I revisit debbie tucker green’s random, this time on screen, 13 years after seeing it onstage, and am still blown away by Nadine Marshall’s talent and the delicious Mariah Carey shade
“Never trouble trouble til trouble trouble you”
debbie tucker green’s play random has a special place in my heart as it was the first show I ever saw at the Royal Court, back in 2008. I may have liked rather than loved it at the time but the urgency of Nadine Marshall’s solo delivery lingered long in the mind, particularly in the way her performance encapsulated several members of the same family, first going about their daily business and then reeling from a traumatic shock, a random act of violence.
tucker green directs her own adaptation here and finds an intriguing way to blend that monologue form with a wider visual representation of the world it depicts. Marshall returns as Sister, who once again inhabits all the dramatis personae of the story, but tucker green intersperses her backstage-set delivery with on-location shots featuring those characters, sometimes even letting them speak their own lines. Continue reading “Film Review: random (2011)”
The National Theatre’s New Views playwriting competition for 14 to 19-year-olds throws up some real winners in its shortlist.
This year’s New Views programme saw the National Theatre engage with 74 schools across the UK, offering workshops with writers like Luke Barnes, Dawn King, Winsome Pinnock and Chino Odimba to help 14 to 19-year olds learn about writing plays. Over 300 plays were then submitted and 10 shortlisted. The winning play – If We Were Older – is receiving a full production and the other 9 are getting the rehearsed reading treatment, some of which I was able to catch.
I really enjoyed It’s More Than Okay Levi by Robert Lazarus (Haberdashers’ Aske’s Boys’ School, Hertfordshire) – crying at plays about Alzheimer’s is my jam (the kind of emotional torture I like to put myself through…) and even in the reduced circumstances of this reading, I have to say there was a tear or two prickling away. Continue reading “Review: New Views – Rehearsed Readings”
On the one hand, that the Vault Festival has expanded to over 300 shows running over 8 weeks is fantastic news for the emerging theatremakers that it supports. On the other, it means making the choice about what to see, even tackling the catalogue alone can feel somewhat daunting. It has taken me a wee while to get round to delving into it myself, but as the festival is set to open this week, here’s some of my top tips for each week. Continue reading “2018 Vault Festival – what to see”
“It’s something about my appearance that I can control”
The Women on the Edge session of the Women Centre Stage: Power Play Festival featured three works that were commissioned and developed from the 2015 festival held at the National Theatre. This just happened to include one of my favourite pieces from across the entire day – Camilla Harding and Alexandra Sinclair’s Man Up! Deceptively simple in its format yet deliciously complex in its subject matter, the pair give the lie to conventional gender norms and make a fabulously compelling case for the importance of recognising gender fluidity in society.
Their stagecraft is ingenious too, transformations subtly worked so that they were halfway complete before you clock exactly what’s going on. Judith Jones and Beatrix Campbell’s Justice has no such ambiguity about it, an emotionally bruising look at the lasting impact of the Cleveland child abuse scandal and the trials its victims face in trying to escape its shadow, in search of a truth, a resolution that might somehow set them free. Directed by Ros Philips, Claire-Louise Cordwell’s damaged warrior of justice is a brilliantly thorny part and contrasted well with Kathryn O’Reilly’s softer but no less fierce budding campaigner. Continue reading “Review: Women Centre Stage: Power Play Festival – Women on the Edge”
“What’s your life plan?”
Unless you’re a friend of Nigel Farage, it’s hard not to feel that we’re all screwed at the moment. But Kathryn O’Reilly’s play for Theatre503 has a slightly different perspective, looking at a particular part of Broken Britain with a bleak sense of despair. Screwed opens with 30-somethings Luce and Charlene battling through an epic hangover while they try to get away with doing as little as possible in their dead-end factory job, screwing fixings onto pieces of metal hosing.
It’s no one-off though – the entirety of their existence is taken up getting from one drunken night out to the next, trying to score as much cocktails and cock as they can, snorting poppers and necking miniatures along the way. Rocking up late to work and relying on caffeine pills to get through the day, they’re barely holding it together but their self-destructive behaviour seems to know no bounds – it’s only the intervention of others in their lives that disrupts the flow of vodka. Continue reading “Review: Screwed, Theatre503”
“The problem with Hannes is…”
One can always rely on the Arcola to bring interesting writing to light and in the form of the VOLTA International Festival, Artistic Director Andrea Ferran has managed that four times over, bringing together new work by four celebrated international writers, translated into English for the first time – Christopher Chen, Jonas Hassen Khemiri, Ewald Palmetshofer and Roland Schimmelpfennig. With four directors, James Perkins designing and an ensemble covering all the shows, it proved to be a fascinating festival and one which deserves more attention than it received.
Caught by San Francisco-based Christopher Chen twists wonderfully around notions of truth and fiction as three separate but interlinked scenes toy with how art plays with and changes under our perceptions. Cressida Brown’s direction cleverly plays up how we all find our own truth in everything, no matter how the subject is approached, preconceived notions shaping us even as they’re deconstructed and always, always making us think about what we’ve just seen. Chen takes no prisoners in the complexity of some of his thinking but it’s fascinating stuff indeed. Continue reading “Review: VOLTA Festival 2015, Arcola Theatre”
“Two and twenty horses killed under me that day”
Accompanying their production of Our Country’s Good, Out of Joint have put together a programme of rehearsed readings of various of Timberlake Wertenbaker’s plays and threw in a bonus reading of George Farquhar’s The Recruiting Officer for good measure. It is a natural choice as it is the play which the convicts of Our Country’s Good are performing and in using the same cast here, the actors are able to play the characters they are ‘rehearsing’ in the other piece which has a lovely neatness about it.
Farquhar’s play is deliciously dry and funny, impressively so for a 1706 Restoration comedy, and even with the limited rehearsal time and the cast having scripts in hand, there was a real sense of the rich comic potential of the material. And having seen it fairly recently at the Donmar Warehouse, it was interesting to see the different choices and dynamics that a new company brought. Ian Redford’s older Kite had a weariness of the soul that felt entirely appropriate, John Hollingworth’s take on Brazen was straighter than Mark Gatiss’ out-and-out fop but no less hilarious for it and the doubling that most of the actors did was impressively done and added to the humour quotient. Continue reading “Review: The Recruiting Officer rehearsed reading, St James Theatre”
“In my own small way, in just a few hours, I have seen something change”
Timberlake Wertenbaker’s play Our Country’s Good was first produced 25 years ago by Max Stafford-Clark and his Out of Joint company and as it has remained an evergreen success, in no small part due to regular appearances as a set text for students, a revival makes good sense. And with Stafford-Clark taking on directorial duties once again, it makes for a fascinating chance to see an impresario revisiting a work with which he is inextricably linked.
Much of the appeal of Wertenbaker’s work lies in its celebration of theatre as a cultural medium but also as something more, something that can heal and restore the soul. And so as a group of convicts newly transported to Australia are convinced to put on a play – George Farquhar’s The Recruiting Officer – by an officer of reformist tendencies, we see the transformative power of drama and a subtle shift in the way that punishment is viewed as the idea of rehabilitation comes into play. Continue reading “Review: Our Country’s Good, St James Theatre”
“Please, not the red spanner!”
First things first, Studio 1 at the Arcola is flexible! I have frequently bemoaned the new main room at the Arcola’s new premises for its awkward seating arrangement that provided a restrictive playing space which unfortunately seemed to fly in the face of the playfulness of the old theatre. But for the first time Studio 1 has been reconfigured, into an end-on setting in this case, which hopefully means that the Arcola will continue to explore the new possibilities of their new home. The show that it is currently housing is the ATC production of The Golden Dragon, fresh from a successful run at the Traverse in Edinburgh and subsequently touring the UK.
It is a German play by Roland Schimmelpfennig, translated here by David Tushingham, which defies any easy definition, the website blurb says deconstructed soap opera, I’m thinking more fantastical yet modern fairy tale. Five actors play a whole host of characters and indeed animals, frequently switching gender, ethnicity and age in the smoothest of multiple transitions as the storytelling weaves gently around the heart, only revealing just how powerful and moving it is until its closing scenes by when we’re fully enchanted and in the tight grip of this ensemble. Continue reading “Review: The Golden Dragon, Arcola Theatre”