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”
Pilot Theatre’s touring production of Brighton Rock is visually arresting, beautifully staged and very well acted.
“How do you know what’s right and what’s wrong?”
Where else to see Graham Greene’s classic Brighton Rock than in the beautiful surroundings of the Theatre Royal Brighton, with the sound of seagulls and smell of fish suppers lingering on the air just outside. And Pilot Theatre and York Theatre Royal’s touring production makes for a gorgeously theatrical treat as it probes deep into the darkness under the pier.
Esther Richardson’s production has a striking physicality to it, utterly eyecatching but careful not to overly glamourise this noirish world. Case in point – the opening murder may be stylishly staged as sharp-suited gangsters operate as a sinuous ensemble to ensnare and execute. But Jennifer Jackson’s movement has them rocking queasily back and forth as they move in, an ugliness that stops them from ever seeming too cool. Continue reading “Review: Brighton Rock, Theatre Royal Brighton”
Pilot Theatre and York Theatre Royal are delighted to announce full casting for their forthcoming touring production of Bryony Lavery’s new adaptation of Graham Greene’s iconic novel Brighton Rock.
Continue reading “Full casting announced for Bryony Lavery’s new adaptation of Brighton Rock”
“We cannot all live in a fairytale”
I’ve been looking forward to Jeff James’ reinterpretation of Jane Austen’s Persuasion ever since it was announced, James having worked with Ivo van Hove as an associate director and the evidence of his work that I’ve seen thus far (in La Musica) really impressing. The influence from the Belgian master is palpable but it is manifesting itself in fascinating ways, interrogating notions of adaptation and theatrical experience in ways that we too rarely see in the UK.
You see it in the ways that he uses the relatively inflexible space of the Royal Exchange (IMHO van Hove rarely gets the credit he deserves for the way in which he reinvents theatrical space) and the way he positions his actors, saying so much about relationships and their dynamics without a word. And Alex Lowde’s supremely contemporary design boldly situates this Regency drama in the here and now, shifting even within itself in showing us Anne Elliot’s world. Continue reading “Review: Persuasion, Royal Exchange”