Immersive theatre done right in a completely reconfigured Playhouse, The Jungle is thought-provoking beyond belief
“No one wants to stay here”
Following on from an enormously successful run at the Young Vic last year, The Jungle has made the move to the Playhouse Theatre in one of the unlikeliest but most significant West End transfers in recent history. Joe Robertson and Joe Murphy’s play was born out of their experiences in setting up the Good Chance theatre in the Calais refugee camp that gives it its name and accompanied by an extraordinary (re)design of the space by Miriam Buether, becomes a genuinely unforgettable theatrical experience.
Buether’s design recreates the Afghan restaurant that was part of the camp where audiences can sit at the table (which becomes a thrust stage) surrounded by the heady scent of warming spices and baking bread. It’s a useful reminder that even in the midst of a crisis state, life has to continue and food is an enduring common bond. And this anti-doom-and-gloom approach is symptomatic of The Jungle. No tragedy porn here, but rather a portrait of flawed humanity – people doing good, people screwing up, people just trying their damnedest in face of a shameful international emergency. Continue reading “Review: The Jungle, Playhouse”
#4 in the National Theatre’s Queer Theatre season of rehearsed readings
“I love you… What’s wrong with that?”
Perhaps one of the better known of these plays but still a new one to me, I really wasn’t prepared for the emotional trauma of Martin Sherman’s Bent
whether I was hungover to fuck or not. Harrowing is barely the word to describe this dramatisation of the way in which the Nazis persecuted gay men in Germany before and during World War II and with this reading, directed by Stephen Daldry, taking place on Pride weekend, its impact was all the more emotional.
Russell Tovey (continuing his graduation into a properly fine actor) and George Mackay took on the lovers Max and Rudy, their coming together in the hedonism of Weimar Berlin shattered by the dawning of the Night of the Long Knives, the realisation of just how insidious the Third Reich is, and the astonishing lengths that people will go to in order to protect themselves at the expense of all they hold dear.
Continue reading “Review: Queer Theatre – Bent, National”
2017 marks 50 years since the decriminalisation of homosexuality. The Sexual Offences Act of 1967 was an Act of Parliament that decriminalised homosexual acts in private between two men.
50 years later the lives of queer people are perceived to be very different – equal age of consent, equality law and equal marriage are all heralded as progressive markers in LGBTQIA* equality but has the UK become a queer friendly nation or are homophobic prejudices just as prevalent?
Belonging is a public debate with poncy performance chaired by Scottee. Together with a committee of prominent queers he will explore where queer people sit in our society. A boozy, loose-tongued version of Question Time with less middle aged, middle class white men. Come and mouth off on the eve of London Pride.
Continue reading “Round-up of news and treats and other interesting things – Pride special!”
“I would you were as I would have you be”
Emma Rice’s Summer of Love got off to a slightly sticky start at the Globe with a mystifying take on Romeo and Juliet from Daniel Kramer and as we move onto Twelfth Night, which she is directing herself, there’s a similarly uncompromising attitude in place. For the production reminded me nothing so much as a camp episode of Monarch of the Glen (sadly not Monarch of the Glum) and whilst it is often fun to watch, it’s not always the most effective treatment.
Rice’s iconoclastic approach is there from the get-go – a prologue set onboard the SS Unity before its shipwreck sees the company dancing merrily to Sister Sledge. And once in this decidedly Celtic Illyria, Orsino has a Lionel Richie mullet, Andrew Aguecheek is a would-be b-boy, serenades are played on cassette decks…why we’re in 1979, as good a time as any to explore cross-dressing hijinks of gender exploration. Continue reading “Review: Twelfth Night, Shakespeare’s Globe”
I didn’t care too much for Peter Pan, as the gif below might suggest, so I’m keeping my mouth shut for once.
Running time: 2 hours 40 minutes (with interval)
Booking until 4th February