“If I were a man you’d call me rogue; let us do with whore, liar, thief, cunt”
Over the past few years where he may or may not have been studying sculpture at Saint Martin’s College, Northampton-born playwright DC Moore has been putting together a résumé of quietly impressive work – exploring aspects of contemporary masculinity in insightful plays such as the excellent Straight and under-rated monologue Honest, or opening up his focus to the war in Afghanistan in The Empire and family dramas in The Swan. So news that he was making his main-stage debut at the National Theatre with Common, in a co-production with Headlong and starring no less than Anne-Marie Duff and Cush Jumbo, was bright news indeed.
But whilst I thought I wanted to do what other common people do, Moore has taken a completely different tack here. Common delves into the under-explored history of rural England in 1809 as the social and economic changes heralded by the Industrial Revolution begin to filter through the country. More crucially, his acute ear for sharply observed dialogue has been smothered by the invention of a fruitily rich mode of language full of compound words – described charitably by Jumbo as “a mixture of Shakespeare, Harry Potter and some kind of Angelina Jolie movie”. Continue reading “Review: Common, National”
The first show of this year was something fantastic
Or was it? Can you tell I’m being sarcastic
A satire on satyrs is quite an objective
Was all Greek to me though and far from effective
Moving from Egypt to Greece and then London
The piece shifts from ancient times right through to modern
Written by a man named Tony Harrison
It sure is a play without comparison Continue reading “Review: The Trackers of Oxyrhynchus, Finborough”
“Listen: things will be different after the play comes on – completely different… Only a few more weeks, Francie, and you’ll see. Your whole life will change. I promise you it will”
Managed to sneak into After October at the Finborough in its final week due to several people raving about it and glad I did, for it was a Christmas cracker. Rodney Ackland’s Before The Party was an under-rated triumph at the Almeida a few years ago so I don’t know why I didn’t book in for this earlier on. But pleasing to see it has had such a successful run, a well-deserved airing for an under-served writer and a continuation of the Finborough’s extraordinarily reliable track record of unearthing real gems from neglect (this is the first London revival of the play since its debut in 1936).
Running time: 2 hours 40 minutes (with interval)
Booking until 22nd December
Dipping a toe into the waters of Matthew Warchus’ debut season at the Old Vic with Future Conditional
Realising that it wasn’t for me, at all, really quite quickly.