What happens when whack-a-doodle becomes wearying – find out in Pity at the Royal Court
“What happens next is verging on the ridiculous”
Things start off well at Rory Mullarkey’s Pity. We’re directed to the rear of the Royal Court, enter through the back and get to walk over the stage with tombolas, ice-creams and brass bands all around (I’d happily listen to the Fulham Brass Band’s version of ‘Hello, Dolly’ all day). Chloe Lamford’s design certainly looks a treat in all its cartoon-comic brightness but ultimately, is indicative of a real issue with Sam Pritchard’s production.
“You need to turn your attentions to different people”
For Mullarkey’s play is concerned with violence – paradigm-shifting, society-shattering violence and the way that the British might very well respond to it. And as he suggests that we’d react to the collapse of civiliisation by making a cup of tea, you can’t help but wonder, really? On the one hand, everything here is telling you not to take things so seriously. On the other, communities across the world are being ripped apart in actual conflicts. It’s a tension that never satisfactorily resolves here. Continue reading “Review: Pity, Royal Court”
A stirring and compelling evening of monologues exploring women’s rights – Maxine Peake curates One Hand Tied Behind Us at the Old Vic Theatre in London
“No cause can be won between dinner and tea, and most of us who were married had to work with one hand tied behind us”
That quote comes from English suffragette Hannah Mitchell, from The Hard Way Up: The Autobiography of a Suffragette, and provided the titular inspiration for One Hand Tied Behind Us, an evening of monologues at the Old Vic curated by Maxine Peake and conceived by Matthew Warchus.
Using the centenary of the 1918 Representation of the People Act as a springboard – and acknowledging that while it granted the first women in Britain the right to vote, many more remained disenfranchised – five writers were commissioned to respond to the anniversary, to take stock of the journey so far, where we are now, how much further there still is to go. Continue reading “Review: One Hand Tied Behind Us, Old Vic”
“I had rather have a fool to make me merry than experience to make me sad”
For regular theatregoers, it can sometimes feel a bit hard to get excited about the umpteenth production of a play, so much so that I almost didn’t see the winning combination of the much-loved Blanche McIntyre and Michelle Terry until the very end of their run at the Globe this summer. So the news that Polly Findlay was also tackling As You Like It for the National was tempered a little (though it is the first time in 30 years it has played there) but as Rosalind was announced (Rosalie Craig poached from the cast of wonder.land to replace an indisposed Andrea Riseborough), the excitement began to build and the inevitable ticket was purchased and boy am I glad that I did.
For the transformation of the set into the Forest of Arden is a moment of genuinely breath-taking theatre, Lizzie Clachan pulling the rug from under us and her design to create a most singular vision. And it is one in which enchantment slowly grows with sylvan sound effects created by company members onstage and a choir singing Orlando Gough’s contemporary and complex score (akin if alike to the one he composed for Bakkhai). There’s a lovely conceit in which Alan Williams’ Corins, nominally a shepherd but here more like a forest deity, summons the music every time love is needed to cast its spell, enhancing the magical feel. Continue reading “Review: As You Like It, National Theatre”
“Calm, methodical, Sunday fucking best”
There’s no two ways about it, Paul Abbott’s latest TV series has been an absolute triumph. Channel 4’s No Offence has kept me properly gripped over the last eight weeks and I’m delighted that a second series has already been commissioned as its enthralling mixture of comedy drama and police procedural has been irresistible from its opening five minutes with all its squashed-head shenanigans through to its thrilling finale which kept us on tenterhooks right til its final minutes.
Whence such success? A perfect storm of inspired casting and pin-sharp writing from Abbott and his team. Joanna Scanlan’s DI Viv Deering reinvigorates the stereotypical police boss to create a career-best character for Scanlan, her fierce loyalty played straight but her dry one-liners making the most of her comic genius. Elaine Cassidy’s DC Dinah Kowalska, the eager young copper on whom the focus settles most often, Alexandra Roach’s earnest but quick-learning DS Joy Freer completing the leads. Continue reading “TV Review: No Offence, Channel 4”
“I thought when it came to it, I would be good at it”
Despite the fact that I really wasn’t a fan of How To Hold Your Breath, I can’t help but be impressed by the way that Vicky Featherstone really has shaken up the Royal Court since taking over as Artistic Director last year. The diversity in programming may mean that there’s no such thing as a safe bet there any more (something to play havoc with those who carefully book everything months in advance) but there’s something thrilling about that unpredictability, and also the variety that it thus lends to people’s theatregoing.
Turning into more of a lucky dip does mean that you’re not always going to pick a winner and such was the case for me with ZInnie Harris’ new work. A densely written and constructed play, it imagines a Europe swallowed whole by a new financial crisis and leaving the remnants of society to fend for themselves, turned into refugees fighting to cross the border into Istanbul or gain passage on rickety ships bound for Alexandria. With a seductive demon on one shoulder and her pregnant sister on the other, Maxine Peake’s Dana finds herself forced into that such a journey. Continue reading “Review: How To Hold Your Breath, Royal Court”
“I share no-one’s ideas, I have my own”
Another day, another tale of people languishing in the dying embers of Imperial Russia, but Fathers and Sons – Brian Friel’s 1987 adaptation of Ivan Turgenev’s 1862 novel – has something special about it, which makes it truly stand out from the crowd. Much of this has to do with Lyndsey Turner’s sterling production for the Donmar, her gift for marshalling large ensembles to the absolute best of their abilities coming to the fore once again and smoothing over any potential weaknesses in the play itself.
Pace sometimes flags, with narrative description dominating a little too much in the second act and too many characters for them to all to really register. But such caveats pale in the face of performances like these – Joshua James’ would-be revolutionary Arkady and Anthony Calf as his hapless father, Seth Numrich’s more radical Bazarov and his own father played beautifully by Karl Johnson, Susan Engel’s vividly drawn Princess, Tim McMullan’s hilarious fop of an uncle, it’s an embarrassment of riches.
Running time: 2 hours 20 minutes (with interval)
Booking until 26th July
“Laws are like sausages, it’s better not to see them being made”
‘Released after fifteen years in prison, trapped in a bureaucratic maze, petty criminal Wilhelm Voigt wanders 1910 Berlin in desperate, hazardous pursuit of identity papers. Luck changes when he picks up an abandoned military uniform in a fancy-dress shop and finds the city ready to obey his every command. At the head of six soldiers, he marches to the Mayor’s office, cites corruption and confiscates the treasury with ease. But still what he craves is official recognition that he exists.’
It is probably cheating to use the official synopsis of a play wholesale like this but to be honest, I couldn’t care less after suffering the bloated self-satisfaction of The Captain of Köpenick at the National Theatre. An adaptation by Ron Hutchinson of a 1930s German satire by Carl Zuckmayer, it is a heavy-handed, ploddingly-laboured, fatally-misjudged confection which throws everything plus the kitchen sink into the Olivier but for shockingly low returns.
Running time: 2 hours 30 minutes (with interval)
Booking until 4th April
“What is there more?”
The Kitchen was one of Arnold Wesker’s first plays and follows on from the Royal Court’s well-received (if not by me) Chicken Soup with Barley in a year which has been something of a revival for Wesker. Written in 1959 and inspired by his own experiences of working in the catering industry, it is set in 1957 in the basement kitchen of a large London restaurant, the Tivoli. The dynamics of a swirling multi-cultural mass of chefs, waitresses and kitchen porters are exposed as they slowly build to the mad rush of a huge lunchtime service. Playing in the Olivier at the National Theatre, this was a late preview performance.
Director Bijan Sheibani has assembled a cast of 30 who rush about Giles Cadle’s circular kitchen set with increasing fervour as prep turns into service and the banter with all its personal enmities, tribal groupings and rivalries between kitchen staff and dining-room staff becomes increasingly fraught, and of course largely forgotten as the rush passes and the calm of the afternoon allows for a more reflective atmosphere. The less intense evening service provides a final act is no less dramatic though as slow burning stories finally explode. Continue reading “Review: The Kitchen, National Theatre”
Mother Courage and her Children sees Fiona Shaw and Deborah Warner reunited once again at the National Theatre as part of the Travelex £10 season. Brecht’s play of a woman who is determined to make a profit from the war that surrounds her, even as that same war takes her children from her one by one, has been freshly translated by Tony Kushner and Warner has utilised the vast space of the Olivier to great effect to create something quite unique.
It is a fairly lengthy beast, the first half alone is two hours long, but neither I nor my companion felt that it dragged at all, I found the songs kept it quite pacey, and felt much the same during the second half (a mere hour long). There wasn’t that high a level of dropout after the interval which was quite nice to see and there was a strong reception for the players at the end. Much has been made of the introduction of Duke Special and his band but I have to say I thought by and large it worked. Personally, I was not as keen on the rockier numbers, despite Shaw gamely rocking out, but was genuinely moved by some of the slower numbers, especially when he was duetting with other characters. Continue reading “Review: Mother Courage and her Children, National”
Having had a whirlwind of publicity whipped up around it through accusations of heavy-handed racism, I was mildly disappointed to not be accosted by any protestors upon entering the auditorium for England People Very Nice, Richard Bean’s new play at the National Theatre. I was less surprised to find that I enjoyed the piece very much, and found largely most amusing, and not at all “racist”.
The play is set up as being performed by a group of asylum seekers awaiting the results of their appeals for residency, and tells the story of wave after wave of immigration of different ethnic groups into Bethnal Green throughout the last few centuries. So we see the French Huguenots arrive and face resistance to their arrival on a number of levels: on culture, on religion, and more materially on housing and on jobs, but yet also finding time for love. Time passes by and as a new wave of immigrants arrive, this time the Irish, so the French find themselves guilty of the same attitudes that were held against them upon their arrival. Continue reading “Review: England People Very Nice, National Theatre”