New insights

We're halfway through the run of Californian Lives and last night's performances were the best so far. I'm taking part of that on trust - I was in the foyer for Robin Holden's Los Feliz - but John Vernon's Ben and Joe's and Carolyn Lyster's Sunset were the most impressive I have seen - and I'm convinced I will see better yet.

As reviews and audiences confirm, those who see Californian Lives are almost always captivated by the stories and personalities portrayed, but only I have seen almost every performance and how the actors reveal more and more of their characters. Last night the wryness in Vernon's Man in Bar was stronger, his invisible drinking companions clearer, while the contrasts between young and old, cynics and romantics, the bar and the world outside became almost three dimensional. Similarly with Lyster's grandmother; her emotions have become more vivid as her unseen children come fully alive and her invisible husband inevitably ages.

Of course I claim the credit for creating these characters. But I am thrilled to see depths in each that I had not noticed when I first typed them onto the screen. Not that I necessarily agree with all that I see. Holden's Man in Diner conveys a more unpleasant personality than I would if I were on the stage. But that is fine. Enabled by director Emma King-Farlow, he gives a strong performance which holds the audience's attention from start to finish. He enhances both the text and my enjoyment of it.

Vernon's says that changes in his performance come from complete familiarity with the script. As his mind no longer has to focus on which words or actions come next, he is free to explore nuances in each word, line and action. He has always told his story well - the impact of the arrival of a young stranger on a group of older men - but the professionalism of his early performances has given way to a deepening emotional involvement with each of the characters he describes.

While Vernon has relaxed into his role, Lyster says she remains terrified by hers, although you would not know it. I have never seen her give a poor performance and now she is filling the stage. There must be a disconnect between her conscious mind, seeing every performance as a combat she has to win, and her subconscious, which has fully absorbed her character and which cannot help but depict both her and those around her.

I would like to be more definite and give specific examples, but I can't do so without giving away key elements of the plot. So let me leave it there, with my thanks to all concerned for the new insights and pleasure they have given me.