“He was like a real-life Morgan Freeman”
Though it might not necessarily seem like it, I do sometimes miss plays – David Ireland’s Cyprus Avenue being one such example from last year, a rare moment of me deciding that I didn’t want to see it (only partly because I’d pretty much had the shock aspect of it ruined). Ireland is now being acclaimed as “Northern Ireland’s boldest contemporary writer” though and so the Finborough have opted to revive his earlier play Everything Between Us in their Sunday/Monday/Tuesday slot.
After decades of conflict, both politically in terms of Ulster as a nation and personally for sisters Sandra and Teeni Richardson who haven’t spoken in a good few years, the notion of truth and reconciliation seems a noble if unlikely one. But as the Truth and Reconciliation Commission for Northern Ireland sets up shop in Stormont with politician Sandra representing her Protestant brethren, Teeni comes crashing back in her sister’s life to force negotiations on that level too. Continue reading “Review: Everything Between Us, Finborough”
“Tell me ma…something…somebody”
I’ve not had the opportunity to see Sophie Treadwell’s Expressionistic classic Machinal so when a Guildhall School production appeared on my radar, I seized the chance. Seeing drama school shows also provides that elusive chance of seeing stars in the making – a production of The Last Five Years I caught here in 2010 featured the fresh young faces of Freddie Fox and Lily James. Treadwell’s 1928 play though has an extraordinary power in its searing exploration of a woman’s struggle against accepted notions about marriage and motherhood in a society defined by men and in Edward Dick’s staging here with 18 members of the final year actors, the narrative expands to encompass women’s experiences more generally.
Each taking their turn to don a distinctive red curly wig to take on the role of Young Woman in the nine scenes of the play, Amber James, Elaine Fellows, Rebecca Lee, Katrina McKeever, Emma Naomi, Marina Bye, Alice Winslow, Emily-Céline Thomson and Charlie Bate all made their own impressions in their own way on this character inspired by Ruth Snyder, a US housewife convicted and executed for the murder of her husband. Amber James’ anguish at the end of the day in the stenographer’s office, Alice Winslow’s downtrodden wife and Emily-Céline Thomson’s crumbling defendant stood out for me but what was impressive was the way in which the performances of the nine actors managed cohere into a powerful single entity whilst still differentiating themselves. Continue reading “Review: Machinal, Guildhall”