“Memories fade. Memories contort and change”
First seen last year at the Royal Exchange in Manchester and Leeds’ West Yorkshire Playhouse where it was partially cross-cast with a striking reinvention of Anna Karenina, Chris Urch’s The Rolling Stone has kept on rolling down to Richmond where it has now opened at the Orange Tree. And at its helm, Ellen McDougall continues to prove herself one of the more exciting and inventive of a new generation of directors, with a simple but searing production.
The title comes the name of a Kampala newspaper that outed gay Ugandans by publishing their names and addresses and calling for their execution and Urch examines its fallout in the micro-perspective, looking at how it played out for one family. Joe has just become pastor of an Anglican church, under the aegis of the manipulative Mama, but neither are aware that Joe’s younger brother Dembe is happily cavorting with a mixed-race doctor from Northern Ireland called Sam. Continue reading “Review: The Rolling Stone, Orange Tree”
2016 is nearly upon and for once, I’ve hardly anything booked for the coming year and what I do have tickets for, I’m hardly that inspired by (the Garrick season has been ruined by the awfulness of the rear stalls seats, and I only got Harry Potter and the Cursed Child tickets due to FOMO). Not for the first time, I’m intending to see less theatre next year but I do have my eyes on a good few productions in the West End, fringe and beyond. Continue reading “20 shows to look forward to in 2016”
“You tink it normal you wifing some dirty self-proclaimed general in de bush? You tink it normal a boy carrying a gun killing and raping? You tink it okay dere no more schools, no more NOTIN!”
In 2003, Liberia was in the fourth year of its second civil war, the first having only ended in 1997 with cumulative casualties estimated to have reached over half a million. It is the context of this situation that Danai Gurira’s play Eclipsed visits four young women sequestered on a rebel army base as the wives of the resident C.O. and explores the choices that they’ve been forced to make in order to survive. The intimacy of the Gate naturally lends itself to intense theatrical experiences but Caroline Byrne’s production here captures something equal parts raw and refreshing in both its uncompromisingly Liberian-accented subject and its forthright sincerity.
It’s refreshing because the Zimbabwean-American Gurira’s writing stems from an innate desire to understand character and even though the four women have been reduced to naming each other in the order they were ‘betrothed’ to the unseen general, they’re all written beautifully. As the dominant mother figure, No 1 runs as tightly regimented a ship as the man who no longer sexually desires her, No 2 took the only escape route available, joining the ranks of the soldiers leaving No 3 to bear the brunt of the amorous intentions, leaving her pregnant. The arrival of a frightened No 4 forces a change in the group’s dynamics though, as each woman struggles to assert their position. Continue reading “Review: Eclipsed, Gate”
I realise I’m just adding (belatedly) to the plethora of 2015 features already published but so many of them trod the boringly familiar ground of forthcoming West End shows (and in the Evening Standard’s case, managed to recommend booking for three shows already sold out from their list of six). So I’ve cast my net a little wider and chosen a few random categories for just some of the shows I’m recommending and looking forward to in 2015.
The Theatre Uncut initiative was set up in 2010 as a response to the proposed government cuts in arts spending as it invited a number of playwrights to write short plays which would then be available to download and perform “rights-free in a week of mass theatrical action”. An impressive array of writers – Neil LaBute, Mark Ravenhill, Lucy Kirkwood – have gotten involved across the past few years and one of this year’s best new plays – Clara Brennan’s Spine – started life in this format in 2012.
Devised as a way of creating a rapid response to current political concerns, this year’s theme has coalesced around the provovation ‘Knowledge is Power, Knowledge is Change’ and the five writers collaboratively involved are Anders Lustgarten, Clara Brennan, Inua Ellams, Vivienne Franzmann and Hayley Squires. And a motley crew they make up, punching hard with a raw energy that is variable and visceral and vocal and vibrant. Continue reading “Review: Theatre Uncut 2014, Soho Theatre”