Rob Edwards, in Duet For One and Separation, at the Octagon Theatre, Bolton
Michael Hugo, in Around The World In 80 Days, at the Royal Exchange
Harry McEntire, in Billy Liar, at the Royal Exchange
Dan Parr, in Britannia Waves The Rules, at the Royal Exchange
Michael Shelford, in Early One Morning, at the Octagon Theatre, Bolton
Clare Foster, in Duet For One and Separation, at the Octagon Theatre, Bolton
Natalie Grady, in Hobson’s Choice, at the Octagon Theatre, Bolton
Suranne Jones, in Orlando, at the Royal Exchange
Maxine Peake, in Hamlet, at the Royal Exchange
Lauren Samuels, in Love Story, at the Octagon Theatre, Bolton Continue reading “The 2014 Manchester Theatre Awards nominations”
“Is that blood on the ceiling?”
Like many things in this country, the National Health Service is something that we all love to complain about – long waiting lists, jam-packed A&E departments, staff without any time to pay enough attention. But it is also an institution that many of us have cause to give huge thanks for, so to see it gradually decimated from within by insidious Coalition politics is a bitter pill indeed to swallow, though it is one which we have taken without too much complaint. Stella Feehily’s This May Hurt A Bit marries her own recent experiences of our health service with an overtly political study of how it has gotten into its current state and how we have let this happen.
Perhaps unsurprisingly, the personal inflections to her writing produce the most effective part of the play. Her partner, who just happens to Max Stafford-Clarke who directs here, suffered a stroke a few years ago and from their interactions with the NHS, comes the story of the elderly Iris and her family who are sucked into the system when she falls ill with a suspected stroke. Stephanie Cole brings a hugely affecting dignity to the role, laced with a cutting sense of humour, as she tolerates the mayhem of a modern overstretched hospital ward and her two adult children (Brian Protheroe and Jane Wymark) bicker by her bedside about whether they should go private or not. Continue reading “Review: This May Hurt A Bit, St James Theatre”
“There’s always going to be an Amala, or the little boy or the fourteen-year-old or the thirty-five-year-old or the elderly lady or the dying man…”
Though Stella Feehily’s Bang Bang Bang is set in the same part of the world as Lynn Nottage’s Ruined – the Democratic Republic of Congo – the focus of this play is less on the state of affairs in the civil war-torn country but rather delving behind the scenes of the charities, journalists and NGOs out there in Africa, looking at how it affects the lives of the humanitarian workers who go out there. Feehily did huge amounts of meticulous research for this play, interviewing a wide range of stakeholders from the international aid business.
As often happens in such cases, there is the slight sense that Feehily has tried to cram in as much of what she has uncovered into the play as issue follows issue and the shocking scene that opens the show is explained through flashbacks and its aftermath subsequently probed. Experienced Sadhbh and newbie Mathilde set out on a harrowing mission to investigate tales of war crimes and end up in differing situations: Sadhbh, already testing the boundaries of her relationship by returning here as her boyfriend back in London shell-shocked from his own experiences as an aid worker wants her to give it up, accepts an invitation to tea with the warlord himself and finds an opposing account of events, and Mathilde finds herself a distraction in the form of photographer Vin, but both women are never far from danger and their choices have massive implications in their perilous circumstances. Continue reading “Review: Bang Bang Bang, Royal Court”