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Theatre review: Bellringers by Daisy Hall (Hampstead Theatre)

by
18 October 2024

Simon Walsh reviews a Hampstead two-hander with bellropes

Alex Brenner

Luke Rollason (left) and Paul Adeyefa in Bellringers at the Hampstead Theatre

Luke Rollason (left) and Paul Adeyefa in Bellringers at the Hampstead Theatre

THROUGH a handful of churches in north London, I know several members of the bell-ringing community. They are steadfast and enthusiastic, tend to know one another well, and often ring in more than one parish. With regret, they rarely come to church and so are more heard than seen. I offer no criticism and do not wish to annoy them.

The characters in Bellringers, a two-hander currently playing at the Hampstead Theatre, may or may not be archetypes or stereotypes. Stuck in a tower one stormy night, the young men are ardent and energetic, with plenty to say about their Oxfordshire fraternity of bell-ringers. Their personal relationship is not entirely clear — “we always come as a pair,” says one, and they profess mutual love and embrace at the end — but are they a couple? That shifting dynamic is the tenor of the play.

It’s all a bit Samuel Beckett, except that these two are not waiting for Godot, but for the storm to end. And, if they ring their bells, will it change the weather or bring about their immediate death? And will they be reincarnated as toads or mushrooms (both of which apparently emerge through the church floor)? It is all a conundrum. Also unexplained is why they begin the show in monkish brown habits with cowls that they then shed to reveal a waistcoat underneath.

Paul Adeyefa and Luke Rollason inhabit the roles of Aspinall and Clement with verve. They can be puckish and tender in turns, balanced with thoughtfulness. One is an avowed atheist; the other has faltering faith. “Why shouldn’t there be a perfect peal which will shake loose a thunder storm every time?” Except this is more of a dystopian fantasy than narthex realism.

Jessica Lazar’s direction has pace, and Natalie Johnson’s design is visually interesting. David Doyle’s lights (with lightning!) and Holly Khan’s sound world round it out well. The Hampstead wanted to work with Daisy Hall, the writer. The piece had been shortlisted for the Women’s Prize for Playwriting, and so they co-produced it for the Edinburgh Fringe this year and now have her under commission. She is an emerging talent with a feel for church life. Just be careful of the bell-ringers.

At the Hampstead Theatre, Eton Avenue, London NW3, until 2 November. Phone 020 7722 9301. www.hampsteadtheatre.com

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