“Girls for now, girls for later, yah?”
Laura Wade’s Posh first appeared in 2010 at the Royal Court, again in 2012 in the West End, and then in cinemas as The Riot Club in 2014 – each time piercing something of the privilege around the Cameron/Osbourne chumocracy moving into Downing Street at the time of the original premiere. A portrait of insidious male privilege, based on the infamous Bullingdon Club, its intersection of masculinity and class proved a springboard for many a white, privileged actor (James Norton, Harry Hadden-Paton….)
The notion of this all-female production, directed by Cressida Carré, is thus one that feels rich with possibility. So to find that the cast is playing the roles as men, legs still spread, names unchanged, genders unbent, feels like a crucial neglect of that potential. For the dissection of misogyny and privilege is a vital part of Wade’s writing and having women play the roles unaltered, without any new insight, lends the piece a fatal sense of play, of pretence, that undermines the seriousness of its intent. Continue reading “Review: Posh, Pleasance Theatre”
“You told me getting pregnant would kill me”
The Sphinx Theatre Writers Group have been developing new ideas for six months now and the penultimate session of the Women Centre Stage: Power Play Festival allowed us to peep at the fruits of their labour. First up was Jessica Siân’s White Lead directed by Chelsea Walker (the pair reuniting after their incendiary work on Klippies last year). Circling around ideas of artistic legacy, both genetic and physical, with a healthy dose of lesbian angst and same-sex parenting thrown in for good measure, Sian’s writing was undoubtedly elevated by fearsomely committed performances from the glorious Kirsty Bushell and Karen Bryson and definitely left me wanting more.
Bunch by Catriona Kerridge, directed by Holly Race Roughan took an interesting route into the world of its mystery, first up contrasting the nature of public and private grief through the all-too-real loss suffered by two young women and the almost manic behaviour of a professional mourner, relishing the shared emotions released by high profile deaths be it Princess Di or the victims of the Soham murders. Bunch took a little while to get going for me but once it did, delivering a hell of a twist, I was again hungry for a continuation. Sara Huxley, Natasha Rickman and Miranda Bell starred in that one. Continue reading “Review: Women Centre Stage: Power Play Festival – Sphinx Writers Group”
“You think because you black you know what it’s like to live in a township?”
In a baking hot schoolyard in a suburb on the edge of Johannesburg, an unlikely alliance gradually builds up between two teenage girls but in a post-apartheid South Africa in its eighteenth year of democracy, the winds of change are blowing strongly across the veld. Thandi comes from a well-to-do Zulu family and has aspirations to be a lawyer, Afrikaner Yolandi is from the rougher side of town and finds herself having to act as a lookout for her brother whilst he strips their teacher’s car for parts. But despite of, or maybe because of, their differences, a bond starts to grow.
Jessica Siân’s Klippies details the progression of this friendship with a startling clarity that speaks so much of the forthrightness of youth but also of a nation that is changing so quickly in some ways, yet unable to let go of the past in others. Illicit bottles of brandy, homemade tattoos and heady passions characterise their tumble into a wondrous seclusion from the real world but try as they might, the scars of racial politics are hard to escape and the differences in their family situations, though equally troubled, threatens to pull them apart. Continue reading “Review: Klippies, Southwark Playhouse”