“When we have found all the mysteries and lost all the meaning, we will be alone on the empty shore”
With London audiences pondering The Hard Question and struggling to find the answer (we’re insufficiently classicly-educated apparently, though the journalist getting the name of the play wrong here is hardly a great start to counter that assertion) fans of Tom Stoppard can also catch his more celebrated play Arcadia in this English Touring Theatre and Theatre Royal Brighton co-production, directed by the ever-interesting Blanche McIntyre. I hesitate to call it a nationwide tour as it doesn’t appear to heading any further north than Birmingham but it is still a healthy enough trek for this pleasingly complex but affecting play.
As is customary with this playwright, it is a play full of weighty ideas – complex mathematics and chaos theory, entropy and existential truths, and takes place in the same country house drawing room in two time periods simultaneously, 1809 and the present day. Along the length of a fine dining table, the past rubs up against the present as the scientific rigour of the intellect goes head to head with the emotional poetry of the soul as Stoppard ultimately explores what it simply means to be human (and also what stirring rice pudding really represents). It is perhaps easy to get caught up in the density of the detail during the play but it would take the hardest of hearts not to be swept up the heart-breaking swing and sway of the final scene. Continue reading “Review: Arcadia, Churchill Theatre Bromley”
“It’s amazing what Parliament will do when they feel guilty”
Charles II: The Power and the Passion was a 2003 BBC miniseries the likes of which I doubt we’ll see again in these times of austerity as it was a sprawlingly lavish costume drama, directed by a young Joe Wright. Covering the life and reign of Charles II, it starts just before his restoration to the throne after the death of Oliver Cromwell and runs right through to his death. Thus as 27 years of history are condensed into 4 hours, liberties and dramatic license is freely taken and this isn’t really the place to be too pernickety about this kind of things.
We follow Charles from his libidinous time in exile on the continent to arriving back in London to be crowned King and to lock horns with Parliament. Charles still believed strongly in the absolute power of the monarchy but the politicians of the day were determined not to surrender any of their new-gained influence and so much struggles ensued as members of his court both grew in influence and fell from favour as everyone jockeys for power and to make sure they’re on the winning side. There is also the matter of the succession as Charles has no legitimate heir, though plenty of illegitimate offspring, and wants his brother named but he is a Catholic. Continue reading “DVD Review: Charles II The Power and the Passion”
“It’s only rich folk can keep theirselves tae theirselves. Folk like us huv tae depend on their neighbours when they’re needin help”
Men Should Weep is a play by Ena Lamont Stewart, voted as one of the top 100 English language plays of the twentieth century but has been very rarely performed. A programme note suggests that it was O H Mavor’s dismissal of her talent that prevented her from developing further as a playwright and stifling her reputation and it was crushingly sad to find out that the real appreciation of her work as a classic and its placing in said poll came too late for her as her memory had gone by then and she passed away in 2006. So this is an important revival in that sense, spearheaded by Artistic Director of the Bush Theatre Josie Rourke’s directorial debut at the National, but in its look at the everyday life of people in poverty, it rings with an ominous political resonance given the news in yesterday’s Comprehensive Spending Review and the effect it will have on the poorest in our society. This was the third preview, so all the usual caveats apply.
Set in the 1930s, the impoverished years of the Great Depression, in the crowded working-class slums of the Gorbals in the East End of Glasgow, it follows one family’s struggle for survival in a tough world. Working mother of seven Maggie is the lynchpin of this family but has to deal with an unemployed husband who won’t demean himself to do any domestic work, the return of a troublesome son and his wife to an already over-crowded home, one child with TB, another longing to fly to family coop and a gaggle of over-bearing friends and neighbours. Continue reading “Review: Men Should Weep, National Theatre”