What happens when whack-a-doodle becomes wearying – find out in Pity at the Royal Court
“What happens next is verging on the ridiculous”
Things start off well at Rory Mullarkey’s Pity. We’re directed to the rear of the Royal Court, enter through the back and get to walk over the stage with tombolas, ice-creams and brass bands all around (I’d happily listen to the Fulham Brass Band’s version of ‘Hello, Dolly’ all day). Chloe Lamford’s design certainly looks a treat in all its cartoon-comic brightness but ultimately, is indicative of a real issue with Sam Pritchard’s production.
“You need to turn your attentions to different people”
For Mullarkey’s play is concerned with violence – paradigm-shifting, society-shattering violence and the way that the British might very well respond to it. And as he suggests that we’d react to the collapse of civiliisation by making a cup of tea, you can’t help but wonder, really? On the one hand, everything here is telling you not to take things so seriously. On the other, communities across the world are being ripped apart in actual conflicts. It’s a tension that never satisfactorily resolves here. Continue reading “Review: Pity, Royal Court”
Full casting for Michael Boyd’s much anticipated production of The Cherry Orchard is announced today as rehearsals begin for the Bristol Old Vic and Royal Exchange Theatre co-production. Rory Mullarkey’s brand-new translation will be directed by Boyd, celebrated former Artistic Director of the Royal Shakespeare Company (RSC). Having studied Russian and trained as a director in Moscow, extraordinarily, he will be directing Chekhov – the literary love of his life – for the first time. Continue reading “Full cast announced for Michael Boyd’s The Cherry Orchard”
There’s all sorts of big productions arriving in the months to come (Long Day’s Journey Into Night, the return of Amadeus, PATTI LUPONE!) but I’m using this spot to highlight some of the shows on the London fringe and around the UK (and Amsterdam…) that have piqued my interest and which I hope to get to review.
So in no particular order… Continue reading “20 shows to look forward to in 2018”
“You hunt them where they live”
There’s something interesting about a community that can simultaneously urge the need to talk constructively about failure and also gloat endlessly about the its possibility. Where the National Theatre is concerned, the stakes feel considerably heightened and following a summer that contained the divisive Salomé and Common, sadly you could almost feel the knives being sharpened in advance for Saint George and the Dragon.
Two contrasting viewpoints from two contrasting people, to be sure, but you wonder how open-minded people are being, particularly when the start to this press night was delayed by 30 minutes or so adding fuel to certain people’s fire. But all this dancing around is doing, is delaying the inevitable, in that I found Rory Mullarkey’s new play really quite tough-going and had it not been for an effortful performance from John Heffernan keeping it afloat from the front, it would have been worse. Continue reading “Review: Saint George and the Dragon, National Theatre”
A village. A dragon. A damsel in distress.
Into the story walks George: wandering knight, freedom fighter, enemy of tyrants the world over. One epic battle later and a nation is born. As the village grows into a town, and the town into a city, the myth of Saint George, which once brought a people together, threatens to divide them. Rory Mullarkey creates a new folk tale for an uneasy nation.
Continue reading “Full cast announced for Saint George and the Dragon”
“Why must we go over and over the woes of the past?”
There’s something a little unfortunate about labelling your version of Aeschylus’ The Oresteia as “a radical reinvention” when Robert Icke’s extraordinary reinterpretation of the same source material for the Almeida has now successfully transferred to the West End. Nevertheless, Rory Mullarkey’s adaptation for Shakespeare’s Globe also emerges as something rather arresting, not least in director Adele Thomas’ canny use of creatives pushing well outside the visual (and aural) aesthetic normally associated with this venue.
Hannah Clark’s design pulls on a wide range of influences to provide a wealth of striking images – niche cinema like Angelopolous’ The Travelling Players (the almost shifty looking Chorus) and Jodorowsky’s Holy Mountain (Clytemnestra’s magnificent posturing) mix with contemporary security uniforms (the opening messenger) and traditional Greek costumery as we know it (Agamemnon’s battle-dress). Along with Mira Calix’s diverse (including electronics) score, it’s an eclectic mix to be sure but one that pays off to create an out-of-time strangeness which really suits the production.
Mullarkey’s textual adaptation is also an unwieldly collation of disparate elements, poetic rhythm slips into modern-day colloquialisms, epic speeches slides into operatic sung passages. The shifts may be a little jarring at times but again the cumulative effect is rather impressive. The three acts follow the woes of the House of Atreus – Agamemnon sees the war veteran suffer at the vengeful hands of his wife Clytemnestra for sacrificing their daughter, The Libation Bearers sees her suffer at the hands of her son for killing his dad and The Eumenides pops him on trial and established trial by jury, as you do.
Continue reading “Review: The Oresteia, Shakespeare’s Globe”
“We had to plump for M16s for the altos because they have a tendency to get a bit flappy, the last thing they needed was an easily jammable firing mechanism”
Despite the alluring thrill of this note on the webpage for the show – “Special thanks to Real Lancashire Eccles Cakes for their donation to this production” – for one reason or another it has taken me until practically the end of the run to finally get along to Rory Mullarkey’s The Wolf from the Door at the Royal Court.
And to be honest, I have to say it would have been no great loss had I missed it. Mullarkey posits a world in which the middle classes are a seething mass of discontent and an aristocrat is spearheading a movement for radical change that taps right into it, cue beheadings in Tesco, marauding morris dancers and a fully armed WI. An arresting concept but one which increasingly reveals itself to have little to say, a particularly disappointing ending the cherry on this barely-risen cake. Continue reading “Review: The Wolf at the Door, Royal Court”
David Birrell, Sweeney Todd, Royal Exchange
Kenneth Branagh, Macbeth, Manchester International Festival, St Peter’s Church
Nigel Cooke, To Kill A Mockingbird, Royal Exchange
Paul Webster, Sugar Daddies, Oldham Coliseum
Jack Wilkinson, David Copperfield, Oldham Coliseum
Marianne Benedict, Chicago, Oldham Coliseum
Cush Jumbo, A Doll’s House, Royal Exchange
Gillian Kearney, Educating Rita, Library at The Lowry
Alex Kingston, Macbeth, Manchester International Festival, St Peter’s Church
Maxine Peake, Masque Of Anarchy, Manchester International Festival, Albert Hall
Shannon Tarbet, To Kill A Mockingbird, Royal Exchange Continue reading “The 2013 Manchester Theatre Awards nominations”
“So the night recedes too, until at last it must die and join all the other long nights in nirvana”
So Ruth Wilson is a god amongst mere mortals, you all know that right? Probably one of the most exciting actresses working at the moment, Hollywood has now come a-calling and she should surely have been a shoo-in for Doctor Who if she were so inclined (although given her inimitable excellence as the devilish Alice Morgan in Luther, perhaps she is destined to be the next regeneration of the Rani…) and so her return to the stage in any shape or form is something to celebrate. And in The El. Train, this triple bill of Eugene O’Neill one-act plays, her artistic wings fledge even further as whilst she appears in the first two, she makes her directorial debut in the third.
Wilson has form with O’Neill of course – her Anna Christie at the Donmar was rightfully hugely lauded and she slips right back into the groove perfectly. She effortlessly holds the stage as the busying Mrs Rowland in Before Breakfast, struggling to make ends meet whilst her feckless husband languishes out of work, ballsily confident whilst yelling at him from the kitchen and sneaking guiltily satisfying sips of grog from the cupboard. Likewise in The Web that follows, her ability to conjure the most intensely felt of emotions at the drop of a hat is a pleasure and a privilege to be able to witness, especially in the intimately historical surroundings of Hoxton Hall. Continue reading “Review: The El. Train, Hoxton Hall”
“I get that it was…well, it is…a big deal for some people”
The tenth anniversary of the attack on the World Trade Centre has and will receive a vast range of coverage through all sorts of media, but perhaps one of the most anticipated is Headlong’s new piece of site-specific theatre, Decade. 19 writers, playwrights mostly and Simon Schama, have all contributed their own responses to the events of the 11th September, their brief purely to be a scene set in the last 10 years, and they have been woven together by director Rupert Goold and housed in a warehouse on St Katharine Docks. I hadn’t intended to see this show so soon, wanting to let the experimental stuff settle before making my visit, but I was forced to reshuffle my diary and in order to fit it in before October and still get one of the cheaper tickets, this was my only opportunity.
After passing through a security checkpoint where you are questioned and ticketed (I was mildly disappointed there was no full body search from my guard, Tobias Menzies), we’re then guided through to take our seats in a replica of the dining room of the Windows On The World restaurant, formerly on the top floors of the North Tower. It’s a quirky entrance that sets the anticipation levels high even if the whole process did take a little time to fully accomplish. Seating is around dinner tables with a large raised stage in the middle of the room and is unallocated though ‘waiters’ do take you a table once summoned by the Maître D’. (My top tip would be to try and get on the long bank of seats on the side opposite the bar as close to the middle as you can. Just before the lights went down, I was advised by our Maître D’, in this case it was the delectable Charlotte Randle, that I might want to move from my original seat to this new place as there’s a certain amount which happens on a balcony level but all on one side, and it would have been rather difficult to see from there. So thank you Charlotte!) Continue reading “Review: Decade, Headlong at St Katharine Dock”