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Review of Jerusalem – Chelmsford Theatre Workshop. 24th July 2024
Directors – Rebecca Skingley & Lauren Gladwin
Colin Smith – Johnny ‘Rooster’ Byron
James Christie – Ginger
Lucy Carpenter – Phaedra
Keith Newman – Professor
Martin Wilderspin Lovell – Wesley
Cree Rayner – Lee
Pen Igbenedion – Davey
Jessie Hadley – Pea
Grace Robards – Tanya
Andy Poole – Troy Whitworth
Andrea Dalton – Parsons
Claire Lloyd – Fawcett
Corinne Woodgate – Dawn
Leo Burdon, Joe Wiltshire, Stanley Christie-Johnson and Noah De Cruz – Markey
It's always a funny thing when you go to see a production that you saw the original of in the West End. That's what happened to me last night when I went to see Chelmsford Theatre Workshop’s production of Jerusalem.
Now I'd seen the original in the West End starring Mark Rylance and Mackenzie Crook when it first opened in London, I would say I it was one of the most affecting pieces of theatre I'd ever seen up into that point. It totally lived up to the awards and hype. Mark Rylance was technically and powerful - just brilliant and McKenzie Crook’s humour and pathos was something to behold so when I heard CTW were staging their own production, I will be honest – I was trepidatious to say the least.
So when I left the performance of Jerusalem last night on Tuesday the 23rd of July I was frankly… speechless.
I'm always torn when I see productions like this because at first I feel overjoyed that I have seen some of the best acting I've ever seen ( I say this boastfully having seen Timothy Spall, Michael Gambon, Julie Walters, Helen McCrory, Rowan Atkinson, Liz Smith, Denise Gough, Jodie Comer, Anthony Sher and Roy Kinnear amongst many others - who I deem ‘the greats’ onstage). But then I feel slightly angry. That these actors in particular Colin Smith and James Christie are not doing this as their full-time profession. But then I start to talk myself out of it, ‘Leanne of course they might not want to be professional actors’ or… ‘you don't know their life situation,’ acting is a tremendously tumultuous profession. Then that again turns to frustration, frustration that these actors in particular are not on a stage or screen for the world to see - yet. But after all that, I feel slightly smug that I get to go to my local theatre to see them when their standard far surpasses most professional productions I have ever seen (I know, it’s exhausting being me).
When I was training at drama school some nine ten years ago, one of our very highly regarded tutors told a story about Mark Rylance, he knew him personally and from his experience it was well known at that point of his career at the Globe Theatre at least, Rylance surrounded himself with let's say- less capable actors to make himself look better. I am so glad that this was not the case in CTW’s production of Jerusalem (who knows if this is true, but I thought it delightfully gossipy and dramatic). I think Rylance is a genius. Maybe it was jealously. Who knows.
I've seen many, many productions at CTW and I would say this one of my favourite shows that I've seen at Chelmsford theatre workshop.
So let's talk acting.
Colin Smith plays Johnny Byron aka Rooster and I don't want to use the word Tour de Force because I think it's overused especially in reviews but I can't really think of anything else other than to describe it as a tour of force. I you want a masterclass in the physicality and complete immersion of a character I hugely recommend you go and see this production before it finishes a week on Saturday.
Smith’s Byron is physicality to the extreme, a twitching, often convulsing, vibrating and pulsating presence on stage. A middle-aged man more often than not intoxicated by drugs and alcohol, a myth, a legend of a man, Smith calls on his immense physical energy to completely embody the character. It is something no less than genius. His commitment to the role and complete truthfulness as he was playing Rooster was awe inspiring.
So many people left the Old Court Theatre auditorium last night and they were very quiet. I had a few conversations with other audience members, and they said they needed the night to digest what they had just seen. That might sound self-indulgent and quite luvvie, but honestly when you see theatre that impactful that affecting – when you have a visceral reaction, your body reacts to it in a primal and raw way, when you are completely immersed in that world for those few hours, it does take time to unpick what you've just seen and experienced.
Smith’s Rooster is commanding of respect in character and as an actor. Every character on stage looks to him as the leader. His vocal energy and dexterity was sublime some of my favourite moments was just watching his reactions to what was going on around him; completely in the moment, completely spontaneous. I felt like I was watching not a performance but a man on stage so complex and complicated and so trapped in his situation and his struggles, it was a real privilege and felt rather voyeuristic, like I was invading a private space and private moments.
Another extraordinary talent is James Christie who played Ginger- wannabe DJ and sidekick essentially to Johnny Byron. The pairing here is extremely important, you've got two extremely complex characters in a situation- they lean on each other, they need each other but they're not necessarily good for each other so the dynamic shifts and the relationship is important to convey and is the beating heart of the play. Christie uses his laser sharp comedic timing to give lightness to the intense darkness of the play. His adept physicality: contorting and twisting his body into this character of Ginger was astounding. His performance is reminiscent of the comedy greats like Nicolas Lyndhurst. Matthew Perry or Rowan Atkinson, having such natural instincts as an actor – in particular for the complexity of beautiful comedy always overwhelms me (in a good way). And frustrates me, because I can’t do it!! Well, not like that anyway…
These two actors have such amazing chemistry which you can't train or create, it’s just there for everyone to see and bask in the heat of it. You can see the trust in them not only is actors but as characters. Some of the greatest comedians and comic actors know that you need to shift from high comedy to huge pathos and sadness on a six pence (I’m talking Friends / Sopranos skill level here). That's exactly what James Christie does in this play one moment undercutting Rooster with witty retorts using excellent vocal dexterity and beautifully timed delivery and the next; the audience’s eyes were filled with tears when Rooster rejects him towards the end of the play (I heard a lot of vocal reactions to this character, getting some of the most well-deserved laughs of the night). The vulnerability of this character is played beautifully, truthfully and sensitively and because of this, these two characters are a match made in heaven (or hell, depending on your view of their situation).
I need to give a special mention to Corinne Woodgate, who plays the ex-partner of Rooster – Dawn. Even though she is on very briefly, there's a moment in the play (I don't want to spoil it) where we just read the reaction of her to Johnny and honestly, I couldn't really believe what I was seeing, the subtlety in her face and the complete belief and truthfulness of that character, I looked into her eyes and I was transported. It was one of the highlights of the play – this very small moment only lasted maybe 30 seconds but that will stay with me for a long time.
I’ll be honest, I'm very hard to please - I am too judgmental if anything because I like to see excellent technique on stage. I want to see truthfulness; I want to see people ‘being’ rather than acting, I want goosebumps. And that's exactly what I got with Jerusalem.
I'm going to buy another two tickets to see it twice next week- I don't want people to panic but urge you to book your ticket now because I have a feeling this will sell out for the second week of its run.
Shall I give it stars? Go on then. 5 out of 5.
Jerusalem runs from 23rd – 27th July and 31st July – 3rd August at The Old Court Theatre at 7.30pm.
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