Unusually we return to the same theatre two weeks in a row, but this time to see a premier of the downstairs play, Kiss Me by Richard Bean.
After the busy end to our week, we were rather relieved to discover that this was a short play – 70 minutes without an interval.
The play is set in the 1920’s. A young WW1 widow has arranged a liaison with a young man through a mysterious doctor who helps women with deceased or damaged husbands to get pregnant, through the services of this young man. It is a strange scenario, but there is some evidence that some sort of arrangement or arrangements of this kind did happen at that time.
The liaison is supposed to take place within strict parameters regarding lack of intimacy and information sharing, but inevitably in the play the parameters soon break down and so the play becomes a more conventional love story, albeit within an unconventional scenario.
It was a little difficult to buy into the conceit of this play lock stock and barrel; the woman’s motivations in particular seemed confused, the man’s a little hard to believe as stated. Still, the acting was good and the play did cover some interesting points about sexual mores, class differences and of course sex discrimination in that era. The young man basically has so many more choices than the woman.
Here is a link to the Hampstead resource for this play/production.
In short, we enjoyed the play and we enjoyed our Mohsen Persian supper too.
This extraordinary play and production completed our January hat-trick of marvellous but grim plays; the first being You For Me For You by Mia Chung, the second being The Rolling Stone by Chris Urch.
Before we set off, I looked up the details on the Royal Court website and called them out to Janie. “It won the Bruntwood Prize for Playwriting in 2013,” I said…
…”hold on a minute, I thought The Rolling Stone was promoted as having that same prize, the same year. What’s going on?”
Turns out, this wonderful (relatively recent) Bruntwood Prize is run biennially and is awarded to four winners each time. So they had both won in 2013.
Yen is in some ways even more troubling than The Rolling Stone. It feels more “on our own doorstep” (not that proximity should make the issues and human suffering any more alarming) and had extraordinary intensity and sway of emotions.
The young cast’s acting was simply superb, Ned Bennett’s directing once again takes the breath away. In short, this play/production deserves all the plaudits and rave reviews it has already received and more besides. You’ll find those here in the helpful Royal Court area.
Janie found this play/production so troubling she said she didn’t sleep so well that night. Very unusual; she is pretty robust and we’ve seen a lot of troubling plays in our time. So this is not for “people of a nervous disposition”. But if you like your drama strong, raw and top notch, try somehow to get hold of a ticket for this one if you can.
I’ve written down 9.00 beside this one, so I think it was a short play that they ran twice an evening.
Looks as though we ate beforehand (Harry’s I’d suggest) and I vaguely remember us both wondering why we’d taken on a late gig on a Friday evening.
But I also recall it was a very lively play that held our attention throughout.
One of those coming of age/rite of passage plays, but very well done.
Here is a link to the Hampstead resource on this production.
Here is a link to other stuff you might find (no formal reviews downstairs of course).
Below is the explanatory vid with director Tim Carroll: