Review: Royal Court’s Living Newspaper #5

Edition #5 of the Royal Court’s Living Newspaper takes a more reflective approach to great effect

“Most people do it. Not me, I have a conscience”

The Royal Court’s Living Newspaper continues with edition #5 which feels a little less reactive to the headlines and a little more reflective on the state of the world as we find it today. It looks back, probing into how our history has shaped us but it also identifies the precipice of the current moment and how, more than ever, so very much is at stake. 

The quiet fury of Dalia Taha’s A Warning takes aim at Israeli border policies through the medium of books, Kayla Meikle’s devastatingly contained performance a real stand out. And Zia Ahmed’s elegiac scene/unscene finds a brutal poetry in its takedown of the systemic racism in the theatrical establishment, skewering good liberal intentions perfectly. Continue reading “Review: Royal Court’s Living Newspaper #5”

News: writers and cast for Living Newspaper #5

Written by Zia Ahmed, Leo Butler, Guillermo Calderón, Nick Cassenbaum, E.V. Crowe, Maud Dromgoole, Nessah Muthy, Iman Qureshi, Marcelo Dos Santos, Nina Segal, Dalia Taha, Joel Tan and Maya Zbib.

Who has created our country’s past and who is shaping its future? Who gets to have their cake and eat it?

Edition 5 sets out to dismantle histories – be that personal or political – whilst finding allies in bookshop glances, questioning who is desperate for hygge comfort and looking to our comrades and weather reporters for the true future.

As we look back and forward, Edition 5 is a provocation to find joy in the cracks and the spaces left behind. Continue reading “News: writers and cast for Living Newspaper #5”

Review: Boy, Almeida Theatre

“I want to go to Sports Direct”

The august surroundings and let’s face it, the regular clientele of the Almeida wouldn’t immediately make you think it but Islington – the London borough in which it is situated – has the second highest level of child poverty in the nation. The wealth of somewhere like Barnsbury is barely a stone’s throw from deprived areas like the Bemerton Estate and its an issue which simply isn’t getting any better as evidenced by the horrendously out-of-touch approach to wealth of the current administration – “I obviously can’t point to the source of every bit of money…”

Someone who has no choice but to know exactly where every penny is coming from is Liam, the protagonist in Leo Butler’s Boy. Aged 17, he’s got no job, no cash, no motivation and worst of all in this digital age, no smartphone. Emotionally constrained by his teenage inarticulacy, he opts to wander out from his native South London to set off on a journey to try and connect with an old schoolfriend and en meandering route, he encounters a city at its coldest, finding painful isolation even in the most crowded of streets. Continue reading “Review: Boy, Almeida Theatre”

Review: The Early Bird, Finborough Theatre

“You don’t just disappear. You don’t just vanish into thin air.”

The Early Bird at the Finborough should probably come with some kind of health warning, this is some seriously disturbing dark stuff. With a missing child at the centre of this play though, one should not really be expecting an easy time of it. Performed by real-life husband and wife Alex Palmer and Catherine Cusack (half-sister to Sinéad, Niamh and Sorcha and more excitingly, played Carmel the psycho nurse from Corrie!) as Jack and Debbie, the couple struggling to deal with the disappearance of their daughter Kimberley one morning on the way to school. We then follow them as they try and recreate the events of that morning but the aftermath reveals the cracks below the surface and things become increasingly, incredibly creepy.

The design by takis is sensational: the actors are enclosed in a clear perspex cube and surrounded by piles of ash, with just a toy chest inside. Lit harshly from fluorescent tubes below, it is clear they are trapped, both physically and emotionally in their horrific experience, but as the seats are arranged around the box in the round, it is clear that we the audience are also trapped, with nowhere to hide from the unfolding action and the unflinching, coruscating stares of the actors. Continue reading “Review: The Early Bird, Finborough Theatre”