Tom Ratcliffe’s Circa feels just too fragmentary and ephemeral at the Old Red Lion Theatre to really convince
“Most people get to be happy with one person. I don’t see why I should have it any different”
I was a big fan of Tom Ratcliffe’s VELVET at the VAULT Festival and so was intrigued to catch this production of his debut play Circa at the Old Red Lion Theatre. But where VELVET taps right into contemporary culture with its gay perspective on the #MeToo era, Circa feels curiously dated.
The play follows the amorous adventures of a gay man at different stages in his life, ostensibly tracking the way in which gay relationships have developed over the decades. It’s a nifty conceit but one which struggles to come to full fruition here, one man’s shags over 30 years not necessarily equating to the evolution of modern gay life. Continue reading “Review: Circa, Old Red Lion Theatre”
“There’s an end of outward preaching now. An end of perfection. There may be a time.”
Between this and Rules for Living, that’s two consecutive openings at the National Theatre that have been written and directed by women. Coincidence that it comes at a moment of regime change, who knows? Those more inclined to actual research might possibly tell you it’s more common you’d think but I doubt it. In any case, it’s pleasing to see Caryl Churchill getting a major production of one of her lesser-performed works at the hands of the talented Lyndsey Turner, who will soon be turning her hand to Benedict Cumberbatch’s Hamlet.
And it is an ambitious mark she has made here with Light Shining in Buckinghamshire, exploding the original six-strong casting of the show to a company of nearly twenty actors, supported by a community company of forty-odd supernumeraries. She needs the bodies too, to fit around an audacious design feat from Es Devlin which is best experienced with fresh eyes if possible, so no spoilers here. It is an inspired choice though, that both sets the scene perfectly for this world of political debate but also deconstructs meaningfully as the full scope of that debate becomes increasingly clear. Continue reading “Review: Light Shining in Buckinghamshire, National Theatre”
“You do compete for the good opinion of society, do you not?”
*This review is a bit spoilerific so don’t read on if you don’t want aspects of the play, and others, to be revealed to you*
When people ask me to describe the plot of a play, I almost always end it with “…and then the aliens arrive” because that’s the way my mind works and generally speaking, it’s a safe assumption that the playwright won’t have gone there. So imagine my surprise when they actually arrived in the second act of Salad Days, it was like all my Christmases at once and because of the daffy silliness of the whole shebang, it was able to pull it off. Working in similarly offbeat surprises into straight drama is perhaps a more difficult job though and one which arguably has to work harder to make a success of it.
The scope of Bruce Norris’ new play The Low Road would seem to preclude the need for such an approach. A sprawlingly epic trawl through the growth of our (western) economic system told through the fable-like tale of Jim, an entrepreneurial young man roaming through an 18th century America whose single-minded financial knowledge and ambition prefigures the capitalist mind-set that is so familiar to us today. A post-interval modern-day interlude draws explicit parallels and connections between the actions and attitudes of now and then to reinforce its main thesis about the triumph of individualism. Oh, and there’s an epilogue. Continue reading “Review: The Low Road, Royal Court”
“I remember a time when opinion and imagination were on nodding terms”
Pieces of Vincent is a new play from David Watson receiving its world premiere at Dalston’s Arcola Theatre. Vincent is a young man adrift in the world, looking for an ex-girlfriend and solace in London, he finds himself in the wrong place at the wrong time and his life changes forever. The play takes us through how this affects a large cast of characters, from County Down to Birmingham to various parts of London, as we slowly see the impact he had and get closer to the truth of what has happened.
Es Devlin’s innovative approach to the design of this show has resulted in an unusual seating arrangement. The audience sit on cushions the floor in the middle of the theatre and the action takes place all around us, as film images are played, often in a highly effective 360° manner. Three of the sides have sets behind the gauzy screens and one has a blank wall onto to which a range of locations are effectively projected. Continue reading “Review: Pieces of Vincent, Arcola”