dfp_header_hidden_string

Get our free email newsletter with just one click

Last One Here review at White Bear Theatre, London – ‘a tepid production’

Edward Tidy and Mark Rannoch in Last One Here at White Bear Theatre, London

It’s a big day for Jamie and Aaron: their two-year anniversary as well as bonus day at Jamie’s banking job, and life seems sweet. But before they can make it to the evening’s celebratory dinner, petty office politics, life-coaching trials and gym temptations remind them of points in the relationship better forgotten.

Martin Blackburn’s Last One Here is bubbly and entertainingly nasty but Edward Tidy and Mark Rannoch lack real chemistry as the self-absorbed, middle class couple, and Georgia Leanne Harris’ direction places them as far from physical with each other as it’s possible to be.

The pace of the play is let down by the production’s stiffness and lack of momentum: much of the time is spent with the actors standing entirely still, with one of them waiting his turn to speak. Several darkly funny lines are fumbled, and Rannoch doesn’t convincingly sell us the ribald nastiness of Jamie’s observations of his coworkers.

Sally Hardcastle’s set is similarly uninspiring, consisting of a few black boxes and coffee tables that are sometimes sat upon, but largely ignored, and the sole doggy representative of Aaron’s odd passion for stuffed animals sits there sadly, to be picked up only during the one scene that requires it.

The downer ending feels abrupt, but despite all we’ve learnt about Aaron and Jamie, there’s no reason to care.

Blackburn’s play is strongest when immersing us in his characters’ overlapping memories, good and bad. The material has potential but it deserves a stronger production.

 

We need your help…

When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.

The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.

We are fully independent, but this means we rely on revenue from readers to survive.

Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.

Subscribers to The Stage get 10% off The Stage Tickets’ price
Verdict
Tepid acting and production choices hamper an entertainingly nasty play
^