“What do you do when you’re not sure?”
John Patrick Shanley’s play Doubt, a Parable comes lauded with garlands – Tony Awards, a Pulitzer Prize for Drama, a Hollywood adaptation with none other than Meryl Streep – so it must be a modern classic right? But, written in 2004, with all of the hindsight of how cases of historical sexual abuse in the Catholic church have been (mis-)handled, I find its dramatic ambivalence hard to stomach.
Shanley sidestepped the issue by setting his play in 1964 where a scandal is brewing at the St Nicholas Church School in the Bronx. Or is it? Ferociously strict principal Sister Aloysius is convinced that there is inappropriateness occurring between parish priest Father Flynn and the school’s first black pupil, but her views are coloured by her loathing of Flynn’s modernising ways. Continue reading “Review: Doubt – a Parable, Southwark Playhouse”
“It feels a little bit like we’re asked to be the interracial couple”
Both in their 30s and both professors of “obscure versified English”, Jamaican-American Richard and Irish-American Sheryl seem to have it made when they’re asked to take part in a series of ‘bedroom interviews’, the promise of a potential book deal luring them into agreement. Presuming their interracial relationship and their decision to start a family is the reason they’ve been scouted, they jump right into baring their souls to their webcam-based interviewer but soon discover that they’re not quite ready for the answers they’re about to reveal.
Aurin Squires’ Don’t Smoke in Bed is a thrillingly incisive look into what Avenue Q memorably labelled “the sensitive subject of race”. Richard and Sheryl pride themselves on not arguing, rather enjoying having “strong conversations”, though as they begin to delve into the detail of how their partnership works and crucially, expose the perceptions that each has about the way that racial politics – and indeed class – has or hasn’t impacted on their lives, their certainties are crumbled away as brutal honesty corrodes the bonds that had seemed so tight. Continue reading “Review: Don’t Smoke in Bed, Finborough”
“You can’t slaughter what you cannot kill”
In amongst everything else that the Faction do, they’re also steadily working their way through Friedrich Schiller’s plays with the aim of staging the complete canon of his work. I’ve seen them take on Mary Stuart, Fiesco and The Robbers in recent years but their 2015 rep season features Joan of Arc, a free adaptation of The Maid of Orleans which was one of his most frequently performed plays during his lifetime. Its fiercely militaristic tone speaks to its popularity back then but the Faction, playing very much to their strengths in this thrilling and thoughtful version, make a sterling case for its pertinence today.
The play tells its own variation on Joan’s life – one could hardly argue it is historically inaccurate – which repositions La Pucelle as a defiantly active warrior in the Dauphin’s forces as the French Crown struggles against the combined forces of the Duke of Burgundy and Henry VI of England. That she was a peasant girl who received religious visions only added to her allure when her talismanic presence proved decisive in turning the military tide but the natural suspicion of anything different, combined with Joan’s internal dilemmas about the validity of her spirituality, allows the seeds to be sown for her downfall (even if it plays out in an unexpected manner). Continue reading “Review: Joan of Arc, New Diorama”
“Do you like our new refrigerator?”
For an ensemble company that is so focused on, well, the ensemble, The Talented Mr Ripley seems a curious choice for The Faction to include in their 2015 rep season. Patricia Highsmith’s tale of homoerotic obsession, impersonation, murder and swanky new fridges features a tour-de-force performance from Christopher Hughes as Tom Ripley at its heart but in the final analysis, it doesn’t always feel like a show that really plays to the strengths and artistic potential of this group of actors and creatives.
Part of the issue seems to flow from the literalness of Mark Leipacher’s adaptation which runs at nearly three hours with the interval coming at the first hour mark. As you can imagine it thus retains much of the integrity, and detail, of Highsmith’s novel but it also consequently lacks theatricality. So many key story points are endlessly repeated – the day trips where Ripley gets ever closer to the luminous DIckie Greenleaf, the highly symbolic luggage that he carries with him, the various policemen who chase him through Italy – to little cumulative impact. Continue reading “Review: The Talented Mr Ripley, New Diorama”
“What sadness lengthens Romeo’s hours?”
The Faction return to the New Diorama for their now customary annual repertory season, having seriously shaken up their line-up for the first time – just two core ensemble members remaining along with directors Mark Leipacher and Rachel Valentine Smith. What remains though is an equally serious streak of inventiveness that marks them as one of the more adventurous and exciting theatre companies out there. And it is that sense of innovation that sustains their fresh and spiky Romeo and Juliet which clocks in at a healthy three hours and fifteen minutes.
It may seem like a strange combination – such fidelity to the fullness of the text yet such exploratory theatre-making as led by Valentine Smith – but it provides some lovely moments such as the setting of the Act II prologue to music which is sung beautifully by the full company. Keeping the majority of the company onstage at all times allows for some fascinating, and wordless, extratextual exploration of relationships – the sex and violence of Capulet and Lady Capulet’s tempestuous marriage is compelling to watch and the genuine affection, love even, between the Nurse and Peter makes perfect sense.
Continue reading “Review: Romeo and Juliet, New Diorama”
“I thought I could pay for something a little extra…”
Opening with a pair of botched raids on a massage parlour suspected of offering additional services, the Finborough’s latest UK premiere – that of Rebecca Gilman’s Blue Surge – bustles with relationships between cops and hookers, discussions about the American class system and exploring whether you can ever truly escape your past. Set in a mid-sized Midwestern city in the recent past, Curt is a hard-working honourable cop, who with his doofus of a partner Doug was responsible for ballsing up the raids and thus potentially jeopardising a promotion. They both find themselves drawn to two of the workers they encountered there though and whilst Doug falls into a relationship with the ditzy Heather, Curt tries to play the knight in shining armour and rescue Sandy, with whom he feels a great affinity, putting both his job and his relationship with fiancée Beth severely at risk.
For Beth is middle-class and choosing to slum it as an artist and Curt finds it impossible to really connect with her as he is from a solidly working-class background , his upbringing close to the poverty line and continuing, he believes, to shape his life even now. Connecting with Sandy, who reveals a similarly broken childhood which has directly resulted in her career choice, he sees a kindred spirit despite the 20 year age gap and a quirky relationship of sorts starts to grow between them. But whilst he wants to rescue her, she doesn’t actually want rescuing and so good-intentioned as he is, Curt’s actions threaten to jeopardise everything. Continue reading “Review: Blue Surge, Finborough”