The likes of Hannah Khalil, Morgan Lloyd Malcolm, Sarah Niles and Juno Dawson deliver some excellent work in The Motherhood Project
“There’s so much talk of being perfect mums”
Ripping off the rose-tinted glasses and gagging any hint of yummy mummies with a used nappy, The Motherhood Project takes an uncompromising look at motherhood, shining a light on the things that the books don’t, or won’t, tell you. Suhayla El Bushra talks about the way it affects friendship, Jodi Gray and Katherine Kotz herself investigate the maternal instinct or lack thereof, Kalhan Barath speaks of her choice not to have children… Kotz, who is also the curator of the project, has gathered a mixture of monologues and musings, 15 short films in all, all seeking to redefine the modern myths around motherhood.
There’s eight new monologues here, plus one repurposed one, making this a significant piece of new theatre writing. Jenni Maitland details the traumatising physical effects of childbirth in Morgan Lloyd Malcolm’s Inside Me, how it can fundamentally alters women’s relationship with their bodies, an issue already skewed by societal pressures of the feminine ‘ideal’. Hannah Khalil also delves deep into the hidden truths of becoming a parent through the medium of the (useless) advice she was given, the lyrical bent of Suited perfectly matched by Caroline Byrne’s expressionist direction and a quietly blistering performance from Emmanuella Cole Continue reading “Review: The Motherhood Project”
Edition #5 of the Royal Court’s Living Newspaper takes a more reflective approach to great effect
“Most people do it. Not me, I have a conscience”
The Royal Court’s Living Newspaper continues with edition #5 which feels a little less reactive to the headlines and a little more reflective on the state of the world as we find it today. It looks back, probing into how our history has shaped us but it also identifies the precipice of the current moment and how, more than ever, so very much is at stake.
The quiet fury of Dalia Taha’s A Warning takes aim at Israeli border policies through the medium of books, Kayla Meikle’s devastatingly contained performance a real stand out. And Zia Ahmed’s elegiac scene/unscene finds a brutal poetry in its takedown of the systemic racism in the theatrical establishment, skewering good liberal intentions perfectly. Continue reading “Review: Royal Court’s Living Newspaper #5”
Written by Zia Ahmed, Leo Butler, Guillermo Calderón, Nick Cassenbaum, E.V. Crowe, Maud Dromgoole, Nessah Muthy, Iman Qureshi, Marcelo Dos Santos, Nina Segal, Dalia Taha, Joel Tan and Maya Zbib.
Who has created our country’s past and who is shaping its future? Who gets to have their cake and eat it?
Edition 5 sets out to dismantle histories – be that personal or political – whilst finding allies in bookshop glances, questioning who is desperate for hygge comfort and looking to our comrades and weather reporters for the true future.
As we look back and forward, Edition 5 is a provocation to find joy in the cracks and the spaces left behind. Continue reading “News: writers and cast for Living Newspaper #5”
Leading UK artists including Morgan Lloyd Malcolm, Athena Stevens and Anya Reiss will join Juno Dawson, Lemn Sissay and Naomi Sheldon among others for The Motherhood Project. Fifteen short films will explore the guilt, joy, absurdity and taboo surrounding motherhood in this online festival of dramatic monologues and personal reflections. The films will be available on the Battersea Arts Centre website from Monday 19th April; all ticket sales will include a 50% donation to Refuge.
Curator Katherine Kotz invited writers, artists and technicians to join forces and donate their time to create exciting new pieces to support vulnerable adults and children affected by the pandemic. Interrogating the relationship between parent and child, autonomy and responsibility, dramatic pieces were contributed by Irenosen Okojie, Morgan Lloyd Malcolm, Hannah Khalil, Anya Reiss, Suhayla El Bushra in addition to Naomi Sheldon, E.V Crowe, Jodi Gray, and Katherine Kotz. Continue reading “News: Morgan Lloyd Malcolm, Athena Stevens, Anya Reiss, Juno Dawson and Lemn Sissay among the line-up for The Motherhood Project”
Plays by writers including Mike Bartlett and EV Crowe that were forced to close early because of the pandemic will be revived on BBC Radio 3 and Radio 4 as part of a festival created by actor Bertie Carvel.
Lockdown Theatre Festival will feature actors including Katherine Parkinson, Rachael Stirling and Nicholas Burns, who will record their lines in isolation, to reimagine their performances for specially created radio versions of the plays.
The plays, which will be broadcast on June 13 and 14, are: The Mikvah Project by Josh Azouz, which had been running at the Orange Tree Theatre, the Lyric Hammermith Theatre’s Love Love Love by Bartlett, Winsome Pinnock’s Rockets and Blue Lights, from the Royal Exchange in Manchester, and Crowe’s Shoe Lady, which was being staged by the Royal Court in London. Continue reading “News: Lockdown Theatre Festival brings four cancelled shows to radio”
“This is what we call a safe space”
When I was at primary school, we did a thing in needlepoint where we sewed seemingly random shapes in a line and only when we’d finished and Mrs Holcroft (I think it was) told us to look at the spaces inbetween, did we see that we’d made a handicraft tribute to Jesus. That’s still the first thing I think of when I think of sewing and there’s a tenuously similar link of ‘do you see what it is yet’ to The Sewing Group, EV Crowe’s new play for the Royal Court.
Stewart Laing’s production opens in the bare timber of a log cabin where two women are sewing. Enigmatically short scenes, sometimes containing just a single glance, interspersed with total blackouts offer tantalising threads to follow – an outsider joins this rural community but her mere presence in the group soon becomes a disruption, leading to more than just dropped stitches in the slow and increasingly strange unfolding of the story. Continue reading “Review: The Sewing Group, Royal Court”
Asked to respond to the provocation “well behaved women seldom make history”, 4 writers have produced 4 plays, Programme B of the RSC’s Midsummer Mischief contains the plays I Can Hear You by EV Crowe and This Is Not An Exit by Abi Zakarian and as with Programme A, I am expressing myself through the medium of Rupaul’s Drag Race (gifs courtesy of Fuck Yeah Drag Race) – mischief indeed.
Once again, the seating. It may well leave you like this. Continue reading “Review: Midsummer Mischief B, The Other Place”
“We’ll just wait 5 minutes for the email to send”
EV Crowe’s latest play Virgin comes to us under the auspices of Watford Palace’s Ideal World season, exploring the way that the digital revolution has impacted on human relationships, but it crowbars so much into its 80 minutes that the brief ends up feeling a little constrictive. Working mother Emily toils away in local government and is determined that a project to bring high-speed broadband to her rural village will be the springboard to get her out of the admin office. But with a younger, web-savvy generation snapping at her heels, she is forced to confront the limitations of her own bandwidth.
Laura Elphinstone imbues the spiky Emily with a remarkably conflicted complexity – her ambition thwarted by men, her maternal instinct disguised by stress, her warmly hesitant optimism at connecting the village tempered by her treatment of loyal husband Mark, Michael Shelford adorable in a range of chunky knits. And she is contrasted well by Rosie Wyatt as cuckoo-in-the-nest Sally, the consultant who comes to stay in their home whilst helping out on the project and the embodiment of a tech-confident but socially-awkward youth, happier online than IRL. Continue reading “Review: Virgin, Watford Palace Theatre”
“He opened his laptop and didn’t like what he saw”
The second part of the Royal Court’s 2013 Rough Cuts mini-season based around the internet, was a work-in-progress from EV Crowe named Searched. I hadn’t initially intended to see this play as Crowe really provoked my ire with her last play Hero, it still annoys me to think of it now, but once the cast was announced I knew I would be powerless to resist. And whilst I might have preferred a little more cooling off time and a slightly more appropriate environment, I find it is always good to test one’s preconceptions and so I was willing to give a second chance to the young playwright.
Since this was a work-in-progress, workshopped by Crowe, the company and director Carrie Cracknell over the last 10 days, I won’t say too much about it, save to mention that it really is a pleasure to be able to see such great actors up close and personal in such an early stage of a project, even with script in hand there’s a genuine openness to the performances, a freshness to the acting which is great to see. Continue reading “Not-a-Review: Rough Cuts – Searched, Royal Court”
“I don’t want us to look…naïve”
EV Crowe’s new play Hero sees her return to the Royal Court to be reunited with director Jeremy Herrin, but in this tale of two male primary school teachers – one gay and one straight – and the messages they convey both in the personal and the public sphere, everyone seems to have overstretched themselves considerably. The impossibly handsome Liam Garrigan plays Danny, in the midst of applying to adopt a child with husband Joe and seemingly unafraid of anything to do with his sexuality. Daniel May’s Jamie however, struggling to conceive with wife Lisa, reacts incredibly badly when one of his pupils calls him gay, setting in train a troubling chain of events and revelations that spiral wildly out of control.
Everywhere, questionable decisions abound. The structure that folds back on itself at the beginning of the second act reveals nothing new in the replaying of the timeline and just muddies the narrative. The incredibly vivid image of the opening monologue is something that is never revisited, suggesting a real missed opportunity. The use of a Julie London record to signify doubts of a character’s sexuality feels as immature a choice as those exposed in the play and never, personally at least, felt justified by the writing itself. And funny lines are peppered throughout the script but appear at the most random of places, keeping the tone of the piece frequently off-kilter and repeatedly sacrificing the opportunity to explore issues with depth. Continue reading “Review: Hero, Royal Court”