Three Days of Rain

****
The audience is plunged into silence with a crack of thunder and driven music accompanying Walker’s (James McAvoy) dramatic entrance. Broody Walker slams open the door of his depressing loft, light spilling on the floor. He shines a torch light into the audience and contagious yet dark laughter rips from his throat. You just know it’s going to be a good show.
Three Days of Rain can be summarised as 2 siblings and their childhood friend discussing their inheritance, followed by showing how their parents met 30 years ago. My preconception was that it was going to be a boring play. Not. A. Chance! Richard Greenberg creates original characters, puts them in an intriguing, revealing story and manipulates the audience with his vivid language from raucous laughter to gasps - an ability echoing Chekov's.
The only thing that trumps the writing is the performances given by the cast. Household name James McAvoy lives up to expectations with his performance as the changeable Walker, then gives a completely contrasting performance as his father Ned, a stuttering mouse of a man besotted with brash southerner Lina (Lyndsey Marshal). Lyndsey is better as Lina than Nan, Walker’s sister, and although it’s understandable that it’s hard to make someone so normal, interesting, it’s a challenge she was given to rise to and frankly, fails. Onstage with McAvoy and Harman she is completely outshone. Nigel Harman as both animated Pip, and his father ambitious Theo, equals McAvoy in his energy and complete believability as the characters, so that the audience can easily comprehend why Nan used to date him (because they want to themselves!)
Soutra Gilmore’s loft looks so dilapidated and neglected it’s hard to believe it’s the same loft when we’re thrown into the warm, swinging 60’s of Act Two. Ben and Max Ringham’s compositions become an essential part of the play, enhancing the atmosphere of the scenes. A particularly good element being the ‘60’s’ music playing throughout the interval to lull the audience into the decade so you’re already there when Act Two begins. Jamie Lloyd’s direction is very good, but he could have brought out even more in the characters (especially Marshall’s). The production feels as if it is lacking something you just can't pinpoint. However, the forever changing mood and pace he creates is exquisite.
With the calibre of the plays I’m seeing, I’m beginning to doubt the boundless praise I gave Ivanov...I'd prefer to think the talent of the West End is boundless.

Veronica Grubb