This was a fun play with enough drama in it to keep us thoughtfully entertained.
Tracy-Ann Oberman (formerly of our NewsRevue parish – or at least the SportsRevue version is always superb value, as is Michael Attenborough, having a go in an even smaller house than the Almeida for once.
A strangely sinister play this one, about a young couple of expats in Dubai who get themselves into difficulties and fall foul of some older, exploitative expats.
The story seemed somewhat extreme, although apparently it is possible to get into extreme difficulties in Dubai and similar places and some young people do thus get exploited.
A weird and dark play about an extreme capitalist. We like Dennis Kelly’s plays – they are always entertaining with dark twists and lots to think about. This one was no exception.
Writing up this play now (march 2018), in our Brexit/Trump infused society, the play seems very relevant and prescient.
The fine actor Tom Brooke seems to thrive on Dennis Kelly plays. Actually the whole cast was good. I think this was our first sighting of Ned Bennett’s work as a director (assisting Vicky Featherstone on this one) – our next sighting being the tremendous Pomona at the Orange Tree – even weirder:
An engaging play at the Bush with an excellent cast, not least Kenneth Cranham and Amanda Root. This must have been Rory Kinnear’s first go as a playwright. Howard Davies directed.
We found it witty as well as moving – basically about a birthday party for a young man with severe learning difficulties.
Not normally our type of show, but we loved the idea of this one – performed cabaret style and about Josephine Baker, who had such an interesting life.
Cush Jumbo, who wrote and performed this show, is clearly a very talented young person.
We enjoyed our unusual evening at the Bush. In truth, though, we thought the show a victory of style over substance – we wanted to learn a lot more about Josephine Baker and or experience more drama. We were there very early in the run – in effect at a preview – so the show might have matured/improved after we saw it.
The show got a transfer to New York too, so our relative indifference towards the show wasn’t shared by the critics nor the producers.
Janie and I also recall running into our theatre friends John and Linda at this show – this is a couple we often see at the theatre – but because of the nature of this show we got a chance to have a proper chat with them in this cabaret-style setting of the Bush.
Janie and I are partial to a bit of Conor McPherson. We absolutely loved The Weir, but then you can’t expect a playwright to achieve such giddy heights every time.
So I suppose this particular evening was all set up for disappointment.
A wonderful cast, especially Ciarán Hinds and Caoilfhionn Dunne, plus a good script, provided plenty of entertainment for the evening – so in that sense we were not disappointed. It just wasn’t quite the jaw-dropping, mouth-watering night of theatre we had hoped for when we booked it. Greedy pair, we are, me and Janie.
…including this production of The Night Alive, which I have uploaded and which you can specifically click here. Excellent resources – well done Donmar.
Below is a Donmar trailer, mostly talking about the music – interesting to hear and see Conor McPherson talking about his own work:
I have seen The Dance of Death before – indeed both parts – but this tight version by Howard Brenton, enabling both parts to pan out in one play, worked really well for me and for Janie too.
Superbly well acted – Michael Pennington and Linda Marlowe were sensational in the leading roles (my previous experience of Edgar and Alice was Alan Bates and Francis de la Tour, so I know my top notch Edgar and Alices).
Janie and I both really really liked this play/production.
In many ways not the sort of play we normally like. It was quite long and very broad in its sweep – spanning continents and decades.
But it was such a good play and so well done.
Fine cast; not least Claudia Blakley (who we think of as an Orange Tree regular), Stephen Campbell Moore (who I got to know quite well shortly afterwards at BodyWorksWest) and Benedict Wong (who we’ll forever think of as Ai Weiwei – or at least Janie will).
