REVIEW: Posh Is Definitely Spicy!
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Kay Johal
The Pleasance Theatre is just that. Pleasant, intimate and with an inviting set. The only critique would be the seats. Maybe not to everyone's liking, making you have to shift position and perception frequently. And that is the beauty of Posh. Taking on an all-female cast and prevalent in the current times with our new Prime Minister, this is a work of art that truly reflects modern day life.
Laura Wade has been bold with her play. Cressida Carre's key talents come into force – her choreographic/staging skills are second to none. The revolving set, together with slow-motion choreography particularly in the trashing scene, was indeed spectacular. She managed to encapsulate the aura of the male dominated dinner very well. The set was simple, with a dark undertone, slightly menacing and adding to the overall ambience. The chandelier being the focal point of the table, it proved to showcase the play itself, glittering, shiny, strong and sitting above everyone, even with characters literally swinging from it.
The cast appeared well-set. There was a closeness between them all, as if the secret that they had judiciously nurtured in rehearsals was about to be let loose on the general public. Of particular note is Cassie Bradley, in the role of Dimitri, the egocentric Greek desperate to make her mark on the exclusive boys' scene. Comedic timing between Verity Kirk, Macy Nyman and Molly Hanson was spot on. Serena Jennings managed to employ the right amount of haughty elitism, together with a cut-glass accent and (his) her dismissive attitude towards women. Indeed in the final scene (and so as to not give away the entire plot), there was little apology about the choices that were made during that infamous dinner; it is what is expected of the Old Boys Club.
Toni Peach in the role of Rachel/Charlie (and in keeping with the female castings) bought light to a naturally dark piece of theatre, thank goodness, otherwise it would have made for very sombre viewing indeed. That said, it is the aim of the piece to go away thinking and reflecting on the ever-changing dynamics between the sexes.
Naturally, it became confusing when women referred to themselves as men, 'she' automatically becoming 'he'. The salient point to derive from that, and a very important point to note, is that it is not about "Who Runs The World" (thank you Beyonce), but that women can play the same role as men in every aspect of life. Posh is well worth the journey out of the West End. It proves that tradition can still remain intact whilst ever-evolving.