Banham Theatre is a hidden treasure amongst University Of Leeds fantastic array of student theatres. Deep in the Michael Sadler Building, you’ll find a small-58-seat-theatre that gives home to the most incredible student theatre, such as ‘Rope’ written by Patrick Hamilton, and produced by University of Leeds ‘Theatre Group’.
Once the curtains were opened by Sabot, the maid (played and physicalised by Rosina Nelson perfectly, I might add), I was immediately dropped in the middle of the action: Brandon and Granilo, played by Toby Bowen and Evie Gibbon respectively, hiding a dead body in their living room’s chest. The set was absolutely fantastic, detailing a living room that transported us to the world off the play, including book shelves, photo frames, a telephone, a liquor cupboard with a selection of alcohol on-top (I was told after the play that the Bourbon was almost made with Beef stock – that would have definitely produced the bitter-face we all pull after our first sip straight vodka or whiskey), and of course, the chest where the murder victim was being stored. Producers Eden Bowhay, Hannah Gardiner-Hill and Gabriel Curtis should be immensely proud of the world they created in Banham Theatre. It truly allowed me to suspend my disbelief and immersed me fully into the play.
I can’t mention the producers without mentioning the costumes. Clearly intentionally reminiscent of Cluedo, each character had a colour that was personal to them. Rupert wore mustard, clearly to represent Colonel Mustard, Sir Johnstone Kelley wore purple: Professor Plum. Mrs. Debeham wore blue: Mrs Peacock. Sabot wore white: Mrs. White. Raglan wore green: Reverend Green. Finally, Leila wore red: Miss Scarlet. This intentional choice to relate the characters to Cluedo emphasises the intertextual link to Cluedo, a murder mystery game, with the murder in the play. It also emphasised the character’s personalities from what we as an audience know about the characters of Cluedo, and how this will affect the characters’ interactions on stage. For example, Colonel Mustard is usually a military man presented as dignified and dangerous, just like Rupert in the play, who remains dignified and neutral until he begins his discussion on how he has murdered people in the military, and when he pulls a gun on Granilo and Brandon upon discovering they murdered Ronald. This special touch through costuming was really visually pleasing and enjoyable to realise as I was figuring out the play.
Rope follows the story of two friends, Brandon and Granilo, who have murdered one of their other friends with rope, whom we later discover is named Ronald, and they leave his body in a chest in their living room. They then host a dinner-party with Ronald friends and family as a farewell evening before Brandon and Granilo leave for Oxford, and keep the chest morbidly as the centre-piece, placing their tea sandwiches and glasses on top.
Bowen plays the role of posh-twat murderer perfectly, with hyperbolic actions and discussions of private school days with Raglan mixed audaciously with a posh southern accent. His portrayal of a murderer, acting conceited, calculated and almost charming worked perfectly in contrast with Granilo, where Gibbon’s portrayal of a nervous, manic and unpredictable accomplice worked well to heighten the tension in the play, especially in the last scene where Rupert, played by Tom Grice, discovers what they’ve done.
The cast as an ensemble worked seamlessly together. I particularly enjoyed Raglan’s, played by Jacob Message, pursuit of Leila, played by Thalia Bartley. Message and Bartley’s portrayal of their character’s cat and mouse dynamic, alongside Rupert’s sarcastic comments sprinkled on top, provided comedy towards the end of Act 2 which only heightened Act 3’s tension. I also have to mention Jasmine Morgan and Lucy Hart’s performance of Sir Johnstone Kentley and Mrs. Debenhem. In ensemble plays, especially when you have to sit on stage for long periods of time without any dialogue, you must still remain ‘on’ and still perform, which can be quite difficult. Morgan and Hart’s background performances further developed their characters and the overall group dynamic. Lastly, I have to mention Grice’s portrayal of Rupert: his monotone, relaxed performance that contrasted every other character on stage, his consistency in the physicality playing the limp of Rupert, his accent and his ability to drop sandwiches on the floor really brought together the piece and strengthened the performance of such a strong ensemble – absolute credit to the directors, Abi Norris, Julia Brookes, and Ela Fisher, for creating such a cohesive ensemble piece.