A blistering indictment of austerity and what it has done to all of us, Faith, Hope and Charity is unmissable at the National Theatre
“When we’re hungry, we go to sleep”
A time when the much-abused sobriquet state-of-the-nation is actually entirely appropriate, Alexander Zeldin completes his excoriating triptych of plays about modern Britain with Faith, Hope and Charity. Beyond Caring looked at zero hour contracts and Love homeless hostels, Zeldin now turns his focus onto community centres and their role in holding society together.
As before, there’s little that is inherently ‘dramatic’ in Zeldin’s play, rather scenes are episodic and lean heavily into naturalism – silences as tables are put off, dialogue that interrupts and tails off but rather than feeling empty or clumsy, the cumulative effect is one of deep rumination. And such is Zeldin’s skill, you can’t help but ponder the state of the nation from the seemingly smallest of incidental details as presented here. Continue reading “Review: Faith, Hope and Charity, National Theatre”
So much goodness! The National Theatre have just announced details of productions stretching deep into 2020, and with writers like Lucy Kirkwood, Kate Tempest, Roy Williams and Tony Kushner, and actors like Lesley Manville, Maxine Peake, Conleth Hill, Cecilia Noble and Lesley Sharp, it is hard not to feel excited about what’s ahead.
Following a sell-out run at Rose Theatre Kingston, the acclaimed two-part adaptation of Elena Ferrante’s MY BRILLIANT FRIEND by April De Angelis is reworked for the Olivier stage by Melly Still (Coram Boy). When the most important person in her life goes missing without a trace, Lenu Greco, now a celebrated author, begins to recall a relationship of more than 60 years. Continue reading “News: the National Theatre announces 15 new productions for 2019 and 2020”
“I’m so sorry”
Oooft. No remedy for the January blues this, but one of the most brutally affecting pieces of theatre you could ever bear to see. Alezander Zeldin’s Love follows what life can be found in the anonymous surroundings of a halfway house, a hostel run by the council for people in need of temporary accommodation. People are only meant to be there for a maximum of six weeks but with the system in meltdown, some have been there for over a year, living beyond what anyone could ever call reasonable.
It is tempting to see this as the failure of Big Society but really it is society in general that is being held to account here. The blind eye that we continually turn to those less fortunate than ourselves, the bureaucratic nightmares that we read Guardian thinkpieces about and then never consider again, the consequences of the collapse in the social responsibility of social security, the brutal reality of how desperately foodbanks are needed and the desperation that people feel in needing to use them. Continue reading “Review: Love, National Theatre”