“Any suggestion of a correlation between the leader of a certain nation and the homicidal gangsters we depict is something that the management must strictly disavow”
There’s something special in the timelessness of some pieces of theatre, their themes and arguments as relevant to audiences today as they were when they were written years, decades, even centuries ago. Brecht’s The Resistible Rise of Arturo Ui falls into the middle category, written in 1941 as an allegorical response to his nation’s fall to Nazism, and was magisterially revived at Chichester a few years back.
For their own new production, the Donmar Warehouse has turned to Bruce Norris (Clybourne Park, The Low Road) who doesn’t quite trust the material in the same way, updating it in the most heavy-handed of manners by directly substituting Trump for Hitler. It’s an arresting move and indubitably pertinent in the way in which it expounds on the exploitation of a particularly toxic brand of populist politics. Continue reading “Review: The Resistible Rise of Arturo Ui, Donmar Warehouse”
“Must a Christ perish in every age to save those that have no imagination”
This is Bernard Shaw’s Saint Joan but very much via Josie Rourke, as the medieval piety of the pre-show entertainment gives way to the uber-modernity of this interpretation with the opening flourish of a tablecloth being whipped away (more impressive than it sounds!). The gods being worshipped here are high finance and business as scenes are set in companies like Vaucouleur Commodities Brokerage and Dauphin Holdings, Evan Davies and Bloomberg news tickers give us regular updates and it is in the midst of all this that Gemma Arterton’s Joan arrives, the sole figure in period dress.
Dealing with an amusing take on the egg crisis of the first scene, and using Skype to correctly identify Fisayo Akinade’s spoiled manchild heir of a Dauphin in the next, the modern take is clever but there’s a strange tension that never quite resolves. The text has been cut but not completely modernised, so talk of battles and forts sit alongside the rise and fall of stocks and shares and it doesn’t settle into an interpretation that didn’t leave me going ‘you what now’ until it starts to play the drama straight as in the English plot to bring about the downfall of the woman uniting the French against them. Continue reading “Review: Saint Joan, Donmar Warehouse”
“There is only one way of treating men, with the iron hand … yield one demand and they will take six”
The list of the NT2000 top 100 plays is an interesting one, full of the sort of plays I wouldn’t ever have chosen to see and so using it as a guide to stretching my theatrical viewing has been illustrative. Which is a roundabout way of saying the latest play I wouldn’t necessarily have chosen for myself that I went to see was John Galsworthy’s 1909 Strife at the Minerva in Chichester, incidentally marking Bertie Carvel’s directorial debut.
Set around an industrial dispute at a Welsh tinplate works where a strike has been running for six months, Strife examines the stresses this places on all concerned. The workers, who don’t have the support of their union; the board, who have travelled from London to thrash out a compromise; and the firebrand leaders of each faction who might not be so different as all that, each equally stubborn in refusing to budge from their position. Continue reading “Review: Strife, Minerva”