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”
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”
The best TV show of the year? Definitely so far…Michaela Coel’s I May Destroy You is just superb
“Just look in the mirror, you know what I mean? It’s really uncomfortable and unnerving for everyone”
Has ‘the grey area’ ever seemed so interesting? Probing into the complexities of real life and fully embracing the fact that there are rarely ever any simple answers, Michaela Coel’s I May Destroy You has felt like a real breath of bracingly fresh air.
Sexual consent for straights and gays, dealing with trauma on a personal and institutional level, the perils of buying into social media hype, portraying the scale of casual sex and drug use whilst acknowledging its inherent pitfalls, examining how we bury memories from both the recent and distant past and that’s just scratching the surface. Continue reading “TV Review: I May Destroy You”
Series 2 of Top Boy- Summerhouse is, quite frankly, exceptional
“I don’t wanna go to Ramsgate”
The first series of Top Boy surprised me at just how good it was, making a mockery of my earlier decision that it wasn’t my kind of thing. So I launched straight into the second series (now labelled Top Boy- Summerhouse on Netflix), unprepared for how harrowing it would get. It may have taken two years for it to be created but boy it was worth the wait.
Ronan Bennett’s series picks up one year later with Dushane’s (Ashley Walters_ status at the head of the Summerhouse estate as equally precarious and secure as ever, forever dependent on the next big drug delivery. But the Albanians have got their own plans, former besty Sully is setting up his own rival crew and the police have just dug up a body – eep! Continue reading “TV Review: Top Boy – Summerhouse (Series 2)”
The superlative Michaela Coel looks to have absolutely nailed with new TV show I May Destroy You
“How did last night end?”
I mean we knew I May Destroy You would be good but damn, it’s really good. Even on the evidence of episodes 1 & 2 which have just been released by the BBC, Michaela Coel – whose credits here include executive producer, co-director, star, and writer – looks set to thoroughly invigorate our TV screens as she breathlessly tackles, well, pretty much the whole of contemporary society.
At the top of it, I May Destroy You is a drama about consent, though it is immediately clear that Coel’s canvas and the scope of her ambition is much larger than that. It blends just as much comedy as tragedy into its playfully inventive structure. And though the hook is Coel’s Arabella – a 30-something London-based writer – trying to piece together the memories of a night where her drink was spiked and she was sexually assaulted, there’s so much more about the lives of young Black British people filled out along the way. Continue reading “TV Review: I May Destroy You, Episodes 1 & 2”
One of the best plays, and productions, of last year, An Octoroon makes a hop, skip and a leap from Orange Tree to the National Theatre
“Black playwright? I can’t even wipe my ass without someone trying to accuse me of deconstructing the race problem in America”
An Octoroon transfers to the National Theatre from a hugely successful run at the Orange Tree last year and sells out entirely way in advance. And yet it is Wilde and Pinter who are getting seasons in the West End…time to shake up the orthodoxy I think, even while accepting its a big step from the Dorfman to Shaftesbury Avenue.
Rather than wrestle with Branden Jacobs-Jenkins’ complex writing and Ned Bennett’s layered production once again, I’m just going to point you to the fact that I named Ken Nwosu’s performance as my favourite of the year, and I ranked the show as the sixth best of the year (out of 346). My original review can be found here, I’m looking forward to seeing a hopefully more diverse range of responses this time round.
Running time: 2 hours 40 minutes (with interval)
Photo: Helen Murray
An Octoroon is booking at the National Theatre until 18th July – currently sold out but returns and Friday Rush available
by Brian Friel
Previews from 22 May, Press night 30 May, on sale until 7 July with further performances to be announced
Owen, the prodigal son, returns to rural Donegal from Dublin. With him are two British army officers. Their ambition is to create a map of the area, replacing the Gaelic names with English. It is an administrative act with radical consequences.
Brian Friel’s modern classic is a powerful account of nationhood, which sees the turbulent relationship between England and Ireland play out in one quiet community. Cast includes Dermot Crowley, Aoife Duffin, Adetomiwa Edun, Michelle Fox, Ciarán Hinds,Laurence Kinlan, Colin Morgan, Seamus O’Hara, Judith Roddy and Rufus Wright.
Directed by Ian Rickson, with design by Rae Smith, lighting design by Neil Austin and music by Stephen Warbeck and sound design by Ian Dickinson.
Part of the Travelex Season with hundreds of tickets for every performance available at £15. Continue reading “New casting announced for 2018 National Theatre season”
“I invented matinées bitches, look it up!”
You wouldn’t have put money on Richmond’s Orange Tree Theatre becoming the destination for some of London’s more radical theatre leanings but with Branden Jacobs-Jenkins’ An Octoroon, it has done it once again. Less of a surprise is that it is director Ned Bennett at the helm again, reuniting with Pomona collaborators Georgia Lowe (design) and Elliot Griggs (lighting) to provide a headfuck of a production out of a headfuck of a play.
I could talk about the plot, about how Jacobs-Jenkins has adapted Dion Boucicault’s 1859 racially dubious play The Octoroon, but that wouldn’t do this any justice really. For this is a piece of theatre less concerned with narrative drive, with characters that move from point A to point B, but more of a thought experiment, challenging audiences to consider our attitudes toward race, both in how it is portrayed on contemporary stages and how we deal with the legacy of a wealth of drama approaching the issue in a completely different day and age.
Continue reading “Review: An Octoroon, Orange Tree Theatre”