Anatomy Of A Suicide, Alice Birch, Royal Court Theatre, 3 June 2017

I don’t suppose we booked a play named “Anatomy Of A Suicide” expecting to go to the theatre for a jolly time. Which is just as well.

In any case, the Vicky Featherstone regime at the Royal Court specialises in miserablist theatre, as I have discussed elsewhere, so we knew what to expect.

We chose this play because the synopsis sounded very interesting and because we enjoyed Alice Birch’s play, Little Light, a couple of years ago at the Orange Tree. We also tend to like Katie Mitchell’s work as a director. Rarely conventional, almost always interesting. This piece was no exception.

The play is about three generations of women. As the story starts to unfold, each scene in effect depicts three scenes, one for each of those generations, being shown to the audience at the same time.

If that sounds like information and sensory overload to you, then you are spot on; that is exactly what it is. In truth, most of the time there are two active, dialogue scenes and one less active, minimal or no dialogue scene. But still, a heavy sensory load, if not overload.

Further, the play is two hours long without an interval, which is a heck of a long time for drama without a break, even in the easiest of scenarios. Which this isn’t.

Janie described the experience immediately afterwards as feeling like we’d been put through a mental ringer.

And yet it worked as a play and we were both really pleased we’d seen it.

At first, I’m sure both of us were thinking “what on earth is going on here?”, but as the play pans out, the central device becomes apparent and you do get a good sense of what is happening in each of the three generations and how the earlier generations’ events impact on the later generations and how the later generations’ events echo those of the earlier ones.

The acting is superb. Hattie Morahan we’d seen before – in The City by Martin Crimp alongside Benedict Cumberbatch – that’s two weeks in a row the ubiquitous Cumberbatch has had a mention on Ogblog – I told you he’s everywhere. Mind you, that’s two weeks in a row for Martin Crimp as well.

Paul Hilton is a fine actor who we’ve seen several times – he does a grand job in this play. As does Kate O’Flynn – indeed all of the cast were very good.

It must be fiendishly complicated to direct and perform – like a dramatic symphony with so many different parts which have to time and sound in harmony with each other. In fact, we were at the first preview and Katie Mitchell stood up before the show to address the audience. She warned us that the piece was so complex to perform that they might have to stop and start in places on this first performance – but apart from a couple of stutters which might have passed for deliberate, the whole thing was done with aplomb that night.

So, despite the play being a grim portrayal of depression and suicide, it was gripping and superbly unusual drama. We’ll remember this one for a long time. For people with sufficient attention span and a sense of dramatic adventure, we’d highly recommend this play/production.

Janie and I certainly both enjoyed a glass or two of white wine with our light smoked salmon and salad supper when we got home; we’d recommend that too.

A different recent supper on a different continent, but I’m sure you get the drift

buckets by Adam Barnard, Orange Tree Theatre, 30 May 2015

An interesting short play, this one, lots of tiny vignettes not really connected other than a general theme around bucket lists.

The title actually is “buckets” with a small “b”. Not sure if that is significant or just modern “mess with capitalisation” stuff.

There’s real “what was that all about” weirdness about this play – I’m pretty sure Janie said that as we left – but still we enjoyed some of the scenes and performances. We had plenty to talk about afterwards.

It reminded me, actually, of the sort of experimental stuff Sam Walters used to do above the pub back in the “original Orange Tree” days.

Excellent on-line resource with all the details, in the modern Orange Tree way – click here. Lots of review quotes in there but tellingly the one from the Guardian is excluded. In his gentle, pro-Orange Tree style I think Michael Billington sums it up very well – click here.

Yes, we went for Spanish food at Don Fernando afterwards, That’s normally what we do.

 

Say It With Flowers: A Selection Of Gertrude Stein Work, Hampstead Theatre Downstairs, 6 April 2013

Janie and I saw this one the day after we got married…

…I’m not sure the thoughts of Gertrude Stein were entirely appropriate for that occasion…

…not that it was always possible to work out from these pieces what the thoughts of Gertrude Stein really are/were.

We really wanted to like this assortment of short pieces. Some of them were really interesting and/or enjoyable. But some were, I suppose predictably, very obscure indeed.

It was very well done – Katie Mitchell and a very strong cast. The downstairs had been transfromed into several performance rooms – the audience had to mill around as the scenes/performers moved from piece to piece. We liked all of that.

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

A rare (at that time) visit to the Hampstead on a Saturday. It was the start of a trend away from Hampstead Theatre Fridays towards Hampstead Theatre Saturdays for us.

No formal reviews downstairs back then, but here is a link to whatever there is to find on the producution.