Alan and Terry have each returned to their dead mother’s tower-block flat to claim it as their own. Terry has brought the mysterious Lilly with him. Wearing hijab with niqab and speaking in a thick foreign accent, she appears to have recently escaped a horrific war in an unnamed Islamic state. She lives in a squat next door with her lover, Medic, and the couple’s baby, Bubba. Bubba is a plastic doll, which they treat as if it were real.
This isn’t the first hint that there’s something odd going on here. Philip Ridley’s script never quite decides whether it’s farce or magical realism. While the brothers seem realistic, it is hard to take them seriously. On the other hand, Medic is a cartoon of psychotic impulses and hilariously creative swearing, played with staggering intensity and charisma by John Macmillan, who appears much more threatening as a result. When Alan’s deeply disturbed son, Garth (a brilliantly wired Luke Treadaway), turns up, the balance is tipped once again and the previous constructions of reality start to unravel.
Despite being a bit of a mess structurally – as if three separate plays are fighting for attention – there is some fine writing here, combined with moments of knuckle-whitening tension. Refusing to give answers or a satisfactory resolution, the play evokes the all-too-recognisable violence and madness of modern Britain, while suggesting that imaginary friends, childhood games and telling stories can act as both coping strategies and terrifying doors to an abyss.
My views will not be as eloquent as some on here, I don't often deconstruct plays but I felt I should say how much I enjoyed this. I'm not a big fan of Philip Ridley's work, I find it a bit bleak for my own tastes but I was pretty blown away by this production. I can only put it down to great acting and fantastic direction. I loved the seating arrangement, it made you feel as though you were in the room with the family as the events unfolded. I don't recall one moment when i felt the urge to check my watch which i often do in plays. I really think people should check it out and decide for themselves. These things are completely subjective but I think it's a really enjoyable night out, with more laughs than i had expected.
In fact:
"On the other hand, the elephant in the room here is that this interpretative school of criticism could of course fall prey to finding meaning where there is none – dignifying work with little or intellectually negligible thinking behind it with critiques so intelligent and eloquent that the work seems ultimately vindicated when it would perhaps have benefited more from someone pointing out that it wasn’t half as clever as it thought it was."
Andrew Haydon..
Does anyone suspect that some of these more positive comments may have been written by a desperate theatre marketing department? Dickie Ray, in particular, seems to have more than one personality..
Andrew - "evokes the violence and madness of modern Britain' - really? Take a trip to Iraq, sometime, or Sudan, or Congo. then decide where you find the violence and madness. Can't Time Out find better reviewers than this?
What a load of old rubbish you've all written... Were we watching the same play? Crass, badly directed, boringly predictable shock tactics employed to make something out of nothing. I was neither moved nor appalled. It was back of the seat theatre at its worst...
Like a lot of Ridley's plays, Piranha Heights is harrowing and moving, and it left me feeling as though I had been ripped apart and rearranged. The effect it had on the rest of the audience was substantial as well. Words like 'wow' and 'amazing' were being used in abundance in the bar afterwards.
Using his usual colourful and beautifully poetic language, Ridley manages to portray the wildly different personalities of the play's six characters with incredible flair and dexterity. And this production couldn't ask for a better cast. Matthew Wait and Nicolas Tennant are beautifully mismatched as the pair of dysfunctional brothers. Jade Williams gives a powerful performance as the Muslim girlfriend of Medic, played with simultaneous force and softness by the truly incredible John Macmillan, and Luke Treadaway delivers a masterful performance as the animal-harming teenage son of one of the brothers.
The production rides perfectly on the back of Lisa Goldman's direction and Jon Bausor's design, and being able to see half the audience across the traverse staging constantly reminds us that we are implicated in the play's message, and are much more than mere observers.
This is a fitting and thrilling third installment in Ridley's exploration of brotherly love, and fans of his previous work will notice recurring themes and ideas. It is a must-see, not just for the rebellious and 'kooky' among you, but for everyone. Ridley has a unique voice, and it must be heard.
This is the best play I've seen this year so far.
Seeing a Philip Ridley play, is like watching a Tim Burton film, you are taken into the unique world of Ridley and see life through his eyes. I was also soooo suprised to see that Philip Ridley is as capable of comedy as he is tragedy. Out of such tragic circumstances, this play had me laughing for most of it, it was almost farcical. Ridley has proved to any critic he is capable of writing anything with skill, without compromising his own unique style.
His writing is very poetic and not every actor knows how to handle this with skill, but i thoroughly enjoyed the show!
im going to see it again this week, and cnt wait for his next play!!!
I'm never keen on going to the theatre (love movies and fast life too much) but - after this play I must say I'm a changed man. It's up there with some of the most incredible experiences I've ever had. P-Heights was an emotional experience - touching upon things that both myself and my friends feel deeply about. Fantasy lives... waking people up in society and our inner demons - hiding deeper into our own skulls. As soon as I got home I looked up other reviews of this play and others felt just like me. Also it was sold out the week I went so go get tickets quick as positive word is spreading - I can't wait to see it again. Philip Ridley thank you. Your words - the acting, dialogue, tension, everything was unforgettable.
Love a new fan.
---- and i'm not alone see below:
"The theatrical equivalent of a gigantic Jackson Pollock splatter painting...shocking...addictive...inexplicably attractive."
British Theatre Guide
"Ridley has single-handedly brought white-knuckle excitement and appalling truth back to the new writing scene,"
The Stage
"This thrilling mix of fantasy and sensation shows Ridley at the top of his game. It really rocks: exciting stuff, you must see it. Is that clear enough?"
In-Yer-Face Theatre
How typical of someone like Mr Flowers to suggest that if you dare criticise a play due to extreme self indulgence then you're nothing more than a light-hearted musical fan and should stick to such productions. As an avid theatre goer, I'm prepared to sit through the most extreme of onstage actions if I think they have any point (being a nurse has subjected me to a lo worse!) but not when the behaviour is meaningless. As for humour well that's pretty subjective. I personally found the play as funny as cup of cold sick. Something else I'm used to in my profession.
Posted by
bengali adrift in theatreland
on
26 May 2008 11:49
The Soho tends to be hit and miss. Philip Ridley bends that way as well. I saw his Vincent River at the Trafalgar Studios last year. That wasn't a bad production, it was helped immensely by Lynda Bellingham's performance, but in general you could tell that here is a writer too much in love with his own voice - to the detriment of plot and narrative - and in whose work the ponciness factor tends to be suspiciously high.
I'm glad my views were confirmed! Thanks. Will avoid. Plenty more things in London right now - betake yourself for example to Elephant and Castle to see the Royal Court's on-location production of Addai's Oxford Street
The last reviewer is misguided. Mercury Fur had some interesting word play and the beautiful Ben Wishaw to enjoy. But Ridley's obsession appears to be to shock without a reason or plot. The director encourages all actors to go on overdrive but after a while the shouting and swearing become tedious. I was disappointed at last Wednesday play and am not sure if Ridley has anything more to say. Or if he has, he needs to focus on what it is and concentrate on a few themes rather than theatricalities.
Frankly, I'm wondering if the negative posters saw the same play as me; either that or they've never seen a Philip Ridley play before and were expecting a good night out akin to The History Boys. Christ knows what they'd have made of Mercury Fur! Admittedly the shouting of the actors (though well-acted) was wearying at first, but once events kicked off - particularly with the introduction of Medic, hilariously and terrifyingly played by John McMillan - the odd pacing and set-up all came together. It strikes me that some people don't like the play's ambiguity and opaqueness, but those are the strengths of a Philip Ridley play! Though there were a few graven faces, most of the audience last Wednesday (20th) were shrieking with laughter at the jet-black humour, especially once Luke Treadaway burst onstage. It's the most kinetic, thrilling piece of theatre I've seen in yonks, but if you're a bit squeamish, best go and see... oh, I don't know, Mamma Mia or something.
I agree with the negative comments above, but would add that - though the play was a rough and random piece of work - the direction, performances and design did little to bring any credibility to the performance. A depressing evening, not because of the subject matter but because of the generally poor quality of the work.
I was completely gripped from beginning to end. How anyone can knock the frankly superb acting performances from the entire cast is beyond me. I'm still digesting this play a week later! Utterly brilliant. I'm looking to be in a production of the Pitchfork Disney later this year and so glad I came. Spot on, cheers!
I feel sorry for the actors who tried their best with what is quite frankly a completely mad and random plot. As the person above says, there are frequent occasions when you emit a sigh of relief when certain characters leave the stage- only to be subjected to more nonsense and ramdomness!
There are times when the play seeks to offend and shock for no reason at all other than to obscure the major holes in the plot. In fact, I'd say this is the worst play I've ever seen- and not the sort of show that's so bad its good- this is so bad that you will wish you had never bothered to waste your time going to see.
21 comments
My views will not be as eloquent as some on here, I don't often deconstruct plays but I felt I should say how much I enjoyed this. I'm not a big fan of Philip Ridley's work, I find it a bit bleak for my own tastes but I was pretty blown away by this production. I can only put it down to great acting and fantastic direction. I loved the seating arrangement, it made you feel as though you were in the room with the family as the events unfolded. I don't recall one moment when i felt the urge to check my watch which i often do in plays. I really think people should check it out and decide for themselves. These things are completely subjective but I think it's a really enjoyable night out, with more laughs than i had expected.
In fact:
"On the other hand, the elephant in the room here is that this interpretative school of criticism could of course fall prey to finding meaning where there is none – dignifying work with little or intellectually negligible thinking behind it with critiques so intelligent and eloquent that the work seems ultimately vindicated when it would perhaps have benefited more from someone pointing out that it wasn’t half as clever as it thought it was."
Andrew Haydon..
Does anyone suspect that some of these more positive comments may have been written by a desperate theatre marketing department? Dickie Ray, in particular, seems to have more than one personality..
Andrew - "evokes the violence and madness of modern Britain' - really? Take a trip to Iraq, sometime, or Sudan, or Congo. then decide where you find the violence and madness. Can't Time Out find better reviewers than this?
What a load of old rubbish you've all written... Were we watching the same play? Crass, badly directed, boringly predictable shock tactics employed to make something out of nothing. I was neither moved nor appalled. It was back of the seat theatre at its worst...
Like a lot of Ridley's plays, Piranha Heights is harrowing and moving, and it left me feeling as though I had been ripped apart and rearranged. The effect it had on the rest of the audience was substantial as well. Words like 'wow' and 'amazing' were being used in abundance in the bar afterwards.
Using his usual colourful and beautifully poetic language, Ridley manages to portray the wildly different personalities of the play's six characters with incredible flair and dexterity. And this production couldn't ask for a better cast. Matthew Wait and Nicolas Tennant are beautifully mismatched as the pair of dysfunctional brothers. Jade Williams gives a powerful performance as the Muslim girlfriend of Medic, played with simultaneous force and softness by the truly incredible John Macmillan, and Luke Treadaway delivers a masterful performance as the animal-harming teenage son of one of the brothers.
The production rides perfectly on the back of Lisa Goldman's direction and Jon Bausor's design, and being able to see half the audience across the traverse staging constantly reminds us that we are implicated in the play's message, and are much more than mere observers.
This is a fitting and thrilling third installment in Ridley's exploration of brotherly love, and fans of his previous work will notice recurring themes and ideas. It is a must-see, not just for the rebellious and 'kooky' among you, but for everyone. Ridley has a unique voice, and it must be heard.
This is the best play I've seen this year so far.
Seeing a Philip Ridley play, is like watching a Tim Burton film, you are taken into the unique world of Ridley and see life through his eyes. I was also soooo suprised to see that Philip Ridley is as capable of comedy as he is tragedy. Out of such tragic circumstances, this play had me laughing for most of it, it was almost farcical. Ridley has proved to any critic he is capable of writing anything with skill, without compromising his own unique style.
His writing is very poetic and not every actor knows how to handle this with skill, but i thoroughly enjoyed the show!
im going to see it again this week, and cnt wait for his next play!!!
I loved this play and so did all my mates that came with me. Miss this one at your peril.
Philip Ridley is a GOD.
I'm never keen on going to the theatre (love movies and fast life too much) but - after this play I must say I'm a changed man. It's up there with some of the most incredible experiences I've ever had. P-Heights was an emotional experience - touching upon things that both myself and my friends feel deeply about. Fantasy lives... waking people up in society and our inner demons - hiding deeper into our own skulls. As soon as I got home I looked up other reviews of this play and others felt just like me. Also it was sold out the week I went so go get tickets quick as positive word is spreading - I can't wait to see it again. Philip Ridley thank you. Your words - the acting, dialogue, tension, everything was unforgettable.
Love a new fan.
---- and i'm not alone see below:
"The theatrical equivalent of a gigantic Jackson Pollock splatter painting...shocking...addictive...inexplicably attractive."
British Theatre Guide
"Ridley has single-handedly brought white-knuckle excitement and appalling truth back to the new writing scene,"
The Stage
"This thrilling mix of fantasy and sensation shows Ridley at the top of his game. It really rocks: exciting stuff, you must see it. Is that clear enough?"
In-Yer-Face Theatre
How typical of someone like Mr Flowers to suggest that if you dare criticise a play due to extreme self indulgence then you're nothing more than a light-hearted musical fan and should stick to such productions. As an avid theatre goer, I'm prepared to sit through the most extreme of onstage actions if I think they have any point (being a nurse has subjected me to a lo worse!) but not when the behaviour is meaningless. As for humour well that's pretty subjective. I personally found the play as funny as cup of cold sick. Something else I'm used to in my profession.
The Soho tends to be hit and miss. Philip Ridley bends that way as well. I saw his Vincent River at the Trafalgar Studios last year. That wasn't a bad production, it was helped immensely by Lynda Bellingham's performance, but in general you could tell that here is a writer too much in love with his own voice - to the detriment of plot and narrative - and in whose work the ponciness factor tends to be suspiciously high.
I'm glad my views were confirmed! Thanks. Will avoid. Plenty more things in London right now - betake yourself for example to Elephant and Castle to see the Royal Court's on-location production of Addai's Oxford Street
The last reviewer is misguided. Mercury Fur had some interesting word play and the beautiful Ben Wishaw to enjoy. But Ridley's obsession appears to be to shock without a reason or plot. The director encourages all actors to go on overdrive but after a while the shouting and swearing become tedious. I was disappointed at last Wednesday play and am not sure if Ridley has anything more to say. Or if he has, he needs to focus on what it is and concentrate on a few themes rather than theatricalities.
Frankly, I'm wondering if the negative posters saw the same play as me; either that or they've never seen a Philip Ridley play before and were expecting a good night out akin to The History Boys. Christ knows what they'd have made of Mercury Fur! Admittedly the shouting of the actors (though well-acted) was wearying at first, but once events kicked off - particularly with the introduction of Medic, hilariously and terrifyingly played by John McMillan - the odd pacing and set-up all came together. It strikes me that some people don't like the play's ambiguity and opaqueness, but those are the strengths of a Philip Ridley play! Though there were a few graven faces, most of the audience last Wednesday (20th) were shrieking with laughter at the jet-black humour, especially once Luke Treadaway burst onstage. It's the most kinetic, thrilling piece of theatre I've seen in yonks, but if you're a bit squeamish, best go and see... oh, I don't know, Mamma Mia or something.
I agree with the negative comments above, but would add that - though the play was a rough and random piece of work - the direction, performances and design did little to bring any credibility to the performance. A depressing evening, not because of the subject matter but because of the generally poor quality of the work.
I was completely gripped from beginning to end. How anyone can knock the frankly superb acting performances from the entire cast is beyond me. I'm still digesting this play a week later! Utterly brilliant. I'm looking to be in a production of the Pitchfork Disney later this year and so glad I came. Spot on, cheers!
I feel sorry for the actors who tried their best with what is quite frankly a completely mad and random plot. As the person above says, there are frequent occasions when you emit a sigh of relief when certain characters leave the stage- only to be subjected to more nonsense and ramdomness!
There are times when the play seeks to offend and shock for no reason at all other than to obscure the major holes in the plot. In fact, I'd say this is the worst play I've ever seen- and not the sort of show that's so bad its good- this is so bad that you will wish you had never bothered to waste your time going to see.
1 2