I’m left unmoved by The Strange Death of John Doe, running at the newly press-covered Hampstead Downstairs
“I mean, where does a person begin and end, and when did they stop being a person?”
So it looks like the Hampstead Theatre’s policy of not having its downstairs shows ‘officially’ reviewed has been well and truly junked asThe Strange Death of John Doe is the second show to get the full press treatment after The Phlebotomist. And perhaps it’s just a coincidence that this one is directed by Edward Hall himself…
As it is, the Hampstead Downstairs’ remit as an experimental space has always been a bit of an iffy one, in reality this is more of a Royal Court Upstairs kind of theatre, and Fiona Doyle’s new play is no exception. An intriguing take on a horrific but underexplored aspect of the refugee crisis, vividly staged with movement by the late Scott Ambler. Continue reading “Review: The Strange Death of John Doe, Hampstead Downstairs”
“No one ever changed the world alone”
With pretty much every production of hers that I see (most memorably Lela & Co. and I’d Rather Goya Robbed Me Of My Sleep Than Some Other Arsehole), Jude Christian is becoming one of those directors whose work cannot be missed. And with the 2015 Bruntwood Prize-winning Parliament Square, now opening at the Bush after an October premiere at the Royal Exchange, that reputation doesn’t look in any danger at all.
She’s helped here by a magnificently fearless piece of writing from James Fritz, split almost schizophrenically into two contrasting parts. The first presents us with Kat, a woman on the precipice of leaving her husband and their young son to commit some unspeakable act, being urged along the way by an enigmatic figure far more bluntly daring than she seems to be. The second then takes us past the act, which failed, into an uncertain world of uneasy compromise. Continue reading “Review: Parliament Square, Bush”
South London based site-specific theatre company Baseless Fabric are presenting David Mamet’s rarely performed short plays Reunion and Dark Pony in libraries across South London as part of National Libraries Week 2017. The plays are two of David Mamet’s earliest work, first produced in the US in 1976 and 1977 respectively and both feature David Schaal and Siu-see Hung in their casts.
Both of the plays explore father and daughter relationships and the audience will be immersed in the worlds of these plays in the unique and atmospheric library environments during National Libraries Week 2017 to raise awareness of exciting events happening in local libraries and bring theatre to people in their local library space. Artistic Director Joanna Turner directs with Set & Costume Designer Bex Kemp, creating a site-responsive design in each library space.
Mon 9th Oct 7.30pm – Durning Library, SE11 4HF (nearest station: Kennington)
Tue 10th Oct 7.30pm – John Harvard Library, SE1 1JA (nearest station: Borough)
Wed 11th Oct 7.30pm – John Harvard Library, SE1 1JA (nearest station: Borough)
Thu 12th Oct 7.30pm – Merton Arts Space, Wimbledon Library, SW19 4BG (nearest station: Wimbledon)
Fri 13th Oct 7.30pm – Merton Arts Space, Wimbledon Library, SW19 4BG (nearest station: Wimbledon)
Sat 14th Oct 3pm – Earlsfield Library, SW18 3NY (nearest station: Earlsfield)
Sat 14th Oct 7.30pm – Battersea Library, SW11 1JB (nearest station: Clapham Junction)
Sun 15th Oct 6pm – Clapham Library, SW4 7DB (nearest station: Clapham Common)
Continue reading “Round-up of news and treats and other interesting things”
“Two and twenty horses killed under me that day”
Accompanying their production of Our Country’s Good, Out of Joint have put together a programme of rehearsed readings of various of Timberlake Wertenbaker’s plays and threw in a bonus reading of George Farquhar’s The Recruiting Officer for good measure. It is a natural choice as it is the play which the convicts of Our Country’s Good are performing and in using the same cast here, the actors are able to play the characters they are ‘rehearsing’ in the other piece which has a lovely neatness about it.
Farquhar’s play is deliciously dry and funny, impressively so for a 1706 Restoration comedy, and even with the limited rehearsal time and the cast having scripts in hand, there was a real sense of the rich comic potential of the material. And having seen it fairly recently at the Donmar Warehouse, it was interesting to see the different choices and dynamics that a new company brought. Ian Redford’s older Kite had a weariness of the soul that felt entirely appropriate, John Hollingworth’s take on Brazen was straighter than Mark Gatiss’ out-and-out fop but no less hilarious for it and the doubling that most of the actors did was impressively done and added to the humour quotient. Continue reading “Review: The Recruiting Officer rehearsed reading, St James Theatre”
“In my own small way, in just a few hours, I have seen something change”
Timberlake Wertenbaker’s play Our Country’s Good was first produced 25 years ago by Max Stafford-Clark and his Out of Joint company and as it has remained an evergreen success, in no small part due to regular appearances as a set text for students, a revival makes good sense. And with Stafford-Clark taking on directorial duties once again, it makes for a fascinating chance to see an impresario revisiting a work with which he is inextricably linked.
Much of the appeal of Wertenbaker’s work lies in its celebration of theatre as a cultural medium but also as something more, something that can heal and restore the soul. And so as a group of convicts newly transported to Australia are convinced to put on a play – George Farquhar’s The Recruiting Officer – by an officer of reformist tendencies, we see the transformative power of drama and a subtle shift in the way that punishment is viewed as the idea of rehabilitation comes into play. Continue reading “Review: Our Country’s Good, St James Theatre”
“People come here to leave behind whatever mess they made out there”
Working in partnership with Amnesty International, the Almeida theatre gives us the European premiere of Ruined, the Pulitzer Prize winning play from Lynn Nottage. It is set at Mama Nadi’s, a bar and brothel in a small mining town in the Democratic Republic of Congo. Mama runs her bar with a rod of iron, serving anyone who will pay, no matter what side they are fighting for, along as they leave their weapons and their politics at the bar. As the civil war encroaches ever nearer and two new arrivals who have suffered particularly badly at the hands of soldiers, she is forced to reassess her life of providing women and whiskey without question and decide if it is enough.
As Mama Nadi, Jenny Jules is excellent. She’s rarely off-stage and holds the whole play together with her irrepressible hostessing, able to charm any customer yet possessed of an indomitable spirit, no soldier, no matter how threatening, gets past her with a weapon and she rules over her girls with a rod of iron. Starting off like Brecht’s Mother Courage, a similar profiteer from wartime chaos, her motivations remain mostly ambiguous but as events catch up with her, she becomes much more emotionally engaged. Jules is supported extremely well by Pippa Bennett-Warner as Sophie, bright and beautiful yet ‘ruined’ by a bayonet, Michelle Asante as Salima, gang-raped by soldiers but then even more painfully, shunned by her husband and Kehinde Fadipe as Josephine, the most sexually confident of the three but just as damaged. Together, they form an uncompromising group of women, scarred both inside and out by rebel soldiers, government soldiers, even their own families, and only able to dream of what might be in the (relative) safety of each other’s company. Continue reading “Review: Ruined, Almeida”