A free adaptation of Lope de Vega’s Fuenteovejuna by April de Angelis, Nadia Fall’s debut season as AD of Theatre Royal Stratford East starts off in fine style with The Village
“I’d rather spend my nights with a saag aloo”
A free adaptation of Lope de Vega’s Fuenteovejuna by April de Angelis, Nadia Fall’s debut season as AD of Theatre Royal Stratford East starts off in fine style with The Village. Harking back to the past as Joan Littlewood directed it here in 1955, it also looks firmly to the future as a statement of intent about how things are going to be different out East.
The play has been resituated from Spain to northern India and set in the modern day. And in these Kavanaugh-plagued times, there’s something of a gut punch about the way how, even with fast-forwarding half a century, this kind of story can remain so horribly pertinent. What is does remind us though, is of the importance of resistance and the strength that can come from a community. Continue reading “Review: The Village, Theatre Royal Stratford East”
“Oh please, Mother, make it stop! It’s hurting.”
will be unleashed onto the West End stage for the very first time in a uniquely theatrical experience directed by Sean Mathias and adapted for the stage by John Pielmeier.
The Exorcist will play a strictly limited run at the Phoenix Theatre from 20 October 2017 to 10 March 2018. Tickets will go on general sale at 4pm today.
Continue reading “Round-up of news, treats and other interesting things”
“Now here’s a little story
To tell it is a must”
One gets the feeling that had Anita and Me decided whether it wanted to be a full-blown musical or a straight play adorned by a little music, it might have been a much more successful version of Meera Syal’s novel. But as it is, Tanika Gupta’s adaptation and Roxana Silbert’s direction is marooned in a hinterland between the two, packed too full with material trying to fulfil both remits and so it can be quite the frustrating watch.
The source material is definitely there, Syal’s semi-autobiographical portrait of growing up in the West Midlands in the 1970s is full of insight and warmly old-fashioned charm. Cosseted in the vibrant home of her Punjabi parents, Meena’s teenage rebellion takes the form of throwing her lot in with neighbour Anita to help her better integrate into the society she longs to be a part of, something complicated only slightly by the ingrained racism of said society. Continue reading “Review: Anita and Me, Theatre Royal Stratford East”
Kicking off a substantial tour that will take in Delhi and Mumbai as well as numerous UK theatres, Harvey Virdi’s Happy Birthday Sunita opens at Watford Palace Theatre and ever curious, a cheeky trip to a Sunday matinée felt in order. This Rifco Arts production centres on a British Punjabi family as they gather to celebrate a surprise 40th birthday celebration for Sunita. All is going well but the birthday girl is nowhere to be seen…
For as with any family, the Johals have their secrets and dramas and lifelong resentments and as the drinks starts to flow, truths start to spill out over the plates of curries and rotis. There’s a real sense of the family bond here though, no matter how strained it gets – in the blink of an eye, brother and sister go from bickering to bhangra dancing, the mother who makes sure all the cooking is done before unleashing her own shocking revelation. Continue reading “Review: Happy Birthday Sunita, Watford Palace”
“Gar firdaus bar roo-e zameen ast, Hameen ast-o hameen ast-o hameen ast”
Interesting art can transcend basic notions of comprehension, cutting deep to a visceral place of goosebumps and adrenalin rushes that crosses linguistic barriers, just listening to this recital of a piece of Sufi poetry moves me in an unexpectedly extraordinary way even after repeated listens. The above quote of another piece also by poet Amir Khusro (If there is a paradise on earth, it is here, it is here, it is here) which prefaces Abhishek Majumdar’s complex Kashmir-set play The Djinns of Eidgah which provoked a similar reaction in me upstairs at the Royal Court.
Not that the play isn’t in English, but rather its reach is ambitiously grand and encompasses subjects that I would be a fool to profess any substantial knowledge of. Through the trials of young Kashmiri orphans Ashrafi and Bilal, Majumdar’s writing explores the state of being ‘inbetween’ – whether in the brutal, and ongoing, realities of being torn between India and Pakistan; or in the fable-like hinterland between life and death, explored through the Central Asian oral history tradition of dastaan and the legends of Amir Hamza. Reality and fantasy are intermingled, politics and people dissected, both head and heart engaged to create a melancholic minor masterpiece. Continue reading “Review: The Djinns of Eidgah, Royal Court”