Skip to main content Skip to footer site map

Review: CRYSTAL CLEAR, Old Red Lion Theatre

Review: CRYSTAL CLEAR, Old Red Lion Theatre

Review: CRYSTAL CLEAR, Old Red Lion Theatre Art dealer Richard has a long-term partner named Jane. He has also entered into an affair with Thomasina, a blind woman. When he suddenly loses his sight, Richard's relationships with both women are tested as he struggles to make sense of his new reality. Returning to the home of its original run in 1982, this revival has been made accessible for visually impaired audience members.

The studio above the Old Red Lion serves as an appropriately intimate space to tell this story. The action is set in Richard's cluttered flat and designer Luke W Robson succeeds in creating a lived-in and cosy environment. Director PJ Stanley's decision to stage the play in the round also ensures we are placed immediately in the action.

Whilst this successfully draws us into the world of the characters, it also leaves us feeling slightly uncomfortable and exposed during the plays more intense moments, and this works well in opening our eyes to the vulnerabilities blind people face on a daily basis. One of the more unique aspects of the revival is a live audio commentary that's delivered throughout, describing character movements and gestures. This seemed slightly jarring at first, however actually adds an additional layer to the piece, forcing us to look at the actors and their performances in closer detail than we perhaps otherwise would.

The play was originally devised using improvisation techniques by Phil Young, a former assistant director to Mike Leigh, and this certainly allows the characters to feel authentic and multifaceted. That said, there is some slightly stilted dialogue at times that shows the play's age, but ultimately the talents of the cast allow it to still stand up as a moving and memorable piece of theatre.

Richard's journey is not an easy one to follow, but Gareth Kennerley excels in his intense portrayal of the many emotions his character experiences, from making light of his condition with attempted humour to complete denial, anger and rage. He's a flawed character from the off, regardless of his health issues, and Kennerley invests himself fully in the role.

Gillian Dean, described in the show's programme as severely sight impaired, complements Kennerley well, their onstage chemistry convincing and engrossing to watch. Rakhee Sharma also offers an assured and believable performance as Richard's girlfriend Jane.

This is a thought-provoking and deeply moving piece of theatre that entertains and enlightens, staying with you long after the house lights come up.

Crystal Clear at Old Red Lion Theatre until 17 August

Photo credit: Lidia Crisafulli



BAT OUT OF HELL Halted By Disruptive Audience Member Photo
According to The Guardian, the West End production of Bat Out of Hell was halted during the Thursday, March 30th evening performance by a disruptive audience member.

Review: SUGAR COAT, Southwark Playhouse Photo
Sugar Coat is a piece of gig theatre, telling a story of growing up, trauma, and sex through pop punk music. A kind of rock concert meets musical, it’s performed by an all female and non-binary band, playing and singing live for the duration of the show. From the very beginning, this doesn’t feel like a traditional theatre experience: the audience are whooping and clapping along, and it’s clear that everyone both onstage and off is having a great time. 

Review: PUSSYCAT IN MEMORY OF DARKNESS, Finborough Theatre Photo
A jagged knife of a play that could cut deeper. Chronicling Russia's first annexation of Crimea, Pussycat in Memory of Darkness is wielded like a jagged blade goring its victim in a furious trance of savagery. Its prophetic vision of violence as relentless as it is terrifying to watch.

AUNTIES HOUSE By Paul Stone Announced At The Kings Head Theatre, 3- 9 April Photo
Issyman Productions presents AUNTIE'S HOUSE, written and directed by Paul Stone, 3rd - 9th April 2023 at King's Head Theatre, Upper Street, London N1


From This Author - Jonathan Marshall


Review: MAD HOUSE, Ambassadors TheatreReview: MAD HOUSE, Ambassadors Theatre
June 26, 2022

Sometimes a new play comes along that has all the right ingredients for a delectable theatrical recipe.

BWW Interview: Imogen Stubbs Talks CLYBOURNE PARKBWW Interview: Imogen Stubbs Talks CLYBOURNE PARK
March 10, 2022

Pulitzer Prize winning Clybourne Park was fully rehearsed and ready to run at Park Theatre for its 10th Anniversary back in 2020. Covid prevented the revival from materialising but now, two years later, it is finally set to return to the London stage. Actor Imogen Stubbs took time out of rehearsals to speak with BroadwayWorld about the production.

BWW Review: THE NIGHT LARRY KRAMER KISSED ME, New Wimbledon TheatreBWW Review: THE NIGHT LARRY KRAMER KISSED ME, New Wimbledon Theatre
February 11, 2022

Normal Heart recently enjoyed critical acclaim at The National Theatre. It therefore feels timely that David Drake’s play, which deals with similar themes, finds its way back to the London stage for the first time since 1994. The one man shows marks the stage debut for Outlander’s John Bell.

BWW Review: A NUMBER, Old VicBWW Review: A NUMBER, Old Vic
February 4, 2022

Marking twenty years since its premiere, Caryl Churchill’s sci-fi masterpiece A Number returns to the London stage. The hotly anticipated production stars Lennie James as a grief-stricken father who opts to clone his deceased son with the mindset of reattempting parenthood and making up for past mistakes. His intentions are not entirely honourable and as the play progresses, we soon learn of the man’s manipulative traits.

BWW Interview: Emma Canning and Daniel Adeosun Talk TROUBLE IN MINDBWW Interview: Emma Canning and Daniel Adeosun Talk TROUBLE IN MIND
January 12, 2022

Trouble in Mind had its stage premiere more than sixty years ago. The biting satire written by Alice Childress centres on racism in theatre. As representation within the industry continues to be addressed, it feels a pertinent time for the National Theatre’s revival. Performers Emma Canning and Daniel Adeosun spoke with BroadwayWorld about the production, the industry and graduating drama school during the pandemic.