“Over the last year, it feels like it’s all falling apart…in this country…across the world…”
Mike Bartlett can probably lay claim to being one of the most interesting new British playwrights to emerge this century, steadily building his oeuvre of plays that pick at modern life and expose its shortcomings… And as his profile increases, so too have the stature of the commissions, moving from the Royal Court – where I saw his Cock – to the Cottesloe at the National Theatre with last year’s Earthquakes in London and now graduating to the Olivier – the youngest writer in 10 years to be staged there – with his latest new play 13.
What is it all ‘about’ I hear you say. Well if that question is foremost in your mind then it is likely that you may be disappointed with 13, as it eschews a conventional sense of narrative for the creation of apocalyptic foreboding in a contemporary London that feels all too realistic. For it is a piece of writing that feels incredibly pertinent, full of up-to-the-minute references to public disorder, social media, student riots and the Arab Spring, concerning a society wracked with disturbing dreams and a crippling uncertainty. What Bartlett alights on is the importance of belief, not necessarily in God but having some conviction that things will be ok if we trust our instincts, and the succour that is gained from collecting as a group behind such beliefs. Continue reading “Review: 13, National Theatre”
“There is nothing either good or bad, but thinking makes it so”
It is apparently a truth universally acknowledged that any actor aiming for greatness needs to tackle Hamlet, Shakespeare’s most revered epic, and it is now the turn of Rory Kinnear, under the directorial baton of Nicholas Hytner at the National Theatre to make his entry into the canon (this was the second preview). Recently we’ve had David Tennant and Jude Law, John Simm is currently performing it in Sheffield (I’ll be there on Wednesday) and Michael Sheen will be making his mark at the Young Vic next year. I don’t have a problem with this so much as just wish that there was a similar epic role for women which was restaged and revived as often to allow a comparable ticket to magnitude.
This is very much a modern-day Elsinore. Suited security guards with earpieces are ever-present, state of the art bugging technology is used, a briefcase of tools of torture is brandished and high-definition television cameras record political and battlefield broadcasts. Thus the familial quarrel at the heart of this play is firmly located in the wider political sphere of this dangerous Denmark and it is a mostly highly effective updating. Continue reading “Review: Hamlet, National Theatre”
“If you intend to f*ck with the god of power, then make sure you don’t fall asleep besides him”
Any play that can use the epithet “your mother-f*cking brother” with complete accuracy has to be worth your attention and sure enough, Welcome to Thebes, a new play by Moira Buffini opening in the Olivier auditorium at the National Theatre, is more than equal to the challenge. The play is quite huge in scope, it looks at the role of women in politics, the state of Africa, the aftermath of war, the relationship between Africa and the West, the tragedy of child soldiers and it tells of them through the prism of Greek mythology, but relocated to the modern day and an unspecified (West) African state.
So we have the story of a female president-elect, Eurydice, struggling to exert herself in both her domestic situation in a country reeling from years of civil war, but also in the male-dominated world of international relations as she needs to establish links with global superpower Athens for much needed aid and investment by engaging with its charismatic leader, Theseus. The clearest analogy to make is with Liberia, the only African state to have an elected female leader of state in Ellen Johnson Sirleaf who came to power after the concerted efforts of a mass movement of women hungry for peace after years of civil war. And if Thebes equates to Liberia, then Athens becomes the United States, the superpower and apparent bastion of democracy but unwilling to provide assistance without considerable caveats; Theseus being an Obama-like leader with a touch more arrogance. Continue reading “Review: Welcome to Thebes, National Theatre”