Aleshea Harris’ vengeance-soaked Is God Is is a ferocious breath of fresh air at the Royal Court, with yet another memorable performance from Cecilia Noble
“She made us”
Even as you count off the cultural reference points from Greek tragedy through McDonagh and Tarantino, Aleshea Harris’ Is God Is is a ferocious breath of fresh air at the Royal Court. As it falls in the honourable tradition of many a vengeance thriller, its unique take and razor-sharp perspective makes for a real theatrical surprise.
Twins Racine and Anaia were both disfigured in a fire that they believe killed their mother 20 years ago but when a letter from She arrives, naming her husband, their father, as the culprit, a quest for revenge is initiated. And as they travel from Arkansas to California, their road movie becomes increasingly bloodsoaked. Continue reading “Review: Is God Is, Royal Court”
Vivienne Acheampong, Adelayo Adedayo, Ray Emmet Brown, Ernest Kingsley Jnr, Tamara Lawrance, Rudolphe Mdlongwa, Mark Monero and Cecilia Noble have been cast in the UK premiere of Is God Is written by Aleshea Harris and directed by Royal Court Associate Director Ola Ince.
Is God Is by Aleshea Harris will run in the Royal Court Jerwood Theatre Downstairs from Friday 10 September 2021 – Saturday 23 October 2021 with press night on Thursday 16 September 2021, 7.30pm.
With set design by Chloe Lamford, costume design by Natalie Pryce, lighting design by Simisola Lucia Majekodumni, composition by Renell Shaw, sound design by Max Perryment, movement direction from Imogen Knight, choreography by Jordan ‘JFunk’ Franklin and special effects design by Susanna Peretz. The associate designer is Shankho Chaudhuri, the assistant director is Leian John-Baptiste, the dialect coach is Dawn-Elin Fraser and the fight director is Philip D’Orléans. Continue reading “Late summer casting news”
“‘I think that hate is a feeling that can only exist where there is no understanding”
There’s something a little depressingly predictable about my inability to resist a neat bit of star casting – Marcia Gay Harden’s long-in-the-making UK theatrical debut being the guilty party here. It’s depressing because Tennessee Williams’ Sweet Bird of Youth is a play I wasn’t much of a fan of the one time I saw it before and the heart wasn’t beating any faster at the prospect of sitting through it once again.
And maybe there’s an element of self-defeating prophecy at work because I was bored rigid by Jonathan Kent’s production here for Chichester Festival Theatre. A quiet audience (never seen the upper seats curtained off like that before) sweltered in the stifling atmosphere but sadly, there was no heat being generated on the stage of Anthony Ward’s distractingly-conceived design. Continue reading “Review: Sweet Bird of Youth, Chichester Festival Theatre”
“I feel as sad as the sisters of Lazarus”
A number of the reviews of the first episode of Mum (here’s mine) were cautiously optimistic but commented that Stefan Golaszewski’s writing wasn’t really funny enough for a sitcom, or up to his previous TV show Him and Her. I hope that people persisted with it though, for it emerged as a simply beautiful piece of television, closer to a drama in the end than an outright comedy, and all the more affecting and effective for it.
In some ways, it’s not that surprising that it wasn’t a canned laughter kind of show – an actor of the stature of Lesley Manville, with her nearly 40 years of collaboration with Mike Leigh, wouldn’t do that, would she (I guess My Family being the exception here…). Instead, what we got was a subtle meditation on how life continues after bereavement, working through the stages of grief and minutiae of life over the course of that tricky first year. Plus Manville ate a large crisp in one go, now you don’t get that kind of quality just anywhere! Continue reading “TV Review: Mum”
“Sorry if this isn’t the sort of thing to say at a funeral”
In terms of the Venn diagram of my favourite things, you really could not get more precise than putting Lesley Manville on screen and then following that up with a shot of Sam Swainsbury in his boxer shorts. No, I’m not recounting a dream, this is the actual opening sequence of the first episode of new BBC2 sitcom Mum, directed by Richard Laxton (who worked with Manville most recently in River) – safe to say I’m hooked.
Written by Stefan Golaszewski, probably best known for Him and Her, Mum looks set to be a gently observational comedy rather than a straight-up sitcom. This first episode focused on Manville’s Cathy preparing for the day of her husband’s funeral, dealing with the influx of visitors to her house including her son’s new girlfriend, her brother and his snobbish wife, her ageing in-laws and an old family friend. Continue reading “TV Review: Mum, Episode 1”
“I see a change in this Trinidad”
Moon on a Rainbow Shawl is a 1953 play by Trinidadian playwright Errol John which has rather fallen into neglect, due to a rough time with contemporary producers who wanted it changed. But Michael Buffong has unearthed it in its original state for the National Theatre and given the Cottesloe an intimate Caribbean-infused flavour in this rather gentle production which I found to be rather enjoyable.
We find ourselves in a run-down part of Port of Spain where a group of neighbours are introduced to us along with the travails of their lives, disrupted somewhat by the raucous troops returning from the Second World War, as some concentrate on getting through the daily grind and others dream of escape. Two main characters exemplify these differing approaches: Martina Laird’s empathetic Sophia, a stalwart matriarch figure rooted in this homestead and whose heart beats for everyone , and Danny Sapani’s Ephraim who is determined to carve out a better life for himself in England, even as family responsibilities loom large. Continue reading “Review: Moon on a Rainbow Shawl, National Theatre”