Not-really-a-review: Fairview, Young Vic

I went back to Fairview at the Young Vic

“You have told me every story I’ve ever heard”

I still can’t work out what I want to say about Fairview, a show that by its very nature demands that you don’t give anything away about it (even though saying this itself feels like a heightening of expectation you could do without).

So why not read this piece from Gal-dem instead.

Running time: 90 minutes (without interval)
Photos: Marc Brenner
Fairview is booking at the Young Vic until 23rd January, a returns queue is in operation every night

Not-yet-a-review: Fairview, Young Vic

The Young Vic’s mind-expanding and mind-blowing Fairview makes me shut up, for once. You should book now. 

“I don’t have drama.
‘Girl you got drama. I got drama'”

I’m opting out of writing about Fairview, for now, for a number of reasons, most of which will become apparent when you see the show. And you should really see this show, Jackie Sibblies Drury’s drama is a Christmas gift of a different sort, destined to make you really think and really want to debate the issues it raises. I’ll be back, and I’ll be considering the right way to respond, if at all. Until then, get booking.

Running time: 90 minutes (without interval)
Photo: Marc Brenner
Fairview is now booking at the Young Vic until 23rd January, a returns queue is in operation every night

Nominations for 2018-2019 Outer Critics Circle Awards

John Gassner Playwriting Award
Charly Evon Simpson, Behind the Sheet
Jeremy Kareken, David Murrell and Gordon Farrell, The Lifespan of a Fact
Donja R. Love, Sugar in Our Wounds
Ming Peiffer, Usual Girls
Jeremy O. Harris, Slave Play

Outstanding Actor in a Musical
Brooks Ashmanskas, The Prom
Reeve Carney, Hadestown
Damon Daunno, Oklahoma!
Santino Fontana, Tootsie
Steven Skybell, Fiddler on the Roof (in Yiddish) Continue reading “Nominations for 2018-2019 Outer Critics Circle Awards”

2015 Offie Award Winners

Offies Awards - Off West End Theatre Awards

Best Female
Linda Bassett for Visitors at The Bush and the Arcola Theatre
Laura Jane Matthewson for Dogfight at Southwark Playhouse 
Shannon Tarbet for The Edge Of Our Bodies at The Gate

Best Supporting Female
Leila Crerar for Martine at Finborough Theatre
Vicki Lee Taylor for Carousel at Arcola Theatre
Thea Jo Wolfe for Singing In The Rain at Upstairs At The Gatehouse

Best Male
Patrick O’Kane for Quietly at Soho Theatre
Harry Lloyd for Notes From Underground at The Print Room, Coronet
Robin Soans For Visitors at the Bush and Arcola Theatre Continue reading “2015 Offie Award Winners”

2015 Offie Award Finalists

Offies Awards - Off West End Theatre Awards

Best Female
Linda Bassett for Visitors at The Bush and the Arcola Theatre
Laura Jane Matthewson for Dogfight at Southwark Playhouse 
Shannon Tarbet for The Edge Of Our Bodies at The Gate

Best Supporting Female
Leila Crerar for Martine at Finborough Theatre
Vicki Lee Taylor for Carousel at Arcola Theatre
Thea Jo Wolfe for Singing In The Rain at Upstairs At The Gatehouse

Best Male
Patrick O’Kane for Quietly at Soho Theatre
Harry Lloyd for Notes From Underground at The Print Room, Coronet
Robin Soans For Visitors at the Bush and Arcola Theatre Continue reading “2015 Offie Award Finalists”

Review: We Are Proud To Present…, Bush Theatre

“So, there’s like a lecture that’s only sort of  a lecture and then we did this thing that is kind of like an overview before the the lecture, which is before the presentation.
Does that make sense?”

Some plays leave you thinking, and though it is now a couple of days since I saw the Bush Theatre’s We Are Proud To Present…, I’m still utterly unsure about it. This is the European premiere of Jackie Sibblies Drury’s US hit from 2012 whose full title is in fact We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, From the GermanSudwestafrika, Between the Years 1884 – 1915 and Sibblies Drury has adapted the text for a British cast, and presumably a British audience.

For the play blisters through the weight of our colonial past, the state of current race relations and the ability of theatre to effectively process them, asking if art can find a healing way through such tangled and tortured history to find a potentially brighter future. So it is hard not to feel a little despondent at the way Gbolahan Obisesan’s production plays out, the playwright’s indictment of white people in general so unsettling and thought-provoking, the starkly uncompromising attitude breathtakingly bold. Continue reading “Review: We Are Proud To Present…, Bush Theatre”