Running time: 2 hours
Programme cost: £4
“And these people think we’re twats? Are we going to just sit here and take it…”
Posh, a new black comedy by Laura Wade at the Royal Court, follows a group of young toffs, calling themselves the Riot Club, as they meet up to get thoroughly drunk or “chateaued” and trash the private dining room of the Oxfordshire gastropub where they are spending the evening. It is apparently inspired by Oxford University’s Bullingdon Club which has given us such scions of society as David Cameron and Boris Johnson though I can’t see either of them making the trip to see this as it does rather skewer their antics (that said, the vast majority of the audience had a much closer affinity to the title than I would have imagined, and on cheap Monday prices too, shame on them!)
The writing is beautifully delicious in places, I loved the quip about reading languages in Newcastle (you’d have to, up there!), the scene with the prostitute with a mind of her own is wonderfully awkward and so much of the dialogue has clearly been finely crafted, reflecting the intelligence, no matter how odious they get, of many of these chaps. Wade also captures the righteous indignation of those who feel their birthrights have been slowly eroded but yet insist on the maintenance of the system of privileges that accompanies membership of the upper classes. Continue reading “Review: Posh, Royal Court”
“Gentle my lord, sleek o’er your rugged looks; be bright and jovial among your guests to-night “
Opening the 2010 Kings and Rogues season at Shakespeare’s Globe on the South Bank is Lucy Bailey’s production of Macbeth. Fans of the Scottish play are being well-served this year: Cheek By Jowl may now have left the Barbican but you can catch them again in Brighton in May, the Open Air Theatre will be running a re-imagined for kids version in July or you can witness this decidedly less family-friendly production in the Globe.
Katrina Lindsay’s design has clearly taken the circular shape of the theatre into consideration and used the circles of hell in Dante’s Inferno as the main inspiration. The Yard is mostly covered with a canopy, with holes for the groundlings to poke their heads through, representing the frozen sinners trapped in the underworld, and it is also populated with the occasional bloodsoaked writhing tortured soul popping up. I can’t comment on how comfortable or otherwise it was, but there’s plenty of room outside of the canopy if you’re not too sure about it: it did look fun though. The weird sisters therefore are the guardians of this final Hell and flow in and out of there onto the stage, trying to drag as many people down with them. Continue reading “Review: Macbeth, Shakespeare’s Globe”
“I may have killed the man I love”
Importing the two main leads and the director from the highly successful Australian production, Holding the Man makes its UK debut at the Trafalgar Studios. Written by Tommy Murphy but based on Tim Conigrave’s 1995 memoir of the same name, it is a love story charting the high and lows of the relationship between Tim and John Caleo, the captain of the football team at their high school no less, over 15 years. It has garnered much acclaim in its native country, but added to that with this transfer is the UK stage debut of comic genius Jane Turner, Kath out of Kath and Kim, as you will not have failed to notice if you’ve seen any of the advance publicity for this show!
I went to see this play without knowing anything about it or the circumstances in which it was written and so therefore, its impact on me was phenomenal. If you don’t know anything about it either, then I have to say I would recommend coming back here at a later date to read this review, but rest assured that this is probably the first stone-cold must-see play of the year. Continue reading “Review: Holding the Man, Trafalgar Studios”
Middleton’s strengths seem to lie in witty dialogue and being unafraid to go to delve in darker places than one might expect. That said, acting-wise, I found it solid rather than outstanding. Harriet Walter is strong as the manipulative Livia, but the honours probably go to Samuel Barnett who brings a real hurt and vulnerability to the cuckolded Leantio and Harry Melling has an absolute ball as The Ward, revelling in his insouciant foolishness and coming preciously close to stealing almost every scene he is in. Lauren O’Neill is also good as Bianca whose journey once sucked into the machinations of the Florentine court brings out a much darker side to her character.
“People come here to leave behind whatever mess they made out there”
Working in partnership with Amnesty International, the Almeida theatre gives us the European premiere of Ruined, the Pulitzer Prize winning play from Lynn Nottage. It is set at Mama Nadi’s, a bar and brothel in a small mining town in the Democratic Republic of Congo. Mama runs her bar with a rod of iron, serving anyone who will pay, no matter what side they are fighting for, along as they leave their weapons and their politics at the bar. As the civil war encroaches ever nearer and two new arrivals who have suffered particularly badly at the hands of soldiers, she is forced to reassess her life of providing women and whiskey without question and decide if it is enough.
As Mama Nadi, Jenny Jules is excellent. She’s rarely off-stage and holds the whole play together with her irrepressible hostessing, able to charm any customer yet possessed of an indomitable spirit, no soldier, no matter how threatening, gets past her with a weapon and she rules over her girls with a rod of iron. Starting off like Brecht’s Mother Courage, a similar profiteer from wartime chaos, her motivations remain mostly ambiguous but as events catch up with her, she becomes much more emotionally engaged. Jules is supported extremely well by Pippa Bennett-Warner as Sophie, bright and beautiful yet ‘ruined’ by a bayonet, Michelle Asante as Salima, gang-raped by soldiers but then even more painfully, shunned by her husband and Kehinde Fadipe as Josephine, the most sexually confident of the three but just as damaged. Together, they form an uncompromising group of women, scarred both inside and out by rebel soldiers, government soldiers, even their own families, and only able to dream of what might be in the (relative) safety of each other’s company. Continue reading “Review: Ruined, Almeida”