As mentioned in the main review for Double Feature 1, of which this is the opening play, the less you know about Edgar and Annabel in advance the better, as this really is one of those watching experiences that benefits hugely from being allowed to unfold in front of us without any forewarning. So this is your last warning, I will try to avoid too many spoilers but if you’re thinking about going to see this, stop reading (and then come back afterwards!)
Sam Holcroft’s tightly-crafted new play takes place in a land gripped in a police state, with people under constant surveillance in their own homes, where a brave few are attempting to stand up to the ‘Orwellian establishment’. In their kitchen, young married professionals Edgar and Annabel go about their daily business, but it is soon apparent that not all is what it seems. Continue reading “Review: Edgar and Annabel, National Theatre”
“We keep it loose, we stay chatty…we do not freak out”
Switching it up a little for the summer is the National Theatre with their Double Feature run: 2 double bills of new writing performed by one ensemble and playing in a new space, the Paintframe. It wasn’t always meant to be thus, the original plan was to put this into the Cottesloe but the huge success of London Road and its subsequent extension meant alternative arrangements had to be found and so the area where sets are painted was co-opted, a rather neat decision as it plays into the experimental feel of the whole experience.
Divided into 2 double bills, I saw Double Feature 2 first, at the first preview, which pairs Prasanna Puwanarajah’s Nightwatchman and Tom Basden’s There Is A War. I ummed and aahed a bit about how to write up these shows and so what will follow is a general overview of the plays and the experience as a whole, and there will be two separate reviews of the actual shows which will be a bit more detailed and so potentially spoilerific. Continue reading “Review: Double Feature 2, National Theatre”