This was a very affecting piece. An unusual piece of writing; brilliantly acted, directed and produced.
Another mini triumph for The Gate Theatre since Eleen McDougall took over as artistic director recently. We also much enjoyed The Unknown Island – click here – recently – indeed for Suzy Storck we found ourselves again inadvertently at The Gate on a Young People’s night. Must be some sort of type-casting for me and Janie.
The story is a shocking one, about a young woman entirely dissatisfied with her life, suffering from post-natal depression and getting neither help nor sympathy from her man, mother or anyone else.
All of the acting was top notch, but particular praise goes to Caoilfhionn Dunne, who we saw in another stand out performance not so long ago in Wild at The Hampstead – click here.
“Caoilfhionn” is pronounced “kay-lean”, btw, an Irish shibboleth of a name if ever there was one.
The Q&A afterwards was attended by Theo Solomon and Jonah Russell. Young People’s night was not so heavily populated with young people this time. It was a very jolly mixture of people who stayed on for the Q&A and who asked sensible questions of the team, hosted by Daisy Cooper from the Gate’s production team.
Here is a link to The Gate’s on-line resource for this play/production.
Here is a link to a search term for reviews and stuff – the reviews are deservedly very good indeed.
This piece and production really does deserve a wider audience, both for the quality of the drama on show and for the issues covered in a shocking yet subtle way. I do hope it gets a transfer.
Below are links to four YouTubes: the show’s trailer and then a fascinating three-part interview with the extraordinary director Jean-Pierre Baro:
Wow, this was great.
Funnily enough, the day before our visit, I had run into Vince Leigh (most recently of Orange Tree/The Brink fame) at the health club. I congratulated him on The Brink and we discussed theatre generally. When I mentioned our impending visit to see Wild, he said he was going to see it that very day. He also told me that the production had experienced some technical problems with the set, so although the press night was supposed to be that very day (the Thursday), press night had actually been put back to Monday.
When Janie and I got to the Hampstead on the Friday, I asked the front of house staff whether the technical problems had been resolved for this evening. Two of them exchanged glances and one said, “we’ll find out”!
Well, the coup de théâtre that had (very understandably) had some teething problems came off with aplomb. But it would be a shame if this play and production is remembered only for that.
The play is basically about a character, based on Edward Snowden, disoriented in a “hotel room” in Russia. The dialogue is fast paced and whizzes around a myriad of big, important issues like a maelstrom.
In short, we loved it.
Here’s a link to the Hampstead’s area on this production, which provides plenty of detail, including (we subsequently learn) headlines and extracts from the excellent reviews this play/production deservedly received.
Coincidentally, I ran into Vince Leigh again the morning after the referendum result, this time on the street in Notting Hill Gate. He asked me how we found Wild. I told him and we agreed how good it was. Vince and I then also agreed what a strange day it was, everyone we had spoken to wandering around in a zombie-like state, trying not to cry about the result. I didn’t make the connection at the time, but our disorientation had something in common with that of the Snowden-like character. It felt like several of our walls had come down.