When we booked it, we really liked the sound of this modern Dutch two-hander about loss and relationships.
Poison has been very well received and reviewed, both in its original award-winning Dutch form and in this translation at The Orange Tree.
Excellent cast – it seemed like only a few weeks ago that we’d seen Zumin Varma in the round in West London – directed by the ever-reliable Paul Miller.
Yet for some reason this piece simply did not press our buttons. Perhaps Janie and I had seen this subject matter covered with more power elsewhere. Perhaps the characters came across as rather stiff and cold to us, rather than the bottled-up emotion that (I suspect) was supposed to be portrayed.
It is a short piece and is (as more or less always at the Orange Tree) thoughtfully designed and produced in the round. So don’t necessarily take our word for it.
Here is a link to the Orange Tree resource on this play/production.
Here is a search term that will find you reviews and stuff.
Did we go to Don Fernando to chow down afterwards? You can bet your sweet fabada we did.
Ellen McDougall is the new artistic director of The Gate and this production is a great start to her role.
Based on The Tale Of The Unknown Island, an allegorical short story by Portugese writer José Saramago, four actors enact the piece. It is a very simple story with many-layered themes; to some extent the unknown island is an individual’s capacity to explore personal horizons, to some extent it is an allegorical tale about bureaucracy, leadership, power and colonialism.
Sounds heavy but honestly it isn’t. It is a one hour piece full of fun and little coups de theatre. There’s even a tiny bit of audience participation…but not of the “embarrassing pick on one person” kind.
Here is a link to The Gate’s resource on the play/production. The production has deservedly had superb reviews, links to which can be found in this resource, saving me the trouble.
Janie and I thought we were the oldest people in the audience…
…turns out I had inadvertently booked for “Young People’s Night” – it was simply the only Friday evening we were available!
Still, we are young at heart.
There was a short Q&A session after the show for Young People’s Night. As we were honorary young folk by then, Janie and I stayed on, finding the discussion interesting.
But back to the play/production – it is most certainly well worth seeing; for the story, for the production and for the quality of the performances, all four performers being excellent.
At the time of writing (the next morning), this production still has a week to run; Janie and I would thoroughly recommend it. Hopefully the piece will transfer and allow a wider audience to enjoy this thought-provoking and thoroughly enjoyable production.
My recollection of this one is extremely limited. We saw this on the Saturday evening between my father’s death and the funeral. The programme helps my memory, as does Janie’s recall (also dredged with the help of the programme) and the reviews.
Victoria Benedictsson was a Swedish writer who had a difficult time as a modern woman in the early days of women’s liberation. She killed herself relatively young, but not before writing this loosely autobiographical play in the late 1880s. The play is now seen as a precursor to Scandinavian works such as Ibsen’s Hedda Gabler and A Doll’s House.
I note from the programme that Nancy Carroll played the lead; I subsequently discovered that she is an Alleyn’s alum; good for her. She is an excellent actress. I also spotted in the programme that Paul Miller (now taking the Orange Tree Richmond from strength to strength) directed this production. In the round too; good training for the Orange Tree.
It was clearly one of those slow build, late 19th century dramas. Probably just as well given my/our state of mind that weekend; a frantic, high octane play such as Cyprus Avenue – the piece we saw the other night as I write – would not have gone down well in the circumstances.
Clare Bayley, who wrote the version of the play which was performed in this production, has a good page on this project, including interviews and stuff, on her site – here. She also includes some good quotes from the critics in her piece.
Indeed, it seems to have gone down well enough with the critics that matter: