Despite a cracking design, White Pearl doesn’t convince as an effective play at the Royal Court
“It’s just a fun ad. Now the whole world is going crazy”
On the one hand, there’s lots to appreciate about White Pearl, a play about Asian women, written and directed by women of Asian descent and starring them too. Its foregrounding of non-native English voices, subject matter so atypical for the UK, its very programming on a major London stage – this is important stuff.
On the other, it’s not a fantastic piece of writing and as significant as its presence here is – something which should not be left unremarked – nothing is gained by not being frank. Anchuli Felicia King’s play straddles the world of satire and comedy but ultimately satisfies as neither and there’s a reliance on some troubling dramatic tropes. Continue reading “Review: White Pearl, Royal Court”
“Be the change you want to see in this world”
As we get closer to the end of the weekly rep season, I’d love to be able to say that the over-arching conceit of the whole affair has been revealed in a moment of stunning clarity, but instead it just trundles on as a bold experiment which has had just as many misses as it has had hits. Play number five – Nikole Beckwith’s Untitled Matriarch Play (or Seven Sisters) – was closer to the former than the latter for me – a decent concept but one besmirched by an over-extended, over-worked stab at something interesting that rarely comes off.
The play begins in Nowheresville USA with Siobhan Redmond’s Lorraine gathering her ageing mother and her four-strong brood of daughters to reveal that she is going to have another baby, and this time it will be a boy. This comes as something of a surprise as Lorraine is 54, so she is employing a surrogate in the form of Angela Terence’s Sera, but her decision awakens a whole host of dissatisfactions in these women as the situation highlights the frustrations they all hold. Continue reading “Review: Untitled Matriarch Play (Or Seven Sisters), Royal Court”
“Shit that went wrong right wrong (again)”
Spin number three on the Royal Court’s weekly rep wheel focuses on a new British writer Suhayla El-Bushra. Much of her previous work has been teen-focused, including Hollyoaks, and so it is little surprise that her play Pigeons centres on two childhood friends as they make the difficult transition into manhood in a world that dreams of multiculturalism. Through the haze of casual drug use, furtive blow-jobs under the counter, bunking off schools and listening to some bangin’ choons, Ashley and Amir find their lives inexorably pulled apart on different paths yet fatefully destined to clash together again.
El-Bushra has fractured her timeline so that her play starts at the end and then moves back and forth in time to show the boys in the various stages of their relationship. A product of the care home system, Ashley loves playing the Sarf London wideboy with Ryan Sampson affecting some wonderfully vivid street speak, but he finds a kind of contentment in Amir’s family home. And along with Nav Sidhu’s Amir, they both enjoy the teenage rites of passage – Angela Terence’s Leah delivering their sexual awakenings – and the journey into something darker as the spectre of racial prejudice rears its ugly head. Continue reading “Review: Pigeons, Royal Court”
“Do you know what is going on in Georgia?”
In a bold move as her opening salvo as incoming Artistic Director of the Royal Court, Vicky Featherstone has reimagined the way in which theatre is consumed in this venue with a range of innovative approaches suggested by a group of over 140 writers. The biggest of these is probably the Weekly Rep, a company of 14 actors and 4 directors performing 6 plays by new writers over 6 weeks, which started tonight with Georgian playwright Lasha Bugadze’s The President Has Come To See You, previously seen here as a rehearsed reading earlier in the year.
Knowing my all-or-nothing tendencies, I had hoped that the ensemble would be full of actors I did not care for so that I’d be able to resist booking, but it was not to be with the likes of a re-bearded Ferdy Roberts, Ryan Sampson, Laura Elphinstone and Siobhan Redmond luring me to Sloane Square, even though the prospect of the play itself did not really appeal. And it was that inner voice nagging away that I ought to have paid more attention to, as the bizarre twists and turns of this post-Soviet surrealist adventure left me cold. Continue reading “Review: The President Has Come To See You, Royal Court”