The Other Room’s The Story and Hela make a delightful and daring double bill of Welsh drama at Theatre503
“Do’s dim hawl ’da ti adael,
You don’t get to leave,
Do’s dim hawl ’da ti anghofio pwy wyt ti
You don’t get to forget who you really are”
A brilliant idea this – Cardiff’s OG pub theatre The Other Room has gathered up the three plays that made up their recent The Violence Series and sent them out on tour. They’re mainly visiting Welsh venues but there’s also a stop at Theatre503, allowing London audiences a highly tempting taster of the quality of work available at the other end of the M4.
I caught two of the three – The Story and Hela being presented in a double bill, Matthew Bulgo’s American Nightmare making up the set of dystopian dramas. That said, you have to wonder at what point we stop calling it dystopia and simply call it tomorrow, a pressing sense of disturbing resonance and relevance that is particularly brought out in Tess Berry-Hart’s The Story. Continue reading “Review: The Story / Hela, Theatre503”
“Say what you like but there’s been a crime committed. More than one I should say–”
As Helen McCrory scorches the earth beneath her with a transcendental take on Hester Collyer, the lead part in Terence Rattigan’s The Deep Blue Sea, the time felt right to then take in Mike Poulton’s Kenny Morgan. In this play, Poulton draws back the veil that society demanded Rattigan draw over his intended original subject, dramatising the real events that inspired the deep tragedy of his writing.
For Rattigan drew directly from his own life – a ten year relationship with a man named Kenny Morgan ended due to his lover’s depression and as he ricocheted into a destructive new relationship, Rattigan had to look on helplessly as Morgan spiralled ever deeper into tragedy. At a time when both suicide and homosexuality were illegal, it is no wonder the playwright opted to code The Deep Blue Sea. Continue reading “Review: Kenny Morgan, Arcola”
“If rock and rolling means perforating your testes, then I’ll stick to just playing guitar thank you very much”
Between recent plays on Wikileaks and Scottish independence at this year’s Edinburgh festival, Welsh playwright Tim Price has shown himself to be utterly unafraid of tackling some of the more pressing topical subjects of our time. The well-received Radicalisation of Bradley Manning has finished for now but I’m With The Band has transferred to the St James Theatre for a two week run. Four piece indie-rock band The Union are riding high on critical and commercial success but a devastating piece of news about their finances leaves them millions in the red and prompts the departure of their lead guitarist Barry. With the original structure broken, the remaining members have to recalibrate and decide what, if any, future remains.
That the key creative relationship in the band is between the Caledonian Barry and the English keyboard player Damien adds piquancy, setting up this allegorical study of what the effects of Scottish independence might be. But he cleverly expands the picture to include Welsh bassist Gruff and Ulsterman Aaron on drums, who has an additional tortured relationship with Irish girlfriend Sinead with whom he shares a house which is divided by a chalk line they never cross, reminding us all that though the focus may be nearly exclusively Anglo-Scottish, there are two more countries involved in the wider question of separation. Continue reading “Review: I’m With The Band, St James Theatre”