and Martin that, everyone
talking about events we didn't see. The drinkers were really swilling down the vodka, so much so that they would have passed out had it been real. Liked Rupert Penry Jones, and wish there had been more of Jacqueline Pearce, who I didn't feel overacted and was simply a larger than life, Tallulah Bankhead-type character. Nice set, but it looks nothing like what's pictured on the programme cover. Overall, a disappointment, a bore and the least-
thrilling thriller I can recall. - USER: Whatsonstage.com
04 Dec 01
Great cast, great set and lighting, lovely sound, shame about the script. The crass ending spoiled what could have been a brilliant production. By all means see this for it's good points, especially a first rate ensemble cast and a director who has the potential to be great! - USER: Whatsonstage.com
26 Nov 01
I have to disagree with the only serious gripe given by your WOS reviewer, namely that by not being allowed to modernise the dialogue, Sansom's play suffers from its tone of old-world melodrama. On the contrary, I thought that though you might have expected the modern set to contrast at odds with the original script, in fact Priestley's text worked brilliantly for a modern audience.
Wonderfully acted - although I agree that Maud was a bit painful, but then I presumed she was supposed to be.
You get sucked right in and the ending is great. Loved it.
Ali N - USER: Whatsonstage.com
21 Nov 01
ERM...ITS CRAP! maybe sexy, but dont you want more when your paying over £20 for a play? I would like a decent set, good acting and a decent play - USER: Whatsonstage.com
16 Nov 01
What a dissapointment. Great looking cast given a dud, ropey old play. The updating of the action looks great but doesnt work. Why would these yuppies be spending ANY time in the middle of nowhere? So implausable. Set was restricting, cheap and unimaginative. The trees at the back were horrendous- A bit of cut out wood....why? The performers looked good but sadly, were fighting the dated dialogue that was out of sync with their image. The language was old-fashioned. If your updating the look of the play- surely they were entitled to do the same with the script. All were unimpressive in particular Jacqueline Pearce looking like one of the witches out of er...THE WITCHES!! And a performance completely different from the others. (overpitched...like wandering in from a different show). The only one to impress was the gorge Dervla Kirwin. the thatre was empty.......... (though i hope it draws in the crowds- it is a young and attractive cast., and will appeal to many i suppose.... - USER: Whatsonstage.com
16 Nov 01
Quite simply one of the most entertaining plays I've ever seen - hardly a masterpiece, yet it not only holds your attention but sticks in your memory afterwards. Laurie Sansom could perhaps have gone a little further in updating some of the dialogue (and I couldn't help wondering why these "dance fiends" didn't own a single CD!) but on the whole the contemporary setting works a treat. By the way, I thought Jacqueline Pearce was marvellous at the flamboyant American novelist - we see too much low-key acting these days... Having seen all three productions in the WYP's Priestley season, I have no hesitation in saying that "Dangerous Corner" is the most successful. - USER: Whatsonstage.com
16 Nov 01
This is an OK thriller but not that great. Really. The acting is OK, the cast are all quite pretty and the storyline is one of those pretty run of the mill "Who slept with whom, who shot who and why is everyone telling the truth all of a sudden?" jobs that will be very familiar to anyone with satellite TV.
The whole play is peppered with reveals of a "Well if you muct know, I have been sleeping with your brother...." moments.
It is a distracting hour or tow but must be viewed as Theatre as a TV substitute and not as THEATRE.
On top of that, The Garrick has to be the noisiest theatre in London. It is stuck between two busy roads and right on top of what must be the ricketiest tube line in London. There were times last night when the dialogue was drowned out by sirens and the rumble of trains.
Oh, and a mobile phone went off in the Circle.
- USER: Whatsonstage.com
16 Nov 01
Excellent, so well done, brilliant acting a thoroughly enjoyable evening. It's a must for everyone to see. - USER: Whatsonstage.com
14 Nov 01
Absolutely fantastic. Despite modernising the script, Priestley's acute observations and timing haven't been lost and the plot sits very comfortably in 21st century surrounds. The cast were magnificent. Drama, intrigue, passion and high emotions ran ragged round the auditorium and its cast. Anna Wilson-Jones as Freda Caplan was simply stunning. A definite must-see and a great last minute addition to the West End line up. - USER: Whatsonstage.com
14 Nov 01
It's bloody good. Wasn't sure to start with, but it just grips you. And yeah, there are six-million-billion twists, it'd never happen in real life, but HEY, it doesn't happen in real life, it happens in a theatre (there's even an excellent touch at the start and the end which specifically nods towards the fictive nature of the whole thing - see if you can spot it) but it's really well played across the board (not fair to single anyone out, they're all v good, and work well together), and there's a stunning 'coup de theatre' towards the end. Brilliantly pulled off. Really smart. Deserves to do really well. I'm glad they brought it down. And yeah, it's REALLY sexy too. I mean this isn't really what we go to the theatre for, but what the hell, if there's not someone in the cast you bloody fancy, then you must be seriously lacking an appetite. Go and enjoy. V enjoyable experience. - USER: Whatsonstage.com
12 Nov 01
Saw it in Leeds - reaaly loved against all odds! Generally great cast and a sensational set design with a fantastic effect towards the end - won't say what so as not to spoil it!! In my opinion well worth seeing - USER: Whatsonstage.com
09 Nov 01
Seen at the West Yorkshire Playhouse Leeds pre West End.
A most enjoyable evening - far better than anticipated. The updated script really works and the playing is excellent (especially Patrick Robinson, Rupert Penry-Jones, Anna Wilson-Jones, Jacqueline Pearce - outstanding in a supporting role - and Dervla Kirwan. Excellent set with an outstanding effect near the end. An entirely pleasant surprise. ~ Ian - USER: Whatsonstage.com
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