“We don’t do cupboards anymore.
We don’t do order”
Taylor Mac’s Hir comes loaded with worlds of contemporary resonances, particularly in its exploration of the disaffection of the American working class and its probing into multiple layers of gender politics. And in this blackest of black comedies, getting its UK premiere at the Bush, it is – initially at least – vigorously, startlingly effective as an reinvention of the archetypal dysfunctional family drama.
We open with Isaac’s return to his small-town California home having been dishonourably discharged from the Marines. Working in the mortuary during a tour of Afghanistan has shattered him but he soon finds the home comforts he’s been dreaming of remain as far away as ever. His father has had a stroke, his mother is enacting vicious revenge on him for their abusive relationship by shattering the patriarchal order in the household, and he also discovers that his sibling is transitioning. Not quite the welcome home he was expecting. Continue reading “Review: Hir, Bush”
Over in Canary Wharf, The Space Theatre might not necessarily be one that is on the radar of many London theatregoers but the announcement of their summer season ought to tempt the theatrically curious out East as it is full of goodies, not least a revival of Mike Bartlett’s excellent Contractions.
Find a selection of some of productions that have caught my eye below
Continue reading “Round-up of news and treats and other interesting things”
“The piece is supposed to be a complete picture of who Teddy was, right?”
You can almost feel the checklist of issues ready to be ticked off as we go through Christopher Shinn’s gay student play Teddy Ferrara and its dramatis personae – the president of the Queer Students group, the campaigning journalist, the faux-liberal authority figure, the one in the wheelchair, the transgender one, the hot, maybe closeted straight guy… And sure enough, each issue gets its moment in the spotlight, the show being faithfully representational to the last.
But issues alone do not a good play make. And though Dominic Cooke’s production for the Donmar looks good and is powerfully acted, it never truly engages the emotions, it never converts those issues into believably human stories. Which is particularly pertinent as the main inspiration for Shinn was the real-life case of Taylor Clementi, a student who took his own life after his college roommate broadcast webcam footage of him kissing another man. Continue reading “Review: Teddy Ferrara, Donmar Warehouse”