“I just called to say I…”
And so Secret Theatre continues, on their fifth production now which has been devised by themselves and has a shorter run than usual as it will apparently be going to Edinburgh. So press reviews have been scrapped for this one, which may also have been motivated by the devised nature of the show, something which the UK mainstream critics automatically seem to react against. That said, I wasn’t much of a fan at all of A Series of Increasingly Impossible Acts and its highly experimental structure.
Running time: 70 minutes (without interval)
Booking until 22nd May then going to Edinburgh
“You clandestine peasant.
‘You curdled cock’”
Much of the buzz about Secret Theatre was the fact that audiences are kept in the dark about what it is they are booking for, placing their trust in the hands of an adventurous company looking to shake up the way theatre is created and commodified in this country. It makes for an entertaining evening, especially at the start as one waits to find out where in the theatre we’re going to be, and what delights are in store.
As it was, I got to the end of Show 4 without having worked out much to be honest. The post-show information told me it was a play named Glitterland, an adaptation of John Webster’s The White Devil by Hayley Squires but not being a play I am familiar with, that proved of little assistance. In a densely woven plot, the striking aesthetic of the company – directed here by Ellen McDougall – takes you a long way but not quite far enough into a satisfying dramatic experience. Continue reading “Review: Secret Theatre 4, Lyric Hammersmith”
“Your last meal – what would it be?”
Where shows #1 and #2 of the Lyric Hammersmith’s Secret Theatre season maintained complete radio silence about their content (even if certain critics weren’t able to hold off revealing titles at the interval…), it seems that the efforts of keeping things mysterious have gotten a little too much. Secrets are still thrillingly in store for other aspects of the show but clues are being offered for #3 right up front on the website, strongly hinting that the death penalty is something to do with the production.
And so it proves, Caroline Bird’s new play Chamber Piece is an unremittingly dark piece of writing, set in a near-future where capital punishment has been reintroduced to Britain. But Bird wants to look at what happens when it goes wrong, as we witness an execution that doesn’t follow through and the ethical and practical mess that emerges in the aftermath. Can the state try again to kill someone for whom they have a death warrant? Should they? Continue reading “Review: Secret Theatre 3, Lyric Hammersmith”
“You must think us a right rough bunch of people”
How long can you keep a secret? How long should you keep a secret? As it turns out, critics were tweeting the title of the Lyric Hammersmith’s ‘Secret Theatre Show 2’ as soon as they could get their phones on in the interval, unleashing a flurry of outraged blogs and tweets which argued both sides of the toss – it was either like Christmas being ruined or one of the least important parts of the whole experience. That experience is Secret Theatre, an ambitious 8 month programme launched by the Lyric’s Sean Holmes which has pulled together an ensemble of 20 creatives who will produce 7 shows over the period. But the key is that the titles are kept from us, no programmes are for sale on arrival and so technically you take your place in the auditorium, which is mid-renovation, not knowing what the curtain will rise upon.
A quick scoot around the internet will reveal the titles of Secret Theatre Show 1 and Secret Theatre Show 2 which have now opened but in the spirit of the whole affair – after all as we leave, we are urged “Shhh. Keep the secret…” – this review won’t spill the beans too much. We live in a spoiler-saturated society now when it comes to much of our popular culture and so whilst it may not be to everyone’s taste, the unique thrill of knowing nothing in advance is one to savour. It also leads to the intriguing question of when recognition of what play is being performed will come, indeed if at all for it could be a piece of new writing, experienced theatregoers should be fine but new audiences have the opportunity to possibly experience some of the greatest writing of last century as if it were a brand new play and that is what is genuinely exciting about this enterprise. Continue reading “Review: Secret Theatre Show 1 and Secret Theatre Show 2, Lyric Hammersmith”