August In England by Lenny Henry, Bush Theatre, 6 May 2023

I hate to sound smug…actually that’s not true…I delight in the smug thought that it was my idea to book this one, back in November when the Bush Theatre spring season was first announced.

Janie had of course consented to booking it but then largely forgotten all about it, as indeed had I, until the date grew near and we re-engaged with the production.

“Isn’t Lenny Henry a stand-up comedian? I don’t like stand-up comedy,” said Janie.

“He moved on from stand-up comedy a long time ago. Lenny Henry writes – this is a proper play.”

“Do you think he’ll be there on the night?”, asked Janie, who had clearly retained even less about this production than I had.

“I do hope so. It is a one-man show written and performed by Lenny Henry, so it will be more than a little bit disappointing if he doesn’t show up.

Lenny Henry did show up. His grounding in stand-up comedy was never too far away. He opens the play by endearing himself to the audience, not least by giving a few lucky punters a tot of rum. He then tells the story of his character, August Henderson, through a mixture of witty, bitter-sweet and some out-and-out funny anecdotes.

August’s life in Dudley/West Bromwich echoes that of the young Lenny Henry, although August must have been born a few years before Lenny Henry and, unlike Henry himself, the August character was born in Jamaica and brought to England by his mum as an infant. This subtle distinction is fundamentally important as the story unfolds.

Lenny Henry has superb stage presence. Not only does he still “have what it takes” to deliver anecdotes like a top-drawer stand-up comedian, he also dramatizes August’s sad story masterfully through words, expressions and movement. He tells the tale of his love for Clarice and the three children they produce. Also his love of reggae and ska music. His anecdote about skinheads especially resonated with me:

They loved reggae and ska in the beginning, but after a while they stopped loving us. I still don’t know what changed.

I’ve always wondered about that.

The nub of August’s story – or at least its denouement – is the Windrush scandal – the appalling 2012 Government policy creating a “hostile environment” for people who do not have leave to remain in the UK. While this policy was not targeted at people who had been British citizens in former Empire and Commonwealth countries, thousands of people from the Windrush generation – mostly people who came as children from the Caribbean in the 1950s and 1960s, were caught by this ill-considered change in law and policy. People lost their homes and/or their jobs – many were even deported, despite protections that had been enshrined in earlier laws specifically to prevent such injustices. I shouldn’t get on my own political high horse about this, but I’m going to anyway – the whole affair was a shambolic political sh*t-shower which made me (and many others who share my sense of justice) profoundly ashamed of my own Government.

August’s story unfolds with more subtlety than my paragraph above. Yes, really.

The ending of the play is shocking, poignant and thought-provoking. I especially liked the technique – borrowed from verbatim theatre – of getting several real people who were caught up in these injustices to tell their own stories on the screen. It brought home the reality in a way that the comedy drama – delivered by Lenny Henry’s flawed but loveable character August – could not manage alone.

Here is a link to the Bush resources on this play/production. I’d recommend this play/production highly. Unfortunately this run is sold out, but hopefully it will get a transfer as it deserves a bigger audience than five or six weeks-worth of Bush Theatre aficionados.

Mostly rave reviews and deservedly so. Click here for a link that should bring up most if not all of them.

Smug? Moi?

Strange Fruit by Caryl Phillips, Bush Theatre, 15 June 2019

I have long been a fan of Caryl Phillips‘s writing; I discovered his novels in the mid 1980s and have several of his books in hard cover.

So I was excited to see that he had written a play, although, when I booked Strange Fruit at The Bush, I didn’t realise that it was an early work, written in the early 1980s, prior to the first of the novels.

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

Below is the trailer:

I think Janie and I saw a preview, although it is hard to tell at The Bush when press night might be without doing deep research.

In any case, we found the production slick and the acting truly excellent.

Written and set in the early 1980s, the play covers some fascinating aspects of African-Caribbean culture and issues from that time, many of which resonate strongly with issues of migration and identity in our current troubled times.

In truth, the play is somewhat unsubtle, starting in a rather tinny, scene-setting style and tending towards melodrama at the end, in ways that Caryl Phillips clearly ironed out as a writer very soon after writing this play.

But there are flashes of brilliance in the writing and the characters, while somewhat stereotypical, are tragic and engaging.

In fact, the whole piece is engaging throughout; although the play is rather long for the simple story it tells, the piece held our attention throughout.

This is not a play that will cheer you up if you seek some light entertainment. It will make you think about the issues and if you like visceral drama then it is most certainly for you.

Formal reviews, if or when they come, should be available through this link – click here.

Bush Theatre
The Bush Theatre at night. Photo by Guy Bell –
licensed under the Creative Commons Attribution-Share Alike 4.0 International license.

The Bush does not shy away from producing plays of this kind and that’s one of the reasons we like the place so much.

Class by Iseult Golden & David Horan, Bush Theatre, 11 May 2019

Gosh, this Irish play, which has done well at the Abbey and in Edinburgh before finding its way to London, got me and Janie debating the issues robustly for most of the weekend.

Which is a good thing.

The scenario is simple enough and well described in the Bush information about this production – click here – and in the video trailer below.

The play is basically about a teacher’s attempt to help a young boy, Jayden, who is struggling in class, while the parents have separated and are struggling with their relationship and the needs of their children. The play is a tragicomedy – some scenes are genuinely funny, but the underlying sadness of the situation is the prevailing emotion.

The acting was very high quality; Will O’Connell, Sarah Morris and Stephen Jones are all three fine Irish actors. The latter two, who play the parents, also play 9 year-old Jayden and one of his female classmates. It must be very challenging to switch from parent to child mode many times over in one performance, but these two do that well.

The class of the title has, in my view, a double meaning; not only the classroom in which the entire play is set but also the social class difference between the teacher and the families whose children he teachers. It is that class divide, in my view, that drives many of the events that occur in the play, both on stage and also offstage.

We were really impressed and very pleased that we have now seen this play. We read about it when we were in Edinburgh last year and couldn’t get tickets to see it at the Traverse, so were delighted to see it scheduled at one of our beloved local theatres, The Bush, this spring.

Reviews can be found through this link – mostly from The Traverse at the moment I type this, but that might have changed by the time you click.

Class runs until 1 June 2019 at The Bush. We’d recommend Class highly if you like your drama uncompromising yet witty.

Misty by Arinzé Kene, Bush Theatre, 17 March 2018

Janie and I both found this a very entertaining and unusual piece. A one man show written and performed by Arinzé Kene.

Friends who have seen my own little Mithras performance from earlier in the week – click here or below…

The London Mithraeum With The Gresham Society, 15 March 2018

…might expect Misty to be a sort-of jazz standards musical. You’d be so wrong.

So is Misty a play, a rap musical, an installation performance or what? It is sort-of all of those things.

Click here for a link to the Bush resource on this piece/production.

Below is a trailer showing one of the rap numbers from the start of the piece:

Below is a short “meet the writer” interview:

Kene explains that it is a piece about trying to write such a piece…

…which I suppose makes it a post-modern performance piece.

There’s some weird imagery too, with some orange balloon motifs acting as a recurring theme.

I don’t think this piece is aimed at the traditional theatre audience, but we were captivated by it.

We liked the poetry of Arinzé Kene’s language, we liked the music – both of the musicians, Adrian McLeod and Shiloh Coke (you can see them in the City Creature vid above) were excellent – I was especially impressed by Shiloh Coke, a young multi-instrumentalist – she should go far.

Arinzé Kene is a very talented rapper, along with being a talented writer and actor/performer.

At the time of writing Misty has only just opened, so you should be able to get to see it over the next few weeks – highly recommended as an unusual but entertaining theatrical, musical, image-filled evening.

The B*easts by Monica Dolan, Bush Theatre, 17 February 2018

This was a very interesting piece about sexual exploitation of children, written and performed by Monica Dolan, who was excellent on the stage.

Click here for the Bush resource on this play/production.

Janie got more out of the piece than I did – I found the ending a little contrived and felt the piece lacked drama. It is difficult to make monologues truly gripping – we’ve seen some corking good ones lately. This one is redeemed for me, though, because the piece is so interesting and Monica Dolan is such a strong stage presence.

Below is the trailer…

…and below is a “meet the writer” vid:

The reviews are, deservedly, pretty darn good – click here for a search term that finds them.

Another winner at The Bush as far as we are concerned.

The Believers Are But Brothers by Javaad Alipoor, Bush Theatre, 3 February 2018

“Please leave your mobile phones on and be sure to set the volume to loud”…

…is not an entreaty you’ll often hear in the theatre just before the start of the show, but for this show it makes a great deal of sense. It makes even more sense to join the Whatsapp group set up for the piece – not a requirement but an experience-enhancing move for sure.

The scene as we entered the theatre

Janie and I both obliged, but while I found all the social media discussion and exposition fascinating, Janie got lost in the techiness of it all and said the piece left her cold…

…which is a shame.

Because the story was, in my view, well written and well told by writer/performer Javaad Alipoor. He shows, through the stories of three disaffected young men, how people can be radicalised through social media, both to Islamic extremism and also to alt-right type fanatical politics.

Janie said she found the whole idea of it rather depressing. It didn’t make me feel that way. Concerned, yes, but not depressed. Disaffected youngsters have always been susceptible to extremism – social media is just the modern way of grooming and recruiting them.

I’m more concerned with the ways social media seem to be polarising opinion and dragging communities apart from each other, rather than fulfilling their potential role as universal media that can bring people closer together.

But that’s another story…and if Javaad Alipoor wants to write a play about that, I’d be up for seeing more of his work…

…but Janie might not be so keen to go with me.

Here is a link to the Bush resource on this piece/production.

Mixed reviews from me and Janie – similarly mixed reviews from the critics – click here for a search term that finds them.

Parliament Square, James Fritz, Bush Theatre, 16 December 2017

Janie got far more out of this one than I did. It’s only fair to say that the critics tended to agree with Janie rather than me.

Here is a link to the Bush Theatre resource on this show.

The story/scenario is an interesting and potentially moving one. But I struggled to put aside the foolishness of the protagonist; the way she went about her protest being destined to fail in so many ways. I even struggled to suspend belief and roll with the plot line.

It was very well acted and the sparse design/setting, performed in the round, suited the piece very well.

This search term should find you reviews and stuff – click here.

Here’s the trailer:

 

Of Kith And Kin by Chris Thompson, Bush Theatre, 28 October 2017

Another night at the theatre, another enjoyable evening despite a rather messy play.

We enjoyed Of Kith And Kin, especially once the narrative got past the rather sitcom meets soap opera first act. There were interesting issues and a nice mixture of comedy, tension and tragedy.

But my goodness did we have to suspend belief a lot at times. No amount of desperation, deep-seated psychological damage and troubled back story would, in my view, lead a solicitor to behave as Daniel behaves at times in the second and third acts.

The acting felt a bit patchy too. All three female parts were very well-expressed but the central (male) couple felt a bit weak at times. Perhaps it was the play. Perhaps it was the way the play was directed.

The Bush has published a trailer on YouTube:

The Bush anchor and details can be found by clicking here.

I’ll guess the play will get/is getting mixed reviews – this search term should find whatever is out there whenever you come to look.

Still, we had a good evening.

We met again the nice young chap who sat next to us and chatted with us at The Gate the other week, serving behind the bar at The Bush.

We tried a very tasty Thai takeaway from the Sisters Cafe in Pitshanger Lane after the show.

Forget Me Not by Tom Holloway, Bush Theatre, 19 December 2015

A powerful evening at the theatre, this play.  It is about the forced migration of thousands of British children to Australia in the quarter-of-a-century or so after the second world war.

Janie came away from the play feeling very angry about the Australian Government, although in truth the Church and the UK Government have just as much to answer and apologise for; which, to some extent, all these parties have done in recent years.

The play is focused on one such child’s story and the impact this ill-thought policy had on his life and the lives of those around him – explained well in the Bush Theatre rubric – click here.

It is superbly acted by all four actors and well produced at the Bush, one of our favourite places at the moment, putting on interesting work with a consistent high quality; very few misses there.

Michael Billington was full of praise in his Guardian review – click here.  Henry Hitchings in the Standard was perhaps even more keen on it – click here.

It was originally produced at the Belvoir Theatre in Sydney in 2013, where it also seems to have gone down very well – for information and reviews click here.

It is quite a short evening at the theatre, which was just as well for us, as Janie and I wanted to go on to Lisa Opie’s party afterwards and get there before most people had left, which we achieved.  The party did a jolly good job of cheering us up again after this sobering but gripping evening at the theatre.

F*ck The Polar Bears by Tanya Ronder, Bush Theatre, 12 September 2015

This play/production at the Bush Theatre made for a very good evening.

The communications head for a giant energy company faces issues of climate change in the discomfort of his own increasingly dysfunctional household. This sort of play is fun but it also makes you think. The Bush does this sort of play well.

Click here for the excellent Bush stub with all the information you might want about the play/production.

It didn’t get fabulous reviews, despite the fact that we really liked it:

Oh well. We did.