Lesbian subculture is put under the microscope in Grotty at the Bunker Theatre, anchored by an idiosyncratic performance from Izzy Tennyson
“There’s got to be another lesbian like you”
There’s something a little extraordinary about Izzy Tennyson’s central performance at the heart of Grotty. Her Rigby is mesmerising, a young woman finding her way through the London lesbian scene, characterised as an almost grotesque clown, clambering over every inch of the Bunker Theatre, hunched over, tongue lapping, words gabbled, a striking presence indeed.
As strong as she is though, this isn’t a one-woman show and Tennyson’s idiosyncratic manner (she is also the writer here) doesn’t always sit easily within the wider world of the play she has created. The relationships she crashes in and out of, the hookups she searches out, the friendships she abuses – all are more conventionally conceived, insofar as this slice of lesbian subculture could be considered conventional. Continue reading “Review: Grotty, Bunker”
“I would you were as I would have you be”
Emma Rice’s Summer of Love got off to a slightly sticky start at the Globe with a mystifying take on Romeo and Juliet from Daniel Kramer and as we move onto Twelfth Night, which she is directing herself, there’s a similarly uncompromising attitude in place. For the production reminded me nothing so much as a camp episode of Monarch of the Glen (sadly not Monarch of the Glum) and whilst it is often fun to watch, it’s not always the most effective treatment.
Rice’s iconoclastic approach is there from the get-go – a prologue set onboard the SS Unity before its shipwreck sees the company dancing merrily to Sister Sledge. And once in this decidedly Celtic Illyria, Orsino has a Lionel Richie mullet, Andrew Aguecheek is a would-be b-boy, serenades are played on cassette decks…why we’re in 1979, as good a time as any to explore cross-dressing hijinks of gender exploration. Continue reading “Review: Twelfth Night, Shakespeare’s Globe”
“It’s something about my appearance that I can control”
The Women on the Edge session of the Women Centre Stage: Power Play Festival featured three works that were commissioned and developed from the 2015 festival held at the National Theatre. This just happened to include one of my favourite pieces from across the entire day – Camilla Harding and Alexandra Sinclair’s Man Up! Deceptively simple in its format yet deliciously complex in its subject matter, the pair give the lie to conventional gender norms and make a fabulously compelling case for the importance of recognising gender fluidity in society.
Their stagecraft is ingenious too, transformations subtly worked so that they were halfway complete before you clock exactly what’s going on. Judith Jones and Beatrix Campbell’s Justice has no such ambiguity about it, an emotionally bruising look at the lasting impact of the Cleveland child abuse scandal and the trials its victims face in trying to escape its shadow, in search of a truth, a resolution that might somehow set them free. Directed by Ros Philips, Claire-Louise Cordwell’s damaged warrior of justice is a brilliantly thorny part and contrasted well with Kathryn O’Reilly’s softer but no less fierce budding campaigner. Continue reading “Review: Women Centre Stage: Power Play Festival – Women on the Edge”
“My God’s out there. That’s why I go out in that van. Each night I sit behind the wheel and, believe me, I pray. But with the engine running and the headlights on”
Brian Mullin’s first play as part of the 503Five Writer-in-Residence scheme is We Wait In Joyful Hope, directly inspired by his aunt, a nun who helped to found a successful NY women’s shelter. Thus the central character here is a nun who helped to found a women’s shelter, in New Jersey though, where it has been helping people for over 30 years. They say write about what you know but in this case, it does feel occasionally that Mullin could have done with a bit of distance to really make the drama work.
For Sister Bernie D’Amato is an absolutely cracking character, played with intelligent and varied depth by Maggie McCarthy, but the play around her doesn’t quite match up. D’Amato is battling the spectre of gentrification as property buyers are wrecking the community, the patriarchy of the church hierarchy against whom she’s always had to fight and her own failing health too. But in among all this, Mullin rarely ventures out to deal with any of these larger themes on which he touches, there’s little that’s truly dramatic. Continue reading “Review: We Wait In Joyful Hope, Theatre503”