Tag: Alexandra Faye Braithwaite

A Bruising Night At the Theatre: Cougar by Rose Lewenstein, Orange Tree Theatre, 2 February 2019

We booked to see the Saturday preview of this one more or less as soon as it was announced – it looked right up our street from the rubric – click here for that rubric.

Sort of chamber play, sort of about big global issues, some top quality, familiar (to us) names in the cast and crew…

…not least Chelsea Walker whose work as a director had impressed us recently with Yous Two at the Hampstead Studio and Low Level Panic at the Orange Tree – click here or below for the former which includes a link to the latter:

Yous Two by Georgia Christou, Hampstead Theatre Downstairs, 20 January 2018

One thing I had forgotten about Yous Two was our beef about the set and the resulting sight lines. Strangely, that indifference to audience concerns was replicated in the set of Cougar.

The designer, Rosanna Vize, has designed the sets for a great many plays we have seen recently, as a click through to her Ogblog tab reveals. Her sets are always imaginative and only occasionally impede the audience – in the case of Cougar both physically and visually. The ushers asked us not to walk on the set as we entered the auditorium, but we needed either to walk on the set or stomp on a couple of audience members in one or two places – we went for the set.

Back to the play – here is the trailer:

The play is basically about an increasingly chaotic, globe-trotting relationship between a forty-something woman who is a big cheese, professional environmental expert and her twenty-something lover/paramour. It is a short piece – about 75 minutes long.

An interesting and intriguing play in many ways. The power woman comes across as a rather one-dimensional monster at times, yet her self-centred, ego-fuelled behaviours would seem less monstrous and more nuanced if the gender roles were reversed.

The cross-over between the global issues around climate change and the domestic issues of excessive consumption of resources (real and emotional) pervaded the piece rather well. The short scenes jumping forwards and backwards in time seemed more like a device to maintain the sense of chaos and confusion than an essential structural device for the (straightforwardly linear) story.

If we were being hyper-critical, Janie and I agreed that the female role is perhaps over-written and the male role under-written. Rose Lewenstein more or less owns up to that in the interesting programme interview. Well acted by Charlotte Randle and especially Mike Noble.

Anyway – amongst all this – why have I described the experience as bruising, I hear you cry?

Well, in one chaotic scene, the young man smashes a camera, which I imagine is supposed to break on the stage but not spray everywhere…but spray it did – with the lens (an 18mm-55mm beastie, seeing as you asked)…

Canon EF-S 18-55mm
Muhammad Mahdi Karim [GFDL 1.2 (http://www.gnu.org/licenses/old-licenses/fdl-1.2.html)], from Wikimedia Commons

…flying at me, striking me on the shin. Ouch.

A few minutes later, in another chaotic scene, the young man who has a couple of walk-on, walk-off moments (I assume Ryan Laden, who is thanked in the programme) ran off the stage in the dark, crunching into the same leg as he ran. Ouch again.

Janie wondered if I was OK. I felt a bit like the Black Knight in Monty Python and the Holy Grail: “Tis but a scratch”…

…although my equivalent phrase was, “Tis nothing – I play hard ball sports”.

When we got home after the show (and after dinner at Don Fernandos) Janie offered to put some arnica on my bruises.

Oh, that is a big bruise…

…said Janie, admiring a bruise on my left leg.

That’s one I picked up playing real tennis last week. The new bruises are on the right leg,

I said.

I’m sure the cast and crew will work on those production issues between now and press night. It would be well worth going to see this play/production if you read this piece in time – it runs until 2 March 2019. Perhaps best not to book the front row for this one, though, unless you are as brave as The Black Night or a Mountain Lion (Cougar).

Malcolm [CC BY-SA 2.0 (https://creativecommons.org/licenses/by-sa/2.0)], via Wikimedia Commons
Malcolm [CC BY-SA 2.0 (https://creativecommons.org/licenses/by-sa/2.0)], via Wikimedia Commons

Dealing With Clair by Martin Crimp, Orange Tree Theatre, 24 November 2018

We thought this was a fabulous piece and production – once again a superb evening of theatre at the Orange Tree.

Here is a link to the Orange Tree on-line resource for this production.

We’ve been interested in Martin Crimp’s writing for years. Sometimes his plays are a bit too weird even for us, but they always make us think and are usually chock-full of suspense and creepiness.

Dealing With Clair is no exception. One of Crimp’s earlier works this, when he was writing exclusively for The Orange Tree, it is very loosely based on the Suzy Lamplugh tragedy, which occurred a short while before the writing of this play and not too far away from Richmond.

Yet, this play from 30 years ago seems very contemporary and relevant today in this production.

The whole cast was excellent.

Our hearts sank a little when we saw that the designer had gone for one of those “behind a screen” designs, which we tend not to like, but actually it worked extremely well for this production, not least because the screen is removed at a telling moment in the play.

By gosh the play is creepy. We were talking about it a lot, for ages, after the evening – which is usually a sign that a play/production has really affected us – which this one surely did.

There are plenty of review snippets on the above links to the Orange Tree, but click here for links to the full reviews – mostly very good ones which the production thoroughly deserves.

I keep saying it, but the Orange Tree is doing great work at the moment – I hope they keep it going.

Acceptance by Amy Ng, Hampstead Theatre Downstairs, 3 March 2018

A truly gripping and fascinating moral drama about a young musical prodigy from Hong Kong applying to an elite university in the USA.

Here is a link to the Hampstead resource on this play/production. 

As the rubric infers, all is not as it seems in this play. Our assumptions and prejudices get tested to the limits, as do those of the characters.

Below is the trailer, with short interviews with the cast and creatives:

The young prodigy obsesses about some Bach, so I was tempted to headline this Ogblog article “Baroque And Enroll”, but Janie says that such a headline would be crass for such an emotive play.

It is certainly a very thought-provoking play and it is potentially a very moving production too.

We saw the second preview of this play/production, so it is possible that one or two of the wrinkles we observed will have been ironed out by the time it gets to press night.

The main wrinkle for us was the see-through screens that divide the stage from the audience. The purpose (if any) behind this device was unclear…as was some of the sound that emanated from the stage as a result of these clear screens. More importantly than the slightly muffled sound was the sense that we, as audience, were somewhat separated from the action. This is a highly emotive piece, yet the audience seemed strangely numb to it – I think the audience would far better be able to embrace and respond to this piece without the screens.

Another wrinkle, for me, was the complete absence of the particular piece of music that seemed so central in many ways to the story; the Mercy Aria – Erbarme Dich, from Bach’s St Matthew Passion.

While I imagine that the cast and crew didn’t want the play/production to be compared too readily with Death And The Maiden, the differences between the two plays are great and the similarities are there whether you use Erbarme Dich or not.

Erbarme Dich is described in so much detail, referred to so often and is so significant to the plot. Even if they simply played the violin part of Erbarme Dich right at the end of the play, I think it would have helped.

Even as seasoned Baroque-oholocs, Janie and I had to dig out Erbarme Dich and listen to it when we got home to remember exactly what the piece sounds like – most of the audience would have been even more in the dark.

Below is a beautiful rendition of Erbarme Dich:

I really thought Acceptance was a superb play – just the second play by Amy Ng, another new playwright to watch. The disturbing issues raised by this play are covered with a confident blend of subtlety, sensitivity and visceral moments.

The acting was truly excellent.

I would thoroughly recommend seeing this play/production even if the production team doesn’t make a few changes, but I sincerely hope that they will gauge audience reaction and make the few tweaks I think it needs to turn this production into an absolute stunner.

No reviews yet at the time of writing – this search term – click here – will find them when they come.

Jam by Matt Parvin, Finborough Theatre, 16 June 2017

This was not the best Friday evening Janie and I have ever had.

First stop was the Finborough Theatre – our latest hot place – in several senses of the term that evening – it had been a scorcher of a day and was still well hot early evening. The heat in part explains our irritability.

I deposited our “friendship form” with the delightful volunteers at the ticket desk who were unsure what to do with the form, making an almighty fuss about it until someone senior enough came downstairs, grabbed the form and took it away. By this point, Janie was convinced that the senior response was inadequate in the circumstances, whereas I was convinced that it was fine; all I had wanted to do was save myself the price of a stamp by handing the thing in rather than posting it.

We were there to see Jam by Matt Parvin – click here for Finborough resource.

The acting was superb and the subject-matter really interesting, but Janie and I both found it nigh-on impossible to suspend our disbelief in the behaviour of the characters,  in particular the school teacher, given the situation.

Before any savvy readers start to think that we read reviews and then find ourselves seeing the production as reviewers would have us see it, I should say that it is our habit studiously to avoid reading reviews until we have seen a production and formed opinions for ourselves.

But on this occasion, our friend, Michael Billington’s review in the Guardian – click here – sums up almost exactly how we felt and how we discussed it in the minutes/hours after we left the theatre.

David Ralf in The Stage is kinder on the piece; “a touch contrived”. He is also full of deserved praise for the quite excellent performances by the two on stage; Jasmine Hyde and Harry Melling – remember where you heard the names first.

Long before we got to the theatre, Janie and I had agreed that we had a crazy craving for Persian food – Mohsen’s. This craving was only exacerbated by references to the Iranian origins of the teacher character in the play.

But it turned out that Mohsens is closed for a refurb at the moment.

No matter, we thought, Alounak is still there and not such a detour for us. Well, we used to be fans of Alounak’s food, but the standard seems to have declined considerably – at least to our taste. Now we can hardly wait for Mohsen to reopen.

Not the most successful Friday evening ever – but then there was still Saturday evening to come and that turned out to be an altogether more pleasing experience…

…I guess it was a case of “jam tomorrow”.

Diary Of A Madman by Al Smith after Gogol, Gate Theatre Notting Hill, 29 July 2016

I rather liked the idea of this modern adaptation of Gogol’s magnificent short story, Diary of a Madman, set in modern Scotland.

This show is going to Edinburgh in August and then running at The Gate Theatre in September, but we booked for one of three previews at The Gate, which we thought would be a good way to see the production.

The play and production certainly had its moments, but also had some longueurs. Perhaps these will be ironed out between preview and main show, but the preview ran for some 90 minutes and I suspect that 60 to 70 would work better; there is certainly at least 20 minutes-worth of material, mostly earlier in the piece, that is surplus to requirements and made the play seem slow.

But it was very well acted and there were some lovely ideas in there. The bar scene towards the end was a wonderful mixture of anarchic, comedic and suspenseful drama. Some of the topical humour about referenda should play well, especially in Edinburgh.

Here’s a link to the Gate resource on the production. Too early for reviews at the time of writing, but perhaps not at the time of reading.

Janie particularly enjoyed the pea soup followed by “Big Al” pasta dish at Chez Clanricarde after the show.

 

The Rolling Stone by Chris Urch, Orange Tree Theatre, 16 January 2016

We seem fated to sit next to the luvvies this year. Last week Daisy ended up with Benedict Wong sitting next to her at The Royal Court. Then earlier this week, she took a call from the Orange Tree , to see if we minded shifting up one seat on our row to make space for an actors’ seat. I’m not sure what would have happened if we had refused this request. Anyway, I ended up with half the cast sitting next to me at one time or another (not all at the same time).

Don’t let the jovial start to this posting deceive you. This was another bleak piece about troubled people in a troubled place. This time the place is Uganda and the story is basically that of a young man who gets himself and his religious family caught up in the persecution of gay people. At no point in the play would you sensibly anticipate a happy ending.

The play has won awards and is another of Paul Miller’s canny transfers from Royal Exchange Manchester, where it was deservedly very well received – see synopsis, reviews from Manchester (presumably, eventually, also from Richmond – we attended the last Oraneg Tree Preview), cast and creative credits here.

This is only Chris Urch’s second play, so his is certainly a name to look out for in future.

The title, The Rolling Stone, refers to a newspaper in Uganda that acts as a focal point for persecution by naming and shaming homosexuals.  You’d need a heart of stone not to be moved by this production and the real life plight of gay people in Uganda (and indeed many parts of the world), which this play puts under the spotlight.