Kit Smith gives a charming performance as David. Speaking poetically and rhythmically, he’s every bit the captivating storyteller that David, a passionate primary school teacher, claims to be.
This greatly aids the already well‑constructed script of The Trials of a Gentleman. David explains his traumatic childhood in London’s East End in the mid‑century, and we discover how it shaped his worldview, chivalry, and veneration of all things beautiful and polite.
 
 
 
 
The Trials of a Gentleman is a show of substance. David’s impassioned rants on such topics as the loss of tradition and the imperfect school curriculum raise interesting points and, given from the perspective of a sympathetic yet flawed character, also leave room for the audience to form their own opinions. These tangents can be long, but in their midst, we slowly construct the true story behind David’s alleged crime.
The tech in the show was subtle but effective. Each lighting choice was purposeful, and worked well to show David’s emotions and duality, alongside the flickers of his memories from the picture house of his youth.
Contrast between moments and tones within the show could have been stronger, but then again, it would have been worse if the lighting, for instance, had been overdone.
That subtlety wasn’t as effective in creating a convincing room in a Met Police station, but the set and intimate venue made up for that. Plus, each of the three chairs on the stage had their own recurring connotations, which was an inspired choice.
The Trials of a Gentleman is a thought‑provoking play and somewhat of a time capsule to a bygone era. You can expect a nuanced performance, a few chuckles here and there, and a wish that you had scheduled in some time for personal introspection afterwards.
The Trials of a Gentleman plays at the Brockley Jack Studio Theatre until 28th March.
 
 
 
 
