This was Paul Miller’s first production having assume the reins at the Orange Tree.
We were pretty impressed, although we were looking forward a bit more to the modern works we had booked to see later in the season.
This was a very slick production; well directed, well produced and skillfully acted.
It is a grim play, though. mercifully not too long for its period – or perhaps Paul Miller was prepared to cut a bit, whereas Sam Walters was always orthodox as far as the text was concerned.
It all felt very different on arrival at the theatre, with the space transformed for this piece and entrances to the space where audiences normally fear to tread.
But the piece itself never really took off into the stratosphere as perhaps it should.
We heard a lot from the good-hearted middle class people who felt conflicted by the riots and/or tried to help those who got into difficulties during the chaos. We heard less from the rioters themselves.
To be fair on Alecky Blythe, she took the orthodox view on the play and stuck only to the verbatim material she could gather at the time, so I suppose that would be weighted towards those slightly safer situations…
…not least because people are not normally full of conversation while rioting…
…I imagine; not ever having been in the heart of a riot personally.
Just occasionally we see a play/production that really sticks in our minds, so much so that we are talking about it and/or referring to it for years afterwards,
It is set in a dystopian future in which many of the real things we cherish (such as trees) have gone but humans spend much of their time in virtual reality worlds.
The play grapples with some of the ethical issues we need to think through in this context; not least moral injury.
But this is no mere preachy issues play – it is a gripping drama too and you end up really grappling with many moral dilemmas in 80 minutes.
Excellent cast, excellent production. Janie and I were discussing the issues and the relative merits (and demerits) of the characters deep into the weekend.
Below is a trailer:
More interesting, here is a short interview with Robin Soans and director Madani Younis:
We really didn’t like this play. I can see from the reviews that it was a “marmite” show.
The problems we had with it were many and varied.
We struggled to suspend belief for the notion that a disaster of the kind described could lead the USA into an autarkic breakdown of society. (Mind you, writing three-and-a-half-years later…)
We struggled to engage with the characters, who were a little too “everyman/no man” for us.
We struggled with the length of the play.
We (or certainly I) found every twist and change predictable and obvious…so much so, that, during the second interval, although we had not looked at a synopsis or review before our visit, I told Janie what the third part was bound to be about…and (by all accounts, we gave it a miss) got it pretty much spot on.
It is an uber-modern play about privacy, data and all that. Some members of the audience, perhaps foolishly, left their mobile phones on and acquiesced to a request to submit a selfie – only to discover that geeks can find out a heck of a lot about you just from the simple combination of that submission and other stuff we readily transmit and is there to be found.
To some extent the piece was born of the Edward Snowden/Wikileaks saga, but in truth this play is an entertainment about the issues for ordinary people more than the geopolitical aspects or the Snowden case itself. We did subsequently see a super play that really was about a Snowden-type case, Mike Bartlett’s Wild at the Hampstead, which was cracking:
If this now sounds like a geeks night out without drama, I’m giving you the wrong idea. It was a powerful story and piece of drama to boot – a strong cast and superb production qualities as we might expect from the Donmar.
The first time we came across James Graham – This House, we weren’t so keen. But this one was sufficiently different and engaging to convert us to Graham’s writing…
Janie and I both really like Simon Gray’s plays and we really like the Hampstead Downstairs.
So this project; taking all four of Simon Gray’s attempts to write about a quirky pair of brothers in The Vale of Health, seemed like something we should do in full.
We saw them in this sequence/timing:
21 March 2014 – Japes;
18 April 2014 – Japes Too;
2 May 2014 – Michael;
16 May 2014 – Missing Dates.
We’d often see the same faces in the audience again. One gentleman who sat next to us on the last night, we’d seen at least once before. I said to him that it would be like saying goodbye to close friends when this little season ended and he said, “that’s exactly what I was thinking”.
Very intimate plays, beautifully written (it’s Simon Gray after all) and very well acted/directed.
I’m cutting and pasting this same piece for all four evenings; the above and the links below basically apply to all four.
