The latest venue to announce the opening of their digital archive in order to satisfy our theatrical cravings is the Hampstead Theatre who, in partnership with The Guardian will re-release the live stream recordings of Mike Bartlett’s Wild, Beth Steel’s Wonderland and Howard Brenton’s Drawing the Line for free.
Available to watch on theguardian.com and hampsteadtheatre.com, the three productions will be made available, on demand, over three consecutive weeks as part of the theatre’s #HampsteadTheatreAtHome series and the first of these – Wild – is available now. And once you’ve watched it, take a look at the ways you can support the Hampstead Theatre here. Continue reading “News: #HampsteadTheatreAtHome launches this week”
“I wasted time, and now doth time waste me!
Well I didn’t really waste time, I just prioritised. Over the many ways in which Shakespeare’s 400th death anniversary was celebrated and fitting in something of a social life, the Globe’s Complete Walk – specially commissioned bitesize films of each of his 37 plays – just felt like a step too far, plus there was always the assumption (or should that be presumption) that the films would resurface in a more accessible way. And so it seems to be coming to pass, with three of them now available on the BBC’s iPlayer.
My favourite of these three was Antony & Cleopatra Starting with a plethora of snippets from both Rome and Egypt from Jonathan Munby’s 2014 production starring Eve Best and Clive Wood, leading up to a stunning adaptation of Cleopatra and Iras’ final moments filmed at the Red Pyramid at Dahshur in Egypt. Beautifully shot with real restraint from Mark Rosenblatt and gorgeously spoken by Eleanor Matsuura and Katy Stephens respectively, the superb musical accompaniment written and performed by Norwegian violinist Bjarte Eike with his baroque ensemble Barokksolistene combine to spine-tingling effect.
Another film to combine Globe productions with the new was Richard II
, Bill Buckhurst getting to film inside Westminster Hall at the Houses of Parliament for its added piquancy. There we find uber-present James Norton’s monarch surrendering his crown to Dominic Rowan’s Bolingbroke, spliced with Simon Godwin’s 2015 production at the Globe
with Frederick Neilson and Charles Edwards as the monarch at the beginning and end of his reign. I could watch Norton and Rowan for days, this only faded a little in comparison with the wonders from the Pyramids.
Oddly enough, the most formally interesting of the trio – Hamlet – was the one that stirred me the least. Though filmed at the Danish castle at Kronborg, Elsinore itself, the location didn’t actually bring too much to the table for me. And the format from Dominic Dromgoole, passages from the play fragmented into 4 voices, didn’t spark as much as I thought it would, even though those voices belonged to Michelle Terry, Alex Jennings, Nikesh Patel, and Ashley Zhangazha.
“When blood is spilt, disputes between people, nations, religions become all but impossible to solve”
A complete Brucie bonus to start off the year was the unexpected announcement that Howard Brenton’s new play Drawing the Line – a sell-out success at the Hampstead – would have its final performance live-streamed on t’internet. I hadn’t booked for the show as something had to give over Christmas and New Year and so the chance to catch up with it for free, albeit on the screen of my laptop, was one I was glad to take.
The play is set in the final days of the empire, as the British are beating a hasty retreat from the subcontinent but are determined to partition the land, and its diverse people, into India and Pakistan. The job of, quite literally, drawing the line falls to archetypal Englishman and judge Cyril Radcliffe who is shipped off to somewhere he has never been before, to accomplish what turns out to be a fiendishly complex assignment. Continue reading “Review: Drawing the Line, Hampstead via livestreaming”
“Gar firdaus bar roo-e zameen ast, Hameen ast-o hameen ast-o hameen ast”
Interesting art can transcend basic notions of comprehension, cutting deep to a visceral place of goosebumps and adrenalin rushes that crosses linguistic barriers, just listening to this recital of a piece of Sufi poetry moves me in an unexpectedly extraordinary way even after repeated listens. The above quote of another piece also by poet Amir Khusro (If there is a paradise on earth, it is here, it is here, it is here) which prefaces Abhishek Majumdar’s complex Kashmir-set play The Djinns of Eidgah which provoked a similar reaction in me upstairs at the Royal Court.
Not that the play isn’t in English, but rather its reach is ambitiously grand and encompasses subjects that I would be a fool to profess any substantial knowledge of. Through the trials of young Kashmiri orphans Ashrafi and Bilal, Majumdar’s writing explores the state of being ‘inbetween’ – whether in the brutal, and ongoing, realities of being torn between India and Pakistan; or in the fable-like hinterland between life and death, explored through the Central Asian oral history tradition of dastaan and the legends of Amir Hamza. Reality and fantasy are intermingled, politics and people dissected, both head and heart engaged to create a melancholic minor masterpiece. Continue reading “Review: The Djinns of Eidgah, Royal Court”
“What you do in your cubicle is of utmost importance to the world economy”
Currently playing upstairs at the Royal Court is Disconnect by Anupama Chandrasekhar. It follows a team of 3 call centre operatives in Chennai, India as they chase debtors in Illinois, USA in the vain hope of meeting their sky-high targets. They take on American identities to try and collect credit card payments from unwilling debtors, but harassed by their new supervisor, himself suffering from a demotion, they are forced to play more by the rules, resulting in poorer performances, in turn forcing severe consequences for the team.
It’s clever, fast-paced, comic and very much of our time. It juxtaposes the role played by the developing world in picking up the pieces of the global recession, of course mainly caused by the Western world, with the continued aspiration for this way of life, despite it being exposed as unsustainable on a constant basis with every call that is made. But it is also an office drama, and its strength lie here in the depictions of the highly-competitive, target-driven environment in which camaraderies are forged and dreams chased. Continue reading “Review: Disconnect, Royal Court”