• Advertise
  • Request Review
  • Write for Us
  • Privacy
  • Login

Theatre Bubble

The UK Theatre Network

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Reviews
  • News
  • Features
  • Spotlight
  • Opinions
  • Interviews
  • Guides

The Open House at the Print Room, Coronet

January 28, 2018 by Anna Zanetti Leave a Comment

Review of: The Open House at the Print Room, Coronet
Price:
£16 - £28

Reviewed by: Anna Zanetti
Rating:
3
On January 28, 2018
Last modified:January 28, 2018

Summary:

An ordinary, respectable house where a disorderly, disrespectful family gathers. However, the play by Will Eno described as “subversive and darkly hilarious” manages to be more the former than the latter.

More Details

Quite unlike the previous shows I saw at the Print Room, for The Open House the stage is furnished with a grey, neat, polished set design. An ordinary, respectable house where a disorderly, disrespectful family gathers. However, the play by Will Eno described as “subversive and darkly hilarious” manages to be more the former than the latter.

I’ll say it straight away, the show has a rather grey start. At some point, mocking his Son, the Father claims it’s “all… like… beige”, which is ironically a rather apt description of the first part of the show. The family is gathering for the parent’s anniversary, but they have hardly anything to say to each other, and when they do, it’s nor particularly nice. You can cut the tension with a knife, and there are a few cleverly nasty punchlines. The family is disrupted, flimsy, and the lack of communication is painful to watch. But it’s all a little too awkward to be genuinely and darkly funny, and a little too civilised and static to be really ground-breaking.

A little comfort is brought by a smile-inducing Uncle (Crispin Letts), who, with a lively interpretation and a slightly more credible American accent, keeps the show going. In the first half, shout-outs also go to the Father (a Greg Hicks in great shape), an inveterate pessimist, made even more resentful by his recent heart attack, which forced him on a wheelchair.

Lindsey Campbell, Crispin Letts and Ralph Davis in The Open House. Credit Simon Annand.

In this dysfunctional family, things really kick off the moment a new character comes in. A bubbly, scintillating Lindsey Campbell – previously playing Daughter – brings in some renovation (in all senses), which gradually invests the whole play and cast. We breath a bit of fresh air; new life is infused into the greyness. It is eye-opening to see how family dynamics are transformed from inside out, and how power roles are subverted. Even the tyrannical Father is silenced by the novelty that breaks into his isolated kingdom.

Greg Hicks and Teresa Banham in The Open House. Credit Simon Annand.

The twist, and the way the play spirals onto itself, is probably the best thing the show has to offer. After the quite dull start, it is genuinely frankly fascinating to witness how much things can change. Arguably, in spite of the change things don’t necessarily lead anywhere, but then again, it depends how much you like an open ending. But watch for the (slightly gimmicky) heart-warming surprise at the end.

 

The Open House, a co-production with Theatre Royal Bath, runs at the Print Room Coronet until 17th February, at 7.30pm. More information and tickets are available on the theatre’s website.

Author: Anna Zanetti
T: Twitter

Filed Under: Review Tagged With: comedy, Dark Comedy, Drama, family, Humour, London, Print Room, The Open House, The Print Room, The Print Room at the Coronet, Theatre

Join the discussion Cancel reply

INTERVIEW / Fraser Grace talks about Bliss at the Finborough Theatre

Written by Fraser Grace (Breakfast with Mugabe, RSC), Bliss is based on a short story by censored writer Andrey Platonov. It’s at Finborough [Read More]

NEWS / Japanese Romeo and Juliet to the songs of Queen announced

Coming to Sadler’s Wells in September as part of its world tour, A Night At The Kabuki is a retelling [Read More]

INTERVIEW / Paul O’Donnell talks about Shoot Festival

Shoot Festival returns this year with a mix of commissioned pieces and showcases of the best of Coventry’s arts scene. [Read More]

Review / The Man who Knew Too Much at Omnibus Theatre

A packed Omnibus Theatre lapped up the entertaining antics of The Man Who Knew Too Much. Co-Director and Co-writer Olivia [Read More]

Spotlight / Inua Ellams at 05Fest Lewisham

Inua Ellams, the Albany and WE ARE LEWISHAM  presents………. 05Fest, 10 – 19 March Poetry takes front and centre stage [Read More]

Top Posts & Pages

  • 10 Tips to Help You Prepare for Your Reality TV Auditions
  • 5 Stage Elements to Consider for a Rousing Theatrical Production
  • Writing the Perfect Press Release
  • Fraser Grace talks about Bliss at the Finborough Theatre
  • Kim Scopes tells us about Somewhere To Belong
  • Katy Owen: Auditioning for Oxford School of Drama
  • A Streetcar Named Desire- A cry of pain- Young Vic
  • Paul O'Donnell talks about Symphony of Us
  • Crowdfunding In Theatre - An Overview
  • French's Theatre Bookshop Closing After 187 Years
  • Anna Zanetti
    Author

  • January 28th, 2018
  • comment iconNo Comments
  • FacebookTweetLinkedInEmail

    Newsletter

    Enjoyed what you've read? Get even more great content directly to your inbox - Completely Free

    About Theatre Bubble

    Theatre Bubble is the news, review and blogging site created by Blue Pie Media and run by a dedicated team of outstanding editors and writers: we're always looking for new contributors - to find out more click here.

    Contact Us

    News: news@theatrebubble.com
    Reviews: reviews@theatrebubble.com
    Website: webmaster@theatrebubble.com

    Privacy Policy

    Copyright © 2022 · Blue Pie Media

     

    Loading Comments...
     

      Share this ArticleLike this article? Email it to a friend!

      Email sent!