Review: ‘The Good Canary’

John Malkovich’s London directorial debut does not disappoint. The ensemble and visuals are superb in displaying the harrowing journey for Jack (Harry Lloyd) and Annie (Freya Mavor) that leads from drug addiction.

It would be easy to assume that a non West End theatre would struggle immensely in attracting A-list stars. However, the impressive record of the Rose Theatre in Kingston sees John Malkovich joining the likes of Judi Dench and Sir Trevor Nunn in previous involvement.

The play itself is written by Zach Helm, and is about a young writer and their partner; the piece already has quite a story of its own. Having been previously performed, with Malkovich also directing, in Spanish (Mexico) and French (Paris) the play feels incredibly suited to the English language it was originally written in.

The tackling of difficult issues involved with drug addiction is beautifully laced with the slapstick humour of dopey drug dealer Jeff (Ilan Goodman) who is almost Malkovich-esque in his movement and delivery. His performance is emblematic of the play in that the obvious humour is not as it appears. Jeff clearly cares deeply about Annie, he reluctantly agrees to sell her ‘a lot of speed’ but the audience are forced to question whether this is an excuse for him simply to see the lonely and troubled Annie who does not seem to care about Jeff’s company, his advice, or his grievances.

The performance of Freya Mavor in the role of Annie is sublime. Many actors will dream of scoring a role such as this, but few would succeed in delivering a performance with the energy, emotion and passion of the former ‘Skins’ star. The intricate role is extremely provocative in causing the audience to question their opinions of Annie. Few shows can persuade an audience to fluctuate throughout in the esteem they hold for a particular character; you will despise, sympathise, love and care for Annie to different extents throughout the play.

Harry Lloyd in the role of Jack is similarly superb. In a far less ostentatious role, Lloyd is mesmerising as the young writer weighing up his life priorities throughout the play. The character is extremely torn on nearly every issue; nothing seems to work out perfectly and he struggles to find the balance between managing Annie, pursuing his literary career, impressing elites in the book field and keeping his publisher, Charlie (Steve John Shepherd) contented whilst still allowing him to remain aspirational. The love and affection he shows to the problematic Annie throughout is powerful theatre.

The play itself is absolutely superb and allows Malkovich the licence to completely shape the story through thoughtful and manipulative direction which keeps the audience guessing. The whole cast is extraordinary and Sylvia (Sally Rogers) as Stuart’s wife is brilliant in showing just how anyone would react upon first meeting Annie; she witnesses the completely polarised sides to Annie’s personality. Stuart (Michael Simkins) and Mulholland (Simon Wilson) are both phenomenal in their elite literary roles displaying that whilst they are not incredibly bad people, they are a massive part of Annie’s problem with book reviewers, and her problem with the pomposity that radiates from their somtime single-minded, dogmatic and misogynistic views.

Another brilliant supporting performance come from Steve John Shepherd as Charlie, who also has an interesting story of his own. Completely opposite to Jack in terms of his life priorities, he is perhaps the side of success that many of us would recognise as someone who wants a better life, office and work. Someone mesmerised and ready to pander to anyone in higher authority Charlie cannot understand the unconventional relationship of Jack or Annie; he is constantly wary Annie’s actions as he knows this has a direct effect on Jack and thus his on own personal career and family.

The flickering lighting, detailed staging, phenomenal, physical theatre moments and precision directing make the Good Canary a must see.