Tag: Cath Binks

Nightingale And Chase by Zinnie Harris, Royal Court Theatre Upstairs, 29 September 2001

Janie and I had been most impressed by Zinnie Harris’s Further Than the Furthest Thing the previous year…

Further Than The Furthest Thing by Zinnie Harris, Cottesloe Theatre, 7 October 2000

…so made a bee-line for Zinnie Harris’s next play – this time at the Royal Court.

The subject matter of Nightingale and Chase – a woman being released from prison, was very interesting. I’m not sure this one quite worked as theatre, though.

Mark Cook gave it a short plug in the Guardian:

Nightingale Cook Guardian Nightingale Cook Guardian 22 Sept 2001 The Guardian (London, Greater London, England) Newspapers.com

Jasper Rees, meanwhile, wrote an interesting piece about Zinnie and both plays:

Zinnie Rees Telegraph Zinnie Rees Telegraph 27 Sept 2001 The Daily Telegraph (London, Greater London, England) Newspapers.com

Zinnie explained all of this in her won words in the Guardian:

Zinnie on Zinnie Guardian Zinnie on Zinnie Guardian 29 Sept 2001 The Guardian (London, Greater London, England) Newspapers.com

Not many actual reviews, but you can trust our friend Michael Billington to give such a production the full works and to remind me why we wanted to like this one more than we actually did:

Nightingale Billington Guardian Nightingale Billington Guardian 5 Oct 2001 The Guardian (London, Greater London, England) Newspapers.com

Redundant by Leo Butler, Royal Court Theatre, 8 September 2001

Another weekend, another preview. I’m not sure what drew us to this one. Coincidentally we had seen some of Leo Butler’s work just a few week’s earlier in the young writers’ fest Cutting Through the Carnival…

Cutting Through The Carnival: Several Sketches & Short Pieces By Various Young Writers, Royal Court Theatre Upstairs, 17 August 2001

…but I’m pretty sure we must have booked Redundant prior to seeing Carnival.

Anyway, Redundant was our first sighting of Leo Butler’s full length plays and we were mighty impressed if I remember correctly. Lyndsey Marshal starred and Dominic Cooke directed. It was grim, in many ways, yet tinged with humour and hope. Very Royal Court. Dominic Cooke must have rated Butler and this piece to put it on downstairs – a rare 21st century example of a debut on the main stage of the Royal Court. There is a coup de theatre in the play that required it, I suppose. Risky writing.

The Standard previewed it (after we had seen it) thusly:

Redundant Standard Preview Redundant Standard Preview 12 Sept 2001 Evening Standard (London, Greater London, England) Newspapers.com

We didn’t see the shocking, late addition of an Osama Bin Laden mention, which dominated the press afterwards, by dint of seeing a preview prior to 11 September.

Patrick Marmion was seduced by the production, if not the character:

Redundant Marmion Standard Redundant Marmion Standard 13 Sept 2001 Evening Standard (London, Greater London, England) Newspapers.com

John Gross in The Sunday Telegraph wrote little, but was left feeling a little low by it:

Redundant Gross Sunday Telegraph Redundant Gross Sunday Telegraph 16 Sept 2001 Sunday Telegraph (London, Greater London, England) Newspapers.com

Susannah Clapp in The Observer deemed Leo Butler not quite reader for main stage exposure:

Redundant Clapp Observer Redundant Clapp Observer 16 Sept 2001 The Observer (London, Greater London, England) Newspapers.com

Lynn Gardner in The Guardian was even more damning, awarding The Royal Court production a rare meagre two stars:

Redundant Gardner Guardian Redundant Gardner Guardian 14 Sept 2001 The Guardian (London, Greater London, England) Newspapers.com

It certainly didn’t displease us in that way – we noted Leo Butler as one to watch and watch him we did as he matured into a top notch playwright. Possibly if we saw this one again, we’d spot the youthful writing in it. A bit like Chekhov’s Platonov the week before.

Cutting Through The Carnival: Several Sketches & Short Pieces By Various Young Writers, Royal Court Theatre Upstairs, 17 August 2001

The Royal Court is really good at finding ways to showcase the work of young writers who are working with their various programmes. In truth, Janie and I are not so good at turning up to see those showcase performances; we do so rarely, although we were going through a bit of a phase of it at the turn of the century.

On this occasion, we braved Sloane Square on a Friday evening to see this miscellany of pieces connected with the Notting Hill Carnival. Timely, fewer than 10 days before carnival.

As you might expect, it was a mixed bag.

This will have been our first sighting of Leo Butler’s writing. In truth I don’t recall making a mental note about his material based on this showcase. We went to see his play Redundant a few weeks later, but I suspect that I had already booked that before 17 August!

Mountain Language & Ashes To Ashes by Harold Pinter, & Alive From Palestine by Al Kasaba Theatre Group, Royal Court Theatre, 29 June 2001

We adjudged the event:

Triple bill proved a bit much for us that night!!

Both of us had really busy weeks in the run up to this Friday night at the theatre, with Janie taking patients early and late that week. In my case, as well as many client meetings, a very late night for me the previous evening due to the traditional Children’s Society v Z/Yen cricket match in Regents Park:

The Children’s Society v Z/Yen Cricket Match, Regent’s Park, 28 June 2001

Harold Pinter would have understood.

I had seen Mountain Language before – a most memorable production in 1988 with Michael Gambon, Eileen Atkins, Tony Haygarth and Miranda Richardson, directed by Harold himself..

Mountain Language by Harold Pinter, Lyttelton Theatre, 25 October 1988

Returning to 2001, our friend Michael Billington reviewed Alive From Palestine, but not the triple bill, giving me the sense that the piece might have had a greater effect on us had it not been preceded by the two Pinter pieces.

Alive Guardian Billington Alive Guardian Billington 30 Jun 2001 The Guardian (London, Greater London, England) Newspapers.com

Rachel Halliburton in the Standard raved about the brace of Pinter plays, while remaining silent on the Palestinian play:

Ashes Standard Halliburton Ashes Standard Halliburton 27 Jun 2001 Evening Standard (London, Greater London, England) Newspapers.com

To be fair, she reviewed the Pinter double bill ahead of the short late night run of the third play started. And at least The Standard had the good manners to trail the Alive From Palestine one:

Alive Standard preview Alive Standard preview 21 Jun 2001 Evening Standard (London, Greater London, England) Newspapers.com

Charles Spencer in the Telegraph absolutely hated the Pinter and was utterly silent about the Palestinian play:

Ashes Telegraph Spencer Ashes Telegraph Spencer 28 Jun 2001 The Daily Telegraph (London, Greater London, England) Newspapers.com

Clubland by Roy Williams, Royal Court Theatre Upstairs, 23 June 2001

We are very partial to modern plays in Royal Court Theatre Upstairs and this play by Roy Williams did not disappoint.

I think this was our first sighting of a Roy Williams play – we started picking him after seeeing this.

Here’s Nicholas de Jongh in The Standard speaking quite highly of it:

Clubland de Jongh Standard Clubland de Jongh Standard 20 Jun 2001 Evening Standard (London, Greater London, England) Newspapers.com

Jonathan Myerson in the Independent was not so sure:

Clubland Myerson Independent Clubland Myerson Independent 20 Jun 2001 The Independent (London, Greater London, England) Newspapers.com

Our friend, Michael Billington, suggested that this play was not as good as Roy Williams earlier material and that he needed to branch out a bit. I think he was probably right, as we really went for some of William’s later plays even more than this one, but it was good enough to get us hooked:

Clubland Billington Guardian better Clubland Billington Guardian better 23 Jun 2001 The Guardian (London, Greater London, England) Newspapers.com

Mouth To Mouth by Kevin Elyot, Royal Court Theatre, 3 March 2001

Janie and I had loved The Day I Stood Still…

The Day I Stood Still by Kevin Elyot, Cottesloe Theatre, 24 January 1998

…so thoroughly expected to enjoy Kevin Elyot’s next play, Mouth To Mouth, which indeed we did. Not quite to the same extent as The Day I Stood Still – Mouth to Mouth was quite dark – but still we liked it a lot. Fine acting and thought provoking writing.

Here is the Theatricalia entry. Michael Maloney, Lindsay Duncan, Adam Godley, Peter Wight, Andrew McKay, Lucy Whybrow and Barnaby Kay, directed by Ian Rickson. What’s not to like?

Charles Spencer in The Telegraph loved it.

Mouth Telegraph Spencer Mouth Telegraph Spencer 8 Feb 2001 The Daily Telegraph (London, Greater London, England) Newspapers.com

Nicholas de Jongh also spoke very highly of it:

Mouth de Jongh Standard Mouth de Jongh Standard 7 Feb 2001 Evening Standard (London, Greater London, England) Newspapers.com

Paul Taylor in The Indy was more measured, sensing that Kevin Elyot constantly returns to the same themes…but does so very well!

Mouth Taylor Indy Mouth Taylor Indy 7 Feb 2001 The Independent (London, Greater London, England) Newspapers.com

Spinning Into Butter by Rebecca Gilman, Royal Court Theatre Upstairs, 13 January 2001

This was a really interesting play and it was an excellent opportunity to reciprocate David & Rachel’s hospitality from a couple of month’s earlier:

Kinky Friedman Live In Brighton With David Seidel & Rachel Barnard, 12 November 2000

Apart from the quintessentially US nature of the production and the left field approach to tackling racism through performance, it’s hard to see much similarity between the evenings.

Rebecca Gilman’s play was memorable through its “warts ‘n’ all” approach to anti-racism and political correctness on campus. Also memorable was a superb performance by Emma Fielding in the lead role. The supporting cast were also “Royal Court good”, as was Dominic Cooke’s directing.

Our friends David and Rachel found it interesting and we had plenty to discuss over grub after the play.

Our other friend, Michael Billington, gave it a very good review in the Guardian:

Spinning Guardian Billington

Article from 11 Jan 2001 The Guardian (London, Greater London, England)

Paul Taylor did not like the play, describing it as self-conrgratulatory white guilt in search of a play:

Spinning Taylor Indy

Article from 10 Jan 2001 The Independent (London, Greater London, England)

Nicholas de Jongh couldn’t put aside his issues with the play, describing it as mediocre and giving it the dreaded Standard blob:

Spinning Standard de Jongh

Article from 10 Jan 2001 Evening Standard (London, Greater London, England)

Charles Spencer thought the play flawed yet intriguing and well worth seeing:

Spinning Telegraph Spencer

Article from 11 Jan 2001 The Daily Telegraph (London, Greater London, England)

Suzannah Clapp gave it a very balanced review in The Observer, concluding that a play that makes you argue is a play worth seeing:

Spinning Observer Clapp

Article from 14 Jan 2001 The Observer (London, Greater London, England)

Far Away by Caryl Churchill, Royal Court Theatre Upstairs, 25 November 2000

In my log, we rated this one:

excellent.

Janie’s diary reminds me that we had dinner the night before with Jamil and Suad Amyuni at Home House, which was also a very memorable evening in its own way.

Janie’s diary also notes, beside Far Away

1/2 hour.

It was short, but not quite that short. I know we saw a preview, but I trust my memory and the reviews that, even the preview, ran to more than 45 minutes, but probably less than an hour.

I had first seen Linda Bassett in A Place With the Pigs:

A Place With The Pigs by Athol Fugard, Cottesloe Theatre, 20 February 1988

There is a lovely interview piece with Linda Bassett about this production, which I found whilst rummaging for reviews:

Bassett Feature Standard Bassett Feature Standard 4 Dec 2000 Evening Standard (London, Greater London, England) Newspapers.com

Fabulous cast – not only Linda Bassett but also Kevin McKidd and Katherine Tozer, directed by Stephen Daldry. I only realise now what a hot ticket this must have been and how privileged we are/were, as Royal Court members, to grab hot tickets like this before they all got grabbed.

Predictably, Charles Spencer didn’t think much of it – he didn’t tend to get Caryl Churchill:

Far Away Spencer Telegraph Far Away Spencer Telegraph 5 Dec 2000 The Daily Telegraph (London, Greater London, England) Newspapers.com

Whereas Irving Wardle in the Sunday telegraph wrote highly of it:

Far Away Wardle Sunday Telegraph Far Away Wardle Sunday Telegraph 3 Dec 2000 Sunday Telegraph (London, Greater London, England) Newspapers.com

Nicholas de Jongh in The Standard got it:

Far Away de Jongh Standard Far Away de Jongh Standard 1 Dec 2000 Evening Standard (London, Greater London, England) Newspapers.com

Rhoda Koenig was not so sure:

Far Away Koenig Indy Far Away Koenig Indy 1 Dec 2000 The Independent (London, Greater London, England) Newspapers.com

Even giving the casting vote to our friend Michael Billington doesn’t really help, as Billy-o gives the production four stars but his review is somewhat equivocal.

Far Away Billington Guardian Far Away Billington Guardian 1 Dec 2000 The Guardian (London, Greater London, England) Newspapers.com

Strangely, the productions that tend to float our boats the most tend to split the reviewer jury. I guess Janie and I like controversial stuff. And as the now late (25 years on) Jamil Amyuni once famously put it in a different context:

why the bloody hell shouldn’t we?

Light by Complicité, Almeida Theatre, 28 October 2000

We gave this a one word review in my log:

Superb.

Janie and I had been big fans of Complicité, having cemented our getting started together at Street Of Crocodiles, some eight years earlier:

Janie and I Go On Our First Proper Date, The Street Of Crocodiles, Cottesloe Theatre, 29 August 1992

Still, we were prepared to admit that Complicité had missed if it missed – but this one was very much to our taste.

Here is a link to the Theatricalia entry.

We saw a preview of a short run that apparently was sold out on application.

Light Standard Light Standard 26 Oct 2000 Evening Standard (London, Greater London, England) Newspapers.com

It seems that Mnemonic, the year before, which we also rated superb, had really turned Complicité into a thing.

Mnemonic by Simon McBurney, Théâtre De Complicité, Riverside Studios, 18 December 1999

Paul Taylor in The Independent rated it highly, but not as highly as he rated Mnemonic:

Light Taylor Indy Light Taylor Indy 1 Nov 2000 The Independent (London, Greater London, England) Newspapers.com

Our friend, Michael Billington, similarly was less impressed with this one than he had been with earlier Complicité pieces.

Light Billington Guardian Light Billington Guardian 1 Nov 2000 The Guardian (London, Greater London, England) Newspapers.com

Dominic Cavendish in The Telegraph agreed with us:

Light Cavendish Telegraph Light Cavendish Telegraph 2 Nov 2000 The Daily Telegraph (London, Greater London, England) Newspapers.com

The Country by Martin Crimp, Royal Court Theatre, 10 June 2000

Janie and I were very taken with this creepy three-hander at the Royal Court. I remember us agreeing that it was Pinteresque at the time – without the influence of reviews I hasten to add.

I think this was our first sighting of a Martin Crimp play and for sure we were intrigued enough to seek out his work several times subsequently.

Owen Teale, Juliet Stevenson and Indira Varma, directed by Katie Mitchell. All people who had impressed us before and/or since.

My friend Michael Billington in the Guardian shared our fascination with this piece and also saw the Pinter parallels:

Billington on Crimp's The CountryBillington on Crimp’s The Country 17 May 2000, Wed The Guardian (London, Greater London, England) Newspapers.com

Charles Spencer in the Telegraph, on the other hand, adjudged the play “pastiche Pinter”, while applauding the acting and the production:

Spencer on Crimp's The CountrySpencer on Crimp’s The Country 18 May 2000, Thu The Daily Telegraph (London, Greater London, England) Newspapers.com

Clearly the photographers thought that Juliet Stevenson jiggling car keys in Owen Teale’s face was the memorable image of the production.