In which I take issue with Michael Billington (and the whole theatre ecology) (and the world) when it comes to dealing with disability. Something which Teenage Dick at the Donmar Warehouse does extremely well.
“As winter formal gives way to glorious spring fling”
There’s something a little interesting about the way that theatre, and theatre criticism, is tackling disability. Movements towards promoting racial diversity have rightfully been widely celebrated and are beginning the process of hopefully recalibrating the theatrical and critical firmament for good. But when it comes to disability, the same can’t be really said… Onstage, glimmers like the current RSC ensemble and the recently closed Joe Egg remain the exception rather than the rule; when it comes to reviewers, disabled voices are even thinner on the ground (are we surprised, when accessibility in so much pub theatres remains limited, when captioning services are rarely available by press night…).
Which is all a rather long-winded way of introducing the canny brilliance of Mike Lew’s Teenage Dick, open now at the Donmar Warehouse, and to pull up Michael Billington on assumptions made in his response. His final paragraph talks of “a radical shift in the politics of disability and a revolution in theatrical performance” which he feels undermines the play’s argument about how disabled people can be treated in a society that always, always bends to the ableist. There’s just so much privilege baked in there that I feel I have to react, even if Billington is on his valedictory lap of honour. Continue reading “Review: Teenage Dick, Donmar Warehouse”
A quick whip through Series 2 of The Crown
“History is not made by those who did nothing”
Do I still love The Crown? Yes. Do I still find it a little hard to muster enthusiasm about it until I’m watching it. Absolutely. It remains lavish prestige drama that carries little excitement about it and that’s perhaps inevitable as it trundles through the decades of the second half of the twentieth century, little dramatic surprise can really be sprung.
Instead, the thrills come from the script of Peter Morgan’s fantasia into the emotional life of our monarch, and a production that looks like the multi-millions of dollars that have been spent on it. Oh, and the cream of British acting talent popping in for a scene or two at an astonishingly high rate. Continue reading “TV Review: The Crown, Series 2”
Episodes, in order of preference
World Enough and Time
The Doctor Falls
The Eaters of Light
Empress of Mars
The Pyramid at the End of the World
The Lie of the Land
Top 5 guest spots
1 David Suchet’s Landlord was as perfectly written a character as befits one of our more superior actors
2 Regular readers will know I’m a big fan of Kieran Bew and his astronaut in Oxygen was no exception
3 Nicholas Burns‘ malevolent Sutcliffe was a delightfully Dickensian villain
4 Another theatrical delight of mine is Anthony Calf, impressive as the pseudo-Victorian Godsacre
5 Rebecca Benson’s young Pict impressively led The Eaters of Light from the front, a perfect vessel for Rona Munro’s vision
Michelle Gomez’s Missy has been a brilliant breath of fresh air and whilst her decision to follow Moffat and Capaldi out the door is understandable, it isn’t any less disappointing. And perhaps the timey-wimeyness of the circumstances around her passing mean that maybe this isn’t the last we see of her…
Most wasted guest actor
I don’t what I expected from the reliably excellent Samantha Spiro in Doctor Who but I didn’t get it from her part in The Doctor Falls.
Gay agenda rating
With Bill onboard, A+!
“We made the revolution, not Mao”
The Sugar-Coated Bullets of the Bourgeoisie is based on more than a decade of Anders Lustgarten’s intensive studies into China and it shows. The play is undoubtedly well-constructed and shines a light on an area that is persistently underexplored by British theatre but with so much information and insight at his fingertips, the playwright doesn’t resist the temptation to share as much of it as he can and it makes for a slightly frustrating experience.
So we get a thorough examination of modern Chinese history through the prism of a small village from Rotten Peach. There, the rise of Chairman Mao and the founding of the People’s Republic utterly transforms the landscape in 10 brutal years but we only get a certain amount of a dramatic rendering of how this upheaval affects the social fabric of the lives of the villagers, too much time is taken up with exposition and explanation, political theory by stealth and thus lacking in theatrical thrill. Continue reading “Review: The Sugar-Coated Bullets of the Bourgeoisie, Arcola Theatre”
“Where are you from?
No, where you from?
Where are you really from?”
Live Lunch is an intermittent series at the Royal Court which acts as a showcase for writers both new and established to delve into under-explored areas of drama. In this instance, a group of playwrights were commissioned to create short plays with British East Asian experiences at the heart of their stories and the result is Hidden, six dramas “exploding myths, questioning types and discovering hidden narratives” of a section of the population who are chronically under-represented in British cultural life. Directed by Lucy Morrison, a company of eight actors gave two lunchtime readings of the programme.
There’s something rather awe-inspiring about the rehearsed reading format. With barely three hours of rehearsal for each piece and scripts in hand, there’s a rawness to the performance level which enhances it somewhat, the occasional stumble over words giving some of the texts a believably natural feel. And seeing the speed with which the actors traverse grand emotions as they flick from play to play is truly admirable, Lourdes Faberes particularly impressing in casting off a tear-soaked character to move swiftly to the studied enigma of the next. Continue reading “Review: Hidden, Royal Court”
“This after all has been a very careful election”
A fascinating experiment from James Graham and Josie Rourke, The Vote was a “play for theatre and television” which after two weeks of performances at the Donmar Warehouse – for which you had to enter a ballot for tickets – aired live on More4 at the very moment that it was set, the night of the UK general election. I wasn’t one of the lucky few in the ballot and am rarely inclined to dayseat (though I know several people who managed it) so I’ve only just got around to catching up with it on All4 (formerly 4OD) where it is on for another couple of weeks.
I’m glad I did get to see it as it is very funny and pulled together an extraordinary cast, the vast majority of whom spend mere moments onstage. Graham’s play focuses on the trials and tribulations of a South London polling station in the 90 minutes before voting closes and though there’s a farcical plot that holds the play together in the larger sense, the real joy comes in the microstories of the various voters who come in to exercise their democratic right as best they see fit. Drunks losing their polling cards, giddy lesbians brandishing selfie sticks, teenagers asking Siri who to vote for, all amusing slices of life are represented by a stellar cast who seem to be having just as much as the audience. Continue reading “TV Review: The Vote, Donmar Warehouse via All4”