Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!)
Extraordinary Public Acts for a National Theatre
The establishment of the Public Acts programme at the National Theatre offered up something sensational in Pericles, an initiative designed to connect grassroot community organisations with major theatres, resulting in a production that swept over 200 non-professional performers onto the stage of the Olivier to create something that moved me more than 99% of professional productions. A truly joyous and momentous occasion.
The Public Acts programme produces another winner in As You Like It at Queen’s Theatre Hornchurch, community theatre at its absolute best
“All the world’s a stage And everybody’s in the show Nobody’s a pro”
I knew it would take something special to tempt me out of my summer hiatus and given that last year’s Pericles ended up being my show of the year, odds were that this year’s Public Acts production would be the one. And sure enough, Shaina Taub and Laurie Woolery’s adaptation of As You Like It at the Queen’s Theatre Hornchurch was another truly joyous event, a real celebration of community theatre and all its glorious power to involve, instruct and inspire.
And with a company that totals over 100 people, it is not hard to see why. Just the mere fact of seeing that many people on a stage is enough to warm the cockles, particularly when it genuinely embraces diversity in race, ability, age and more. Throw in an ebullient, musical take on Shakespeare’s comedy and a creative team clearly relishing letting their imagination run wild and the result is completely beguiling, emotionally true and really quite affecting – they were tears of happiness honestly! Continue reading “Review: As You Like It, Queen’s Theatre Hornchurch”
It is now the turn of Queen’s Theatre Hornchurch and Hull Truck Theatre to revive the show, some 35 years old now, in association with Oldham Coliseum Theatre. And Douglas Rintoul’s fully actor-musician production is brimming with good ideas which serve the material well, teasing out a universality to its message which can sometimes feel hemmed into its Cumbria setting. Continue reading “Review: The Hired Man, Queen’s Theatre Hornchurch”
All sorts of goodies were announced today for the upcoming slate of productions at the National Theatre, including Small Island, Peter Gynt, and Top Girls
Small Island, a new play adapted by Helen Edmundson from Andrea Levy’s Orange Prize-winning bestselling novel, will open in the Olivier Theatre in May. Directed by Rufus Norris, the play journeys from Jamaica to Britain through the Second World War to 1948, the year the HMT Empire Windrush docked at Tilbury. Small Island follows the intricately connected stories of Hortense, newly arrived in London, landlady Queenie and servicemen Gilbert and Bernard. Hope and humanity meet stubborn reality as, with epic sweep, the play uncovers the tangled history of Jamaica and the UK. Hundreds of tickets for every performance available at £15. Small Island will be broadcast live to cinemas worldwide as part of NT Live. Continue reading “News from the National Theatre Autumn 2018 Press Conference”
Mike Leigh’s Abigail’s Party and Atiha Sen Gupta’s response piece Abi make for a stirring double bill at the Queen’s Theatre, Hornchurch
“Of all the decades to stuck in, the 1970s, really?!”
Yes sir, she can boogie. Rights issues may mean that Donna Summer has been replaced with Baccara but as Melanie Gutteridge’s Beverly shimmies around her front room, there’s a beautiful lightness and freedom to her that we never get to see again. For the neighbours are coming round, and her husband’s running late, and she’s no lagers in – the lot of a suburban social-climbing hostess sure ain’t an easy one, but not even she could predict how this evening will turn out.
Mike Leigh’s 1977 play Abigail’s Party is surely to be considered a British classic. And as it is set in Romford, it makes great sense for Douglas Rintoul to stage it at the Queen’s Theatre Hornchurch (in co-production with Derby Theatre, Wiltshire Creative and Les Théâtres de la Ville de Luxembourg). And if there is a slight sense of reverence to this production – there are no great departures from the original – there’s something extremely satisfying in seeing it receive such loving treatment as here. Continue reading “Review: Abigail’s Party / Abi, Queen’s Theatre Hornchurch”
“I have committed passionless – motiveless – faultless – and clueless murder”
Patrick Hamilton’s 1929 play Ropehas a special place in my heart for it was the 2010 Almeida production that properly introduced me to the marvel that is Bertie Carvel and Roger Michell taking that theatre into the round – when such things were still a novelty to me – was a properly memorable experience. So the Queen’s Theatre Hornchurch had a job to do and Douglas Rintoul’s expertly-tooled revival has much to commend it.
The story centres on the nefarious antics of two idly rich Oxford undergrads who murder a fellow student just for the hell of it, in pursuit of some Nietzschean ideal. And not just that, they host a dinner party hours after they committed the deed and stuff the corpse into a chest which they then use as a dinner table, even going so far as to invite the victim’s mother. Darkly comic throughout, the play soon winds up into something of a proper thriller as the pair walk a very dangerous line. Continue reading “Review: Rope, Queen’s Theatre Hornchurch”
Made in Dagenham, in Dagenham – it seems like a no-brainer but it’s quite the statement of intent from incoming Artistic Director at the Queen’s Theatre Hornchurch, Douglas Rintoul. It’s also a bit of a departure for a director who has previously won awards for writing hard-hitting monologues about gay Iraqi refugees (the exceptionally good Elegy) but taking a West End musical that didn’t quite become the hit it deserves and taking it home, refining it into an actor-musician production along the way, turns out to be quite the treat.
I can’t deny that I loved the show when it played at the Adelphi – heck, I saw it four times (review #1, review #2, review #3, review #4 of the final night) and I believe it deserved better treatment from the critics. But the past is the past and coming to the show with fresh eyes, and ears, too Richard Bean’s book and David Arnold’s score, it responds powerfully to the new treatment here (co-produced by the Queen’s and the New Wolsey Ipswich where it heads next), smaller in scale obviously but more intimate too, rawer in its emotions to an ultimately devastating effect. Continue reading “Review: Made In Dagenham, Queen’s Theatre Hornchurch”
“We live with unspeakable losses, and most of us move on”
A bit of a treat for you, with audio adaptations of two recent hard-hitting plays available to download.
Marking Refugee Week and the end of a four year journey for this play, Douglas Rintoul’s Elegycan be downloaded both high and lower quality from this very webpage and there’s a digital programme and the text available for you as well to make a comprehensive little package. This Transport Theatre production is a devastating piece of documentary theatre, charting the horrendous experiences of gay Iraqi refugees as they were forced to flee their homeland. I saw it back in 2012 and it has stayed with me ever since, I definitely recommend giving this a listen.
And as something of an accidental companion piece, Lampedusablew me away at the Soho Theatre back in April this year, hitting a shocking vein of synchronicity as news of boatloads of refugees dying in the Mediterranean suddenly dominated the front pages. HighTide’s production of Anders Lustgarten’s play will be returning to the Soho at the end of the month but you can listen to an adaptation of it now on the Guardian website or download it as an mp3 and partake of it at your leisure. Again, it is often brutal but remains a powerful piece of theatre that speaks so much to our current time.
I’m not normally one for doing preview pieces but for this show, I’m making the exception. Douglas Rintoul’s Elegywas one of the best shows I saw in 2012, making my top 25 for the year and inspiring a rather rapturous review. So I was glad to hear that a) it has had a successful time of it since then, winning an RNT Foundation Playwright Award and touring internationally (indeed the show is currently enjoying a critically acclaimed Spanish language run in Madrid) and b) it is returning to the UK for dates here in London and in Brighton.
This one-man-show is brilliant but brutal, a searing insight into the LGBT refugee experience as a gay Iraqi man is forced on the run when the ‘liberation’ of the post-Saddam regime takes a decidedly more conservative turn, It’s the type of subject that one sadly imagines will never not be resonant somewhere somehow and with the rise of Islamic State in the Middle East, certainly now more than ever. Adam Best will be taking on the unnamed role and Rintoul directs in what will be one of the more haunting productions you’ll see all year long. Continue reading “Preview: Elegy at the VAULT Festival and Brighton’s Pink Fringe”
In Douglas Rintoul’s devised monologue Elegy, the above is a piece of advice given to an asylum speaker preparing for an interview with the officials who’ll determine whether he will be allowed sanctuary or forced to return to the regime from which he is fleeing. But far from a cynical look at how the refugee system can be exploited, this is a deeply impassioned cri de coeur about the horrific realities of life for the LGBT community in post-liberation Iraq, an exceptionally powerful and haunting piece of theatre.
Based on a number of interviews from the Human Rights Watch and Stonewall, our narrator is an unnamed gay Iraqi who takes us through his personal history of cautiously optimistic though unrequited first love and the discovery of a careful but active gay community, through to the harsh dawn of a new ultra-conservatism which turned onto even the slightest intimation of homosexual behaviour and his ultimate desperate flight from his homeland. Continue reading “Review: Elegy, Theatre503”