Jerusalem
Jez Butterworth
Directed by Jonathan Reed
Tower Theatre, Stoke Newington
Star rating: 4
Arguably one of the most haunting and powerful plays written so far this century, Jerusalem opened at the Royal Court in 2009. Mark Ryance starred as Johnny “Rooster” Byron and it wowed critics both then and when it transferred to the West End where it was also later revived in 2022. A very hard act to follow, then? I’m happy to report that Tower Theatre company carries it off in spades and Giles Fouhy’s central performance as Johnny is rivetingly good because he makes the part his own.
We’re in a wood at Flintock where Johnny has been anarchically camped for decades. Kennet and Avon council is determined to evict him. So it’s a play about conflict and humanity which celebrates nature, and individuality even when it’s in contravention of “petty” modern law: there’s a lot of drug dealing, underage drinking, casual sex and riotous behaviour amongst the group which congregates around Johnny.
Fouhy nails Johhny’s wisdom, wit, hedonism and vulnerability. He looks the part – with tattoos, jewellery and multicoloured string vest (costumes by Kate Els) – and finds a wide range of moods. He’s very funny when he’s telling outrageous fibs, calm and thoughtful when he’s not showing off and movingly dignified when, at the end, the thugs get to him. And he sustains a rural Wiltshire accent throughout. This Johnny is a man of the earth in every sense.
Rob Hebblethwaite and Sophie Clark have created a magnificent set with Johnny’s dilapidated caravan at 45 degrees across the back of Tower Theatre’s triangular playing space. In front of it is the complicated detritus of a drop-out life against which the action unfolds. And behind it we get Vahan Salorian’s folk-inspired music and Laurence Tuerk’s atmospheric sound design with birds and rustling leaves so that we never forget that we’re in a wood near a village consumed by St George’s Day celebrations.
Fouhy is supported by a cast of ten most of whom are strong. I was especially impressed by Lulu Freeman as Tanya – a young girl full of sexuality and sassiness but actually unsure of herself and terrified of rejection. It’s a finely nuanced performance.
At its heart this unashamedly long (3 hours 15 mins including two short intervals) and ambitious play examines the way we adjust, or not, to a rapidly changing world so it couldn’t really be more topical. Tower Theatre’s production brings that message out with aplomb.
