Don't bother, they're here
“You have told me every story I’ve ever heard”
I still can’t work out what I want to say about Fairview, a show that by its very nature demands that you don’t give anything away about it (even though saying this itself feels like a heightening of expectation you could do without).
So why not read this piece from Gal-dem instead.
“I don’t have drama.
‘Girl you got drama. I got drama'”
I’m opting out of writing about Fairview, for now, for a number of reasons, most of which will become apparent when you see the show. And you should really see this show, Jackie Sibblies Drury’s drama is a Christmas gift of a different sort, destined to make you really think and really want to debate the issues it raises. I’ll be back, and I’ll be considering the right way to respond, if at all. Until then, get booking.
“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”
Continue reading “Round-up of news and treats and other interesting things”
“So thanks to you, some dork meets a girl, not much of a Christmas story…”
On the sixth day of Christmas, Black Mirror also gave to me…only bloody Jon Hamm!
Well this was a White Christmas but necessarily like the ones you used to know. Black Mirror’s 2014 Christmas special saw writer Charlie Brooker go feature length and director Carl Tibbetts get crazy fortuitous as Jon Hamm just declared his love for the series and his interest in appearing in it one way or another, the result being this interlinked triptych of stories, combining as ever to chilling effect.
Hamm plays Matt, a man working in some unspecified remote location and sharing a cabin with Rafe Spall’s Joe. They’ve been living together for five years without really communicating but this particular morning, Joe wakes up to Matt making Christmas dinner, determined to get the story of how he ended up in this isolated place. And sure enough, it is a tale of human exploitation of technological advancement. Continue reading “12 Days of Christmas – Black Mirror Christmas”
“It’s because you love him too much”
So a slightly odd position to be in, as we saw Harry Potter and the Cursed Child Parts 1 and 2 nearly 7 weeks ago at their first previews. And with the #keepthesecrets campaign already in full force then, I didn’t write up a review, opting instead for this preview of sorts. And even now, I’m loathe to write too much about it, for it really is the kind of play, and production, that benefits from the multiple elements of surprise contained within.
And it really is packed full of them, from all aspects. Based on an original new story by JK Rowling, Jack Thorne and John Tiffany, Thorne’s play revels in the richness and full depth of the Harry Potter universe to the point where the named cast are described as playing “roles include…” so as not to spoil what’s to come. This does have the knock-on effect of making this a play not really suitable for newcomers but I can’t imagine too many of them will have booked! Continue reading “Review: Harry Potter and the Cursed Child, Palace – totes spoiler free!”
“How is that even possible?!”
Well it’s finally here, Harry Potter and the Cursed Child Parts 1 and 2 have landed at the Palace Theatre in a blaze of insane publicity and media coverage desperate for a touch of that JK Rowling magic to drive web traffic. In some ways, I’m no different (hence this post!) but in one crucial way I do have the advantage – I’m one of the lucky audience members who has now seen both shows, along with the one and only scene-stealing appearance of Sprocket the owl.
It’s no secret that Rowling is asking people to #KeepTheSecrets and there’s always an interesting tension about whether or not one should observe an embargo when you’ve paid for your ticket (a whole £10 per show too, we weren’t going crazy!). So for now, I’m leaving you with this little collection of teasers about some of my favourite things from the show and be warned, they do increase in mild spoilerishness (mostly about staging, the final E is the one to avoid if you’re not sure…forgive me JK!). Continue reading “Preview: Harry Potter and the Cursed Child, Palace”
“Where are you from?
No, where you from?
Where are you really from?”
Live Lunch is an intermittent series at the Royal Court which acts as a showcase for writers both new and established to delve into under-explored areas of drama. In this instance, a group of playwrights were commissioned to create short plays with British East Asian experiences at the heart of their stories and the result is Hidden, six dramas “exploding myths, questioning types and discovering hidden narratives” of a section of the population who are chronically under-represented in British cultural life. Directed by Lucy Morrison, a company of eight actors gave two lunchtime readings of the programme.
There’s something rather awe-inspiring about the rehearsed reading format. With barely three hours of rehearsal for each piece and scripts in hand, there’s a rawness to the performance level which enhances it somewhat, the occasional stumble over words giving some of the texts a believably natural feel. And seeing the speed with which the actors traverse grand emotions as they flick from play to play is truly admirable, Lourdes Faberes particularly impressing in casting off a tear-soaked character to move swiftly to the studied enigma of the next. Continue reading “Review: Hidden, Royal Court”
“This is not that sort of publication”
I’m rarely lost for an opinion, but I am struggling to decide what I really thought of Lucy Kirkwood’s new play for the Royal Court, the search-term-baiting NSFW (not safe for work). In its 80 minutes, it rips through the way in which magazine industry portrays its images of women from two wildly differing perspectives, both equally entertaining but troubling. But after the attitudes from both ends of the spectrum are laid bare in all their misogynistic glory, the play ends rather than delving deeper into the world that allows this to happen.
The journey there is interesting and insightful, even if I didn’t find it quite as funny as some of those around me (it is actually billed as a “timely new comedy”). In the garishly decorated offices of weekly lad’s mag Doghouse, a huge topless picture of Carrie – their Local Lovely 2012 – is given pride of place to celebrate an upturn in circulation. The mood quickly sinks though as it emerges that Carrie is just 14 and is unaware that her photo was submitted by her boyfriend and a serious damage limitation exercise is instituted. Continue reading “Review: NSFW, Royal Court”
“I looked into her big big eyes. And found one hundred moons in amongst the blue.”
Set over a hot summer’s day in Stoke Newington, Many Moons is Alice Birch’s debut play showing at the Theatre503 in Battersea. Following four people whose isolated metropolitan existences circle round each other, their stories threatening to collide in the scorching heat of a village fête in Abney Park with potentially devastating effects. Birch is a graduate of new writing schemes at both the National and the Royal Court and with her first full-length production marks herself out as a talent to watch with a highly witty yet poetic play of great maturity and dramatic intrigue.
Edward Franklin’s nervy, nerdy Ollie is a bundle of barely-socialised but still endearing energy as a young man trying to break free from a life of dull Oxford academia and dark matter to try and find something new in London. In the flat next door, Esther Smith’s effervescent Juniper is an irrepressible perma-smiling ball of positivity, newly moved down from the Midlands and unshakeably sure that love and life have great things in store for her. Jonathan Newth’s Robert is preoccupied with caring for his Parkinson’s-suffering wife but he still has deep desires of his own. And in a house across the road, Esther Hall’s heavily-pregnant and unhappily-married Meg is wrestling with her feelings of unfulfilment and channelling her time and energies into dealing with a world of suspicions. Continue reading “Review: Many Moons, Theatre503”