Theatre Royal Stratford East to release audio play 846 in response to the death of George Floyd
On May 25th 2020, a police officer in Minneapolis killed George Floyd by kneeling on his neck for eight minutes and 46 seconds.
This brutal murder ignited a global surge of anger and pain. An ocean away, from the Windrush scandal to the Grenfell Tower tragedy, racist oppression is very much alive in the UK.
Acclaimed playwright Roy Williams brought together 14 writers to respond artistically to George Floyd’s murder and the Black Lives Matter Movement. From this came 846 – a collection of short pieces. Each is a standalone exploration of racial inequality and oppression, but together they form a powerful tapestry of voices. Continue reading “News: Theatre Royal Stratford East to release audio play 846 in response to the death of George Floyd”
Oof, the start of the downfall…Series 9 of Spooks turns into the Lucas North show with terrible ramifications
“Do you know how I knew it was true? Because for the first time you made sense”
It couldn’t last, two strong series of Spooks back-to-back were undone by the horrors of Series 9. And it needn’t have been this way, it opens with a great 10 minutes. Ros;s funeral! A proposal! Harry as an assassin! Ruth getting called “that dogged, brilliant bitch”! But new head writers Jonathan Brackley and Sam Vincent then have the trickier task of reconstructing a new team, and don’t quite nail it with Sophia Myles’ Beth and Max Brown’s Dimitri only ever appearing in shades of beige.
Worse though, is the shifting of the entire season’s narrative onto Richard Armitage’s Lucas who – dun dun dur – is actually someone else called John Bateman, whose torturously wrangled personal history is dragged out through the presence of Iain Glen’s Vaughan. Undoing all the good work that Armitage had done in building the fascinating ambiguities of Lucas North, the entire John Bateman storyline was a huge mis-step and ultimately indulges Spooks at its worst.
Never better than turning Harry down, she’s a vital steadying presence in a show that badly needs it. Continue reading “Lockdown TV Review: Spooks Series 9”
“I’m looking for the Tank Man”
There’s a moment of genius near the end of Lucy Kirkwood’s new play Chimerica that manages that all-too-rare feat of managing to unearth something genuinely new out of the familiar, challenging the way we hold viewpoints and the assumptions that come with them. It is a startling realisation, excellently executed and one which allows for an interesting reinterpretation of what has gone before. Kirkwood’s subject is the fast-changing and complex relationship between China and the USA and sprawls ambitiously over 24 years and multiple storylines to create an unwieldy epic, co-produced with Headlong, that just might be one of the most interesting and exciting pieces of new writing in London.
At the heart of the story is Joe Schofield, a photojournalist responsible for one of the iconic images of the twentieth century in capturing the moment a protestor stood in front of a tank in Tiananmen Square, who gets the sniff of a new story when he finds out the man might be living in America. As he pursues this new lead through the nooks and crannies of Chinatown to glittering political fundraisers, his singlemindedness threatens his relationships with the friends and lovers around him, but also with his key Chinese friend and contact for whom the price to pay is significantly higher. Continue reading “Review: Chimerica, Almeida”
“The art is in what happened to those people’s spirits”
The trick behind James Macdonald’s production of Howard Brenton’s new play #aiww The Arrest of Ai Weiwei is to suggest that the 2011 detention and interrogation of the artist by the Chinese authorities was as big and far-reaching a piece of conceptual art as any of his installations at the Tate Modern. Ashley Martin Davies’ design sets the drama in a gleaming white gallery with spectators lining up either side of a wooden crate, whose walls are opened up to portray the two different cells in which he was kept during the 81 days of his imprisonment. The observers, or netizens, remain onstage throughout as Ai is trapped inside the nightmarish absurdities of such an authoritarian regime.
Based on Barnaby Martin’s book Hanging Man which documented Ai’s ordeal using his own testimony, Brenton’s play eschews conventional dramatic structure – it is no secret that the artist is eventually released – for something more ruminative about the nature of incarceration. And in its focus on the detail of the situation, it is ultimately rather insightful into the labyrinthine complexities of living and working under an unbending state whose orthodoxy is struggling to deal with a dissident whose worldwide fame precludes any unexplained disappearance into the murky depths of the system. Continue reading “Review: #aiww The Arrest of Ai Weiwei, Hampstead Theatre”