“The more I’ve explained, the deeper the uncertainty becomes”
Last year it was the turn of David Hare to get a retrospective season in Sheffield celebrating his work, but 2012 sees the Crucible et al honouring Michael Frayn. The Old Vic’s revival of his farce Noises Off has been an immense success in London, but Frayn is also known for his weightier fare and that is what this season is focusing on, featuring productions of Benefactors, Democracy, and Copenhagen – in a remarkably short run that I was lucky to make.
The play is a three-hander that is centred around the 1941 real-life meeting between Werner Heisenberg and Niels Bohr and his wife at their home in Nazi-occupied Copenhagen. Both were scientists involved in the field of nuclear physics but the content of their meeting remains a mystery, though the implication is that Heisenberg’s development of nuclear weapons for the Nazi regime may have been high on the agenda. Frayn expands and expounds on this in the most esoteric and complex of ways, folding in huge issues of philosophy, morality, history, memory, love and quantum physics. Continue reading “Review: Copenhagen, Lyceum”
is part of the Royal Court’s Rough Cuts season, where works-in-progress and experimental pieces are performed in front of audiences as part of their development. Three plays were performed as rehearsed readings which were Permafrost
by Brad Birch, Buried
by Alia Bano and Hard Gravity
by DC Jackson. This is just a quick recap of the plays for my reference really, as these aren’t being presented as things to review.
Brad Birch’s Royal Court debut, Permafrost, is a meditation on the grieving process set in a Northern town, charting the growing relationship between widowed Mary and Michael, a factory colleague of the deceased man, as she seeks a solace that he can’t quite provide and edging closer to a more meaningful connection as she seeks to maintain the link between them. James Macdonald directed this, stepping in at the last minute as Sam Taylor Wood had to withdraw due to prior commitments which was a shame as it would have been really interesting to see where she was thinking of taking the piece. Continue reading “Not-a-review: Rough Cuts – Court Shorts, Royal Court”
“This room is significantly different because you’re in it”
And boy is it different! The first thing that strikes you as you enter the Cottesloe for Earthquakes in London is not the light jazz elevator music, but the complete reconfiguration of the auditorium inside. An inverted S-shaped catwalk-stage dominates, with bar stools either side for the audience, two raised letterbox stages at either end and a DJ in the corner.
A new play from the pen of Mike Bartlett (he of Cock and also Bull) and a co-production with Rupert Goold’s Headlong company. With a timeline switching around from 1968 to 2525 (though predominantly in the present day), it deals with the threat of climate change and impending planetary collapse by looking at the impact on a family of three sisters each with their own issues and the same estranged father. Continue reading “Review: Earthquakes in London, National Theatre”
“People should just shoot themselves at 17. Everything after is a disappointment.”
Written by Ferdinand Bruckner, the alias of the German Theodor Tagger, in 1929, Pains of Youth enters the rep at the Cottesloe Theatre and is the latest play to be directed at the NT by Katie Mitchell, known for her interpretative style and creative use of multimedia techniques, but only the former is in evidence here. It is presented in a new version by Martin Crimp, thereby renewing the creative partnership with Mitchell which has seen recent productions of works like The Seagull and Attempts on her Life, both also at the NT.
It is described as shocking and erotically-charged, which instantly means that it is neither of these things. Set in a Viennese boarding-house in 1923, a group of medical students negotiate the trials and tribulations of their sexually entangled lives, against the backdrop of the recently ended First World War. With an ever-revolving carousel of relationships and interactions, all are struggling to escape the disillusionment of their existence, but choose wildly different paths in order to achieve this. Continue reading “Review: Pains of Youth, National”