“You’re curious, that’s why you’re here”
The personal connections that one can easily build up in a city such as London are so wide-ranging that the riots of 2011 would most likely have affected us all in some particular way or other. For me, as a former resident of Hackney Downs, it was the sight of an innocuous convenience store being looted that really got me, it was a shop I’d passed every day from which I’d picked up many a bottle of Diet Coke or a lottery ticket and to see it being gutted felt very much not in tune with what Mark Duggan’s death should have stood for.
So I was fascinated to see that Alecky Blythe’s new play Little Revolution was focusing on this very shop and the community action that arose from its ransacking. Though 2011’s London Road saw her break through to mainstream success, Blythe has long been a proponent of verbatim theatre, by which she records interviews with real people at the heart of a certain issue and constructs a play out of their exact words – accents, inflections, verbal tics and all. Continue reading “Review: Little Revolution, Almeida”
“It takes a certain kind of person to work in the city”
Nicholas Pierpan has looked previously at the financial sector before in his monologue The Maddening Rain, but in his new play You Can Still Make A Killing which is now coming to the end of its run at the Southwark Playhouse, his focus pulls out much wider than the impact on just one man. Edward and Jack were both traders at Lehman Brothers but their lives took significantly different turns after the company collapsed as the crisis in financial systems across the world began to really bite.
With too much invested in the firm, Edward’s world falls apart and he is left hanging around hopelessly in his old Starbucks, trying to wheedle his way back in through overheard gossip and tips from former colleagues. He eventually gets a job, but at the Financial Regulations Authority (the FSA by any other name), investigating the very nefarious practices that he himself had been involved in and soon the name of his old friend Jack pops up. For Jack managed to somehow keep his plates spinning in the air and kept his job, as ever more inventive ways of bending the system become necessary. Continue reading “Review: You Can Still Make A Killing, Southwark Playhouse”
“Begonias, and… petunias, and… um, impatiens and things”
Technically speaking this is a re-re-review of London Road, which has made a belated transfer from the Cottesloe to the considerably larger Olivier at the National Theatre, as it is the third time that I’ve seen it. I saw it when it first opened and was blown away by its inventiveness and genuine originality as a piece of musical theatre, and then made a return trip when the show extended its initial run, a visit which coincided with the summer riots here in the UK last year, a time which magnified one of the key messages of the show, of the importance of community. The decision to remount this award-winning and critically acclaimed show, even after a considerable gap of nearly a year, may have seemed like a no-brainer but for those who were able to catch it in the Cottesloe like me, I suspect there may be a little disappointment as something of the magic has been lost in the move.
A strong element to this could well be my own snobbery. As the ticket purchasing was up to someone for once, I ended up in the circle – for the first time in years! – and whilst it wasn’t as bad as I had first feared, the distance does make it a completely different theatrical experience. And ‘experience’ is the right word, for this is such a unique show in its hybrid of verbatim theatre, which replicates the speech patterns and intonations of interviewees, and freestyling atonal music, which forms an additional structure and texture as it layers, repeats and counterpoints the speech into something strangely hypnotic and beautiful. Continue reading “Re-review: London Road, National Theatre”
Best New Play
One Man, Two Guvnors by Richard Bean
The Peter Hepple Award for Best Musical
Benedict Cumberbatch in Frankenstein
Sheridan Smith in Flare Path
The John and Wendy Trewin Award for Best Shakespearean Performance
Eddie Redmayne in Richard II
Mike Leigh for Grief
Mark Tildesley for Frankenstein
Most Promising Playwright
Tom Wells for The Kitchen Sink
“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”
“Begonias, and… petunias, and… um, impatiens and things”
Capitalising on the unexpected runaway success of London Road, the National Theatre have now released a cast recording of the verbatim musical by Alecky Blythe and Adam Cork. I revisited the show last week – review can be read here – and so it was quite nice to be able to get this more permanent reminder. It is such an unconventional suite of music but as with anything, repeated exposure brings about a kind of familiarity and so the musical vocabulary used here has now been assimilated, its complexity less bamboozling now and a greater appreciation easier to reach.
The show looks at the sense of community that is built up amongst the residents of London Road in Ipswich as the impact of the murder of 5 prostitutes flows out around them: the road had been where the prostitutes touted for business and it eventually turned out that the murderer, Steve Wright, had recently moved into a house on their street. But the play avoids sensationalism and focusing on the murders and murderer by centring on this group of residents and how they felt as the murders were happening and then their lives turned upside down by the revelation that Wright was living in their midst and the media furore that surrounded the ensuing trial. Continue reading “Album Review: London Road cast recording”
“If you make your house look nice, if you feel good about where you live, you’ll en- you’ll enjoy life a whole lot better”
I hadn’t intended to revisit London Road at the National Theatre even as it scored a much-deserved extension to its run: I adored its daring invention and its deep empathy for its protagonists when I first caught the show at the Cottesloe, but when a ticket on the ultra-bargainous row T popped up on the website (seriously, this is one of the best theatre tips you will get) I just couldn’t resist returning. And it was well worth it. It is such a unique show with surprising levels that it was a real pleasure to take it in a second time, from a different seat too, to soak in some of the details that had passed me by first time round and gain a slightly different perspective on it too.
My original review can be read here and it is interesting looking back at what stood out for me about it on first viewing and how much my opinion was reinforced second time around. Kate Fleetwood and Clare Burt broke my heart all over again with their portrayals, but I really did notice how good everyone is in the show, Rosalie Craig too but particularly the men whom I previously neglected a bit, Hal Fowler struggling to get a word in edgeways, Paul Thornley’s handsome normality, Duncan Wisbey’s blokiness. And having heard the music once, it was interesting to see how much familiarity there was given how untraditional the score is, the repetition of key phrases having earwormed their way into my brain, combined with some just beautiful harmonisation: London Road in bloom is probably the prime example of the quirkiness and emotional power of the music and highly effective in demonstrating early on the potential of this verbatim musical artform.
“It’s given us a common cause…”
London Road, with book and lyrics by Alecky Blythe and music and lyrics by Adam Cork, is a show emerged out of an experimental workshop at the National Theatre, pairing unlikely collaborators to create new pieces of musical theatre. What they focused on was a series of interviews Blythe carried out with the residents of London Road, Ipswich, at the time when police were hunting for a serial killer after five women were found murdered. Why she chose that street was because it was where the murderer lived but her focus was not on him or the victims, but rather the people on the periphery, how the whole thing had affected the other inhabitants and as she revisited them months later, what their response as a community was. The show plays in the Cottesloe and this was a preview performance.
Alecky Blythe is an exponent of verbatim theatre, particularly a technique created by Anna Deavere Smith, whereby she interviews her subjects and then creates theatre by reproducing their words and vocal inflections faithfully, right down to the ums and aahs and you knows, in the performance. Working in the musical form has necessitated a slight departure from the pure verbatim form but also allows for the injection of a little dramatic license in adding emphases and repetition to what could be termed the key phrases of the chorus. Adam Cork’s music fits into the same idea of trying to replicate the speech patterns and feelings and remaining as true to the material as possible, rather than composing a musically coherent score per se, he’s created a series of responses to the text. Continue reading “Review: London Road, National Theatre”