Following on from the brilliant Emilia, Morgan Lloyd Malcolm’s new play Mum is a powerfully bracing experience at the Soho Theatre
“Motherhood’s not for everyone”
Morgan Lloyd Malcolm’s Mum gives us a portrait of a side of motherhood that is often alluded to but rarely fully acknowledged, those early days, weeks, months when the realities of parenthood hit like a sledgehammer and the fear of being overwhelmed is punishingly real. Nina is one such mother, preparing for her first night away from baby Ben after a difficult birth three months ago but as she gets him ready for a trip to Grandma’s, those fears only grow. Abigail Graham’s production opens at the Soho Theatre after playing the Theatre Royal Plymouth earlier this month.
An outsize mobile dominates the gloomy space of Sarah Beaton’s set design and as it turns, Sally Ferguson’s carefully poised lighting casts shadows on the wall that become increasingly hallucinatory. For as Nina cracks open a bottle of white wine with best pal Jackie, determined to have a night ‘off’, the guilt weighs ever heavier as she unburdens herself by saying the quiet parts out loud, talking frankly about how just how fricking difficult it is operate on such tiredness, such helplessness, such conflicting emotions as provoked by something society has dictated you will love wholeheartedly from the off. Continue reading “Review: Mum, Soho Theatre”
Francesca Moody Productions, Soho Theatre and Theatre Royal Plymouth in association with Popcorn Group have announced that Sophie Melville, Denise Black and Cat Simmons will appear in the world premiere of MUM. This provocative and unflinching portrayal of early motherhood and mental health, written by Olivier award-winning playwright Morgan Lloyd Malcolm(Emilia, The Globe/ West End) and directed by Abigail Graham (soon to also direct Aladdin at Lyric Hammersmith) will run at Theatre Royal Plymouth from 30 September – 16 October before transferring to Soho Theatre from 20 October – 20 November.
Motherhood. No one can prepare you for it. No matter how much you tell yourself you can do it – can you? Where’s the rush of love? When will you sleep again? What if the thing you fear most is also the thing you crave? All you wanted was one night of unbroken sleep, what have you done?
Nina is a new mum and tonight is her first night off. Tonight is about pizza and wine and letting go. But Nina didn’t feel prepared for motherhood and isn’t sure she fits the job description. Nina feels like she’s losing her grip.
Don’t read on if you haven’t finished Series 4 of Unforgotten for major spoilers are within
“We are who we are – I don’t think you can ever really change that”
It’s a good job that Series 4 of Unforgottenaired as spring arrives in the air and the promise of easements is finally taking some of the sting out of lockdown life. For had it been on in the endless depths of the last few dark months, I don’t think I could have coped. Indeed, I’m not sure I can still really cope now even with it being 23 degrees outside.
They killed Nicola Walker! Again! I’ve barely recovered from how they did Ruth dirty, but given the way that episode 5 ended and the way people were talking at the beginning of episode 6, the writing was on the wall. And so as Sunny finally cracked the case and unwound the puzzle of Matthew Walsh’s death and the four young police officers intimately involved with it, DCI Cassie Stuart breathed her last. Continue reading “TV Review: Unforgotten, Series 4”
The UK Theatre Awards are the only nationwide Awards to honour and celebrate outstanding achievements in regional theatre throughout England, Scotland, Wales and Northern Ireland and they have just announced the winners for the 2018 awards, which include a well-deserved Award for Outstanding Contribution to British Theatre for Maxine Peake– take a look at her acceptance speech here.
Sophie Treadwell’s 1928 expressionist play Machinal receives an extraordinary production from Natalie Abrahami at the Almeida Theate
“Your skin oughtn’t to curl – ought it – when he just comes near you- ought it? That’s wrong, ain’t it? You don’t get over that, do you – ever, do you or do you?”
Sophie Treadwell’s 1928 play Machinal may be the story of one woman battling societal pressure but Natalie Abrahami’s production for the Almeida Theatre teases out a more elemental struggle, one which stretches over the majority of the twentieth century and by extension, even further.
The story is rooted in its ordinariness. Emily Berrington’s Young Woman gets by at a job she doesn’t like, marries the first guy who shows an interest, gives birth to a child she scarcely wants – expectations check check checked. But as she learns that she wants more, can want more, the weight of societal pressure comes to bear. Continue reading “Review: Machinal, Almeida Theatre”
“Heroism is danger and risk, and frankly, until now, it’s been male”
Plays set in places I knew well as a child unexpectedly looks like it might be one of the theatrical memes of the year – Years of Sunlight explored the history of the neighbouring town where I learned to swim and now we have Timberlake Wertenbaker’s new dramaWinter Hill, named for the West Pennine peak that was the location of many a childhood walk.
Wertenbaker’s play is set on the Winter Hill of the near future, as opposed to the not-so-near past, where a chunk of the land has been sold to developers who are constructing a luxury skyscraper hotel there, set to completely alter the way that the hill dominates the landscape and the town of Bolton below it. As a local women’s reading group sneaks onto the building site to have their meetings, hidden agendas bubble to the surface to make matters a little more serious than whether they’ve got enough wine to get through the evening. Continue reading “Review: Winter Hill, Octagon Theatre”
Andrea Levy’s 2004 novel Small Islandwas inescapable at the time, it seemed like everyone I knew had read and loved it but though it went on to win prizes, I wasn’t as big a fan of most of it. That said, I did love much of this television adaptation in 2009 which came just after Ruth Wilson’s superlative turn in the Donmar’s A Streetcar Named Desire as I began to realise how special an actress she really was. The story focuses on the experiences of two women – Queenie Bligh and Hortense Roberts – as the economic and social impact of World War Two ripples out through London and Jamaica.
Naomie Harris’ Hortense is a young Jamaican woman with heady dreams of becoming a teacher in what she sees as the idyllic land of England yet is devastated to find the gloominess of reality, alleviated only once she meets a man called Gilbert; and Ruth Wilson’s Queenie is a working class Yorkshirewoman who moves to London to escape the family farm but with little real prospects. When her job falls through, she accepts the marriage proposal of the attentive Bernard Bligh – Benedict Cumberbatch in full-on English mode – to avoid having to move back but when he leaves for WWII, huge changes are set in motion for all concerned. Continue reading “DVD Review: Small Island”