Category: Theatre

Carmen Disruption by Simon Stephens, Almeida Theatre, 11 April 2015

“What was that about” said Janie after the show; proof positive that her review would not be 100% positive. “I liked bits of it but it seemed all over the place at times and I’m not really sure what it was trying to say.”

Janie has a point.

Yet it was a very entertaining play/show in many ways.

Centre stage as we walked in was a dying bull, or rather a moving facsimile of same. It remained pretty much centre stage throughout.

Men were dressed a women, women were dressed as men, it was sort of about an opera singer, sort of about a toy boy…

…read the reviews and figure it out for yourself if you wish.

Excellent Almeida resource including links to several full reviews – click here.

The reviews were more or less universally excellent. It certainly deserved the high praise for an extraordinary production.

We are big fans of Simon Stephens writing, so we delight in this play’s success, but I think we prefer it when his writing is a little more direct.

Still, we enjoyed our evening and had bragging rights for having seen this production early on.

Deposit by Matt Hartley, Hampstead Theatre Downstairs, 27 March 2015

This was a good play, very well acted and produced. Another feather in the cap of the Hampstead Theatre Downstairs.

Housing crisis again, but this time two couples decide to live on top of one another for a short while to save enough for the deposits that will progress both couples to the dream of their own home.

There were some plausibility issues with the economics of this scenario, especially in London. “Do the math” as our US cousins might put it.

Still, it was good thought-provoking stuff.

Janie liked it less than I did, but she was in the process of coming down with something, to such an extent that we ended up having to cancel our dinner with Gary and Margaret the next day – a very rare level of poorliness for Janie.

Excellent resource about this play/production on the Hampstead website – click here.

No formal reviews but lots of comments, mostly very positive, on the site.

Preceded by nosh at Harry Morgan, although I seem to recall Janie eating little because she was already feeling less than special in herself.

Play Mas by Mustapha Matura, Orange Tree Theatre, 21 March 2015

Fascinating play, this, about Trinidad in the early post-independence days. It weaves in the tense racial politics of that time and place; an element of sexual politics too I suppose. Quite shocking as the potential horror of this type of power politics plays out, through mock violence to the inevitable ultra-violence.

The play was written back in the 1970’s, but seemed very modern still. Indeed, writing nearly two years later (January 2017) thinking again about the power and politics material from this play rings those alarm bells in my head even louder than they are currently ringing without help.

Not an easy play but very well produced, directed and acted at the Orange Tree. Janie and I were really taken with this one; a further sign that the new Paul Miller regime was prepared to do innovative and varied work.

Good Orange Tree resources on-line, sparing me a lot of effort – click here.

It got universally good reviews, which it deserved, so the comments shown on-line pretty much sum it up and you could doubtless track down some full reviews from those leads if you wish.

Janie and I enjoyed some Spanish food at Don Fernando after theatre, as is our Orange Tree habit, making the whole evening a great success.

 

 

Stevie by Hugh Whitemore, Hampstead Theatre, 6 March 2015

We rather liked this one. Not as much as the critics, who mostly lapped it up, but we did enjoy the play.

It’s about the poet Stevie Smith and of course Zoë Wannamaker is a superb actress; indeed all three of the cast were.

It’s a bit twee; both the setting (but then Stevie Smith did live a twee suburban life in Palmers Green) and also the play, which is a little old-fashioned in style. It reminded me of the sort of play that did well in the Hampstead Theatre’s portacabin glory days, back in the eighties and nineties.

Excellent Hampstead on-line resource saves me most of the trouble – click here – reviews too but of course only those effusive ones.

I think we were still going to Harry Morgan pre-theatre back then; the Friday evening Hampstead theatre gig worked that way most times.

Game by Mike Bartlett, Almeida Theatre, 28 February 2015

This was a truly shocking piece. In a good way.

Shocking, as in, it left us feeling really quite shaken and discombobulated.

In a way, this was immersive theatre. The Almeida was reconfigured, such that the audience was divided into sections in sort-of booths, from which you could see some of the action live and the rest on screens. You have to wear headphones to hear everything, which increases the confusion between the real and the virtual.

The conceit of the play is that some people who cannot afford good housing choose to live in an attractive-looking home, but the price is that they are spied upon by sadistic paying customers who are allowed to shoot stun darts at the residents “for fun”.

It is a horrible thought. The story plays out in interesting ways, not all predictable. The experience is disconcerting, because, as an audience member, you feel somewhat complicit in the voyeurism and sadism playing out before your eyes and on the screen. Occasionally some of the action takes place within your booth itself.

It made us think about the housing crisis, the ways that computer games and so-called reality television are encroaching on people’s lives and more besides.

 

Excellent resource on the Almeida site about this play/production, including quotes from many reviews and links to full text for some – sparing me the trouble – click here.

We left the Almeida genuinely feeling in a state of shock and spent much of the remainder of the weekend talking about this play/production.

An Almeida special as far as we were concerned.

The Wasp by Morgan Lloyd Malcolm, Hampstead Theatre Downstairs, 20 February 2015

Janie and I thought this was a really excellent play/production; once again the tiny Hampstead Theatre Downstairs proving to be one of the hottest tickets in town.

Sinéad Matthews is a very special up and coming actress. We first spotted her more than 10 years ago, in The Wild Duck at the Donmar, when she was but a nipper. I don’t think she only does plays named after species of fauna. We have subsequently seen her in Giving, again at the Hampstead Downstairs – click here.

Mercifully the Hampstead now has a good resource for each play/production – click here for The Wasp – as that downstairs space eschews formal reviews and I somehow mislaid the little leaflet thing they give out by way of a programme.

In a way this play is a classic revenge tragedy played out in modern terms in the present day. Perhaps some aspects of the coincidence seemed unlikely when you think deeply about the plot afterwards, but as the story plays out the evening was captivating.

Janie and I like these short plays – 90 minutes or so without an interval – when they are done well such plays/productions keep us gripped from start to finish and we feel thoroughly satisfied afterwards…sans bum ache.

The Wasp deservedly got a West End transfer later that year, but Sinéad Matthews didn’t transfer with it. Nevertheless:

I am pretty sure that Janie and I preceded our Friday evening trip to the Hampstead with a meal at Harry Morgans, so we got home early and thoroughly satisfied that evening.

How to Hold Your Breath by Zinnie Harris, Royal Court Theatre, 14 February 2015

I have written elsewhere about the Vicky Featherstone regime at the Royal Court seeming to have a relentlessly miserablist agenda.

Janie and I don’t mind gloomy stuff. Crickey, you wouldn’t choose the sorts of theatre that we choose if all you wanted was feel good rom-coms and musicals. But relentless and extreme miserablism?

I can’t remember quite such a quintessentially down-hearted play as How to Hold Your Breath for a long time.

Part of the problem I had with it was my inability to buy into the notion that a financial crisis might have a young, successful, professional Northern-European (presumably German) woman descend from yuppydom to prostitution/migration in but a few days.

Yes of course it is meant to be an expressionistic-type dream play. But to suspend belief sufficiently to buy into a thesis (but for fortune, it might be Europeans desperate to migrate to Africa and the Middle East, not the other way around) it needs sufficient plausibility, which this lacked.

So instead of making its worthy and at times interesting points about inequality, economic power and migration well, it seemed to ram them down our throats to the extent that I (and Janie agreed) almost wanted to throw the metaphorical babies out with the bathwater. Which is a horrible way of putting it, given this play’s unsettling and shocking denouement.

All a great shame because the cast were excellent. Maxine Peake really can act; indeed all of them can. The design was stylish; it was just the unsubtle play that didn’t do it for us. We normally like Zinnie Harris’s plays; we just didn’t like this one.

I can’t remember how we tried to make ourselves feel a bit better with food afterwards – probably Ranoush shawarmas or possibly Mohsen’s Iranian-style kebabs.

 

Little Light by Alice Birch, Orange Tree Theatre, 7 February 2015

Janie and I were on a bit of a roll at that time, as was The Orange Tree.

Little Light by Alice Birch – click here for the Orange Tree resource on that production – was really good.

In some ways this was yet another family drama, but it was very well written and performed. It kept us awake and interested throughout.

Plenty of one-liner reviews in the Orange Tree link above:

 

Islands by Caroline Horton, Bush Theatre, 24 January 2015

We thought this play and its production were just awful.

I seem to recall that it ran straight through without an interval; had there been an interval we would not have returned for the second half of this one. Perhaps there was and we didn’t. The whole experience was so bad we’ve mostly blotted it from our minds.

The subject matter – tax havens and the greed of the super rich – is fair game for theatre. But this was like a really bad copy of Alfred Jarry’s Ubu Roi style with almost no substance – opportunities missed.

If you want to know more about the production, the Bush has a decent stub on it – click here.

I could go on, but I won’t.

 

The Chronicles of Kalki by Aditi Brennan Kapil, Gate Theatre, 9 January 2015

Janie and I went to see this play/production during the hiatus between mum’s death and the funeral. Mum would have wanted us to go ahead with the theatre visit, that’s for sure.

I remember the show being quite magical and fun. Not deep and profound; but a modern telling/adaptation of Indian mythology. It was a good evening at the theatre.

The Gate Theatre has preserved an excellent resource on this production – click here. Why there seems to be an inverse relationship between the ability of arts organisations to put up excellent archive resources on the web compared with their size and scale is a discussion for elsewhere.

Perhaps if we had been more in the mood for challenging theatre we’d have felt more critical too – as it was, Janie and I both enjoyed the escapism of it and some good acting by a young, talented cast.

I think I served up a splendid Big Al pasta dish and salad when we got home, but really my memories of that week are all a bit blurry.