The Critic at the Calder Bookshop and Theatre

Across from the Young Vic on The Cut is the Calder Bookshop; nestled at the back of this beautifully quaint store sits an intimate theatre space. It’s sadly been somewhat dormant in terms of theatrical output since 2019, but John Hill’s black comedy, The Critic corrects matters. Gary Heron and Gemma Pantaleo star in this new two-hander, directed by Sally Ripley. 

Theatre critic and pretentious wine snob Hugh (Heron) seemingly has it all: plenty of money, a nice home and even fan mail. There are, however, also the copious death threats, which are humorously stored in a box rather than disposed of. There is also an underlying loneliness beneath the bravado. While drinking alone after the perfunctory phone calls with friends and acquaintances, Hugh repeatedly listens to the voice of his ex-wife on their answer machine. 

The monotony of his cocooned existence, as well as the gentle pace of the play, is joltingly interrupted by the arrival of Alex (Pantaleo), who forces herself in, wielding a gun. She harbours a grudge – but who exactly is she and what has Hugh done to warrant such virulent vengefulness? 

Jay Hobson’s simple set informs viewers of all they need to know about Hugh: modern art adorns the walls, a carafe of red wine and a Margaret Thatcher book sit proudly. It is quickly revealed that he is campaigning to be a Conservative MP. Later, various torture implements are displayed, and plastic sheeting ominously laid out on the floor. The confined space works well in placing us in the character’s shoes. We can feel the tension and the fear inhabiting Hugh and his world.

Unfortunately, such moments are scarce, which is down to the poor pacing of the play. Too often the dialogue becomes convoluted and strained; points take too long to be made or are repeated on too many occasions; some silences feel naturalistic and authentic, whereas others feel overly extended. While the actors extract the very best from the material and deliver a believable and often humorous back-and-forth, the script is in dire need of an edit. It is reasonable to suggest that a good half-hour could be shaved off. The five-minute interval is pointless, undoing any of the momentum that Heron and Pantaleo have worked to build.

It isn’t hugely surprising that our two characters – poles apart when we first meet them – gradually develop an understanding of one another. Past trauma lies behind both individuals and the two go on to essentially offer a form of mutual talking therapy. There are some wonderfully tender moments and themes, such as mental health and loneliness, that are tackled sensitively. References to TikTok and Kim Kardashian allow a contemporary feel.

Although spectators might not exactly be bellowing with laughter, there is a scattering of approving chuckles throughout the two hours – especially during the opening of the second act. Pantaleo offers an emphatic and intense turn, her performance feeling urgent and immediate. Heron successfully embodies the pomp and arrogance of Hugh, while also being incredibly convincing when portraying his fear. His use of facial expressions in particular impresses, and the actor showcases strong comic timing. 

With moments of heightened and farcical drama, engaging performances and important themes addressed under the veil of black comedy, The Critic has great potential. Unfortunately, the drawn-out execution along with an overlong script prevents the piece from fully reaching it. 

Jonathan Marshall

The Critic is at the Calder Bookshop and Theatre from 16^th November until 10^th December 2022. For further information or to book visit the theatre’s website here.