Tag: Emma Fielding

A Museum In Baghdad by Hannah Khalil, Royal Shakespeare Company, Swan Theatre, 14 October 2019

Gertrude Bell, 1909, in what is now Iraq

Janie and I saw a preview of this superb production at the Swan, about a week before press night.

We became fascinated with Gertrude Bell when we saw the film Letters From Baghdad and a panel discussion about it a couple of years ago at the Curzon.

Letters From Baghdad Followed By Panel Discussion, Curzon Soho, 27 April 2017

Hence our enthusiasm to decamp to Stratford and see A Museum In Baghdad more or less as soon as it opened. The RSC explains and describes the piece in its resources here.

Playwright Hannah Khalil explains her thinking behind the piece here:

The following trailer explains little but does give a flavour of the atmospheric music and sensescape of the piece:

Janie and I loved the play/production and came away from the show buzzing from the quality of ideas, drama, sounds and emotions we experienced at The Swan.

Janie tends to dislike plays that overlap time periods (this play is set in 1926 and 2006) and mess with the linear telling of stories, not least because she often finds that confusing. But this one works so well and certainly worked for her, such that the overlapping of the two time-settings just added a little to the chaos of the situations being depicted, without interfering with the narrative line.

The production runs at The Swan for a few months before transferring to the Kiln in London. We have not yet been to the latter since its refurb, so wonder how well the piece will work there. It certainly worked wonderfully for us in the three-sided Swan setting. It certainly should appeal to Kiln audiences.

All of the acting was top notch, as was the design, sound and movement. Hard to single out performances, but Emma Fielding, Rendah Heywood and Rasoul Saghir were exceptional.

We were grateful to be staying just across the road in The Arden, as the heavens were in open mode that evening. We debriefed over a snack supper there. I believe I spotted Mark Ravenhill with his entourage, amongst the small number of people who decamped to the hotel after the show.

We loved A Museum In Baghdad – what else is there to say?

Postscript following press night: reviews of this production can be found through this link.

Rapture, Blister, Burn by Gina Gionfriddo, Hampstead Theatre, 17 January 2014

It seemed like only a week since we last went to Harry’s and then The Hampstead…

…but this one did less for us.

I seem to recall finding the whole evening a bit irritating and we really didn’t like this play.

It’s had great reviews so don’t take our word for it.

Emilia Fox doesn’t do much for us and the play seemed very laboured and obvious in places.

The Hampstead resource on the play/production can be found here.

This search term will find you the reviews.

In The Republic Of Happiness by Martin Crimp, Royal Court Theatre, 22 December 2012

Janie and I can do weird.

Janie and I can do Martin Crimp.

Janie and I can do Martin Crimp weird…

…but this one was just the wrong side of weird for us. Think impenetrable.

Super cast and beautifully produced, but what the blithering heck was it about?

Here is a link to the Royal Court Resource for this play/production.

Below is the trailer for the piece:

On the whole the critics didn’t get it either – here is a link to a search term that finds the reviews.

I have a copy of the play if anyone wants to seek enlightenment from reading that, let me know. I challenge you.

Tucked into my copy of the play is a short script for something else – I think it is a sample from one of Simon David’s pieces – quite impenetrable without context – clearly it was that sort of night.

Heartbreak House by George Bernard Shaw, Almeida Theatre, 6 September 1997

I’ve never been sure about Shaw, but we thought we’d give this a try because it was The Almeida and because top flight Shaw productions were few and far between at that time.

Great cast and crew – see Theatricalia entry – including Emma Fielding, Richard Griffiths, Patricia Hodge, Penelope Wilton, Malcolm Sinclair and Peter McEnery, with David Hare in the director’s chair.

Despite all those good people, this one added to my/our sense of interminability, which had already been piqued by Suzanna Andler the previous week, which was soon followed by wall-to-wall coverage of Princess Diana’s tragic demise, which took ceaselessness to new levels.

Anyway, my contemporaneous words on Heartbreak House, speaking for both me and Janie:

Seemed interminable in the second half. Had “moments”, but all too few.

Nicholas de Jongh in The Standard liked it a lot:

Heartbreak de Jongh StandardHeartbreak de Jongh Standard 04 Sep 1997, Thu Evening Standard (London, Greater London, England) Newspapers.com

Paul Taylor in the Indy also loved it:

Heartbreak Taylor IndyHeartbreak Taylor Indy 05 Sep 1997, Fri The Independent (London, Greater London, England) Newspapers.com

Kirsty Milne in The Sunday Telegraph at least nodded to the idea of Shaw being wordy.

Heartbreak Milne TelegraphHeartbreak Milne Telegraph 07 Sep 1997, Sun Sunday Telegraph (London, Greater London, England) Newspapers.com

Like Milne, Michael Billington did a compare and contrast between Shaw and Wesker:

Heartbreak Billington GuardianHeartbreak Billington Guardian 06 Sep 1997, Sat The Guardian (London, Greater London, England) Newspapers.com

So maybe it was us, not them. Or maybe Shaw is/was simply too wordy for our modern eyes and ears.

Twelfth Night by William Shakespeare, Shakespeare Memorial Theatre, 5 November 1994

If my memory serves me correctly, we saw Peer Gynt as a matinee on the Saturday and then Twelfth Night in the evening. It might have been the other way around.

Anyway, Janie and I voted this one very good, as indeed we voted Peer Gynt.

Coincidentally, I realise at the time of writing (October 2019, almost exactly 25 years later), Janie and I saw Emma Fielding star at Stratford again last week in A Museum In Baghdad.

A Museum In Baghdad by Hannah Khalil, Royal Shakespeare Company, Swan Theatre, 14 October 2019

I also realise that this Twelfth Night experience was almost exactly 15 years after my own “legendary” Alleyn’s School production of Twelfth Night:

Twelfth Night, Alleyn’s School, 12, 14, 15 & 16 December 1978

Gosh.

Anyway, this 1994 production of Twelfth Night has all the cast and crew listed on Theatricalia – here.

Just one on-line review – Paul Taylor in The Independent, who hated it while admitting that his was probably a minority view.

Also this Michael Billington clipping to be had:

Billington On Twelfth NightBillington On Twelfth Night Fri, May 27, 1994 – 32 · The Guardian (London, Greater London, England) · Newspapers.com

Also Michael Coveney’s review is there to be clipped:

Coveney On Twelfth NightCoveney On Twelfth Night Sun, May 29, 1994 – 73 · The Observer (London, Greater London, England) · Newspapers.com

We really liked it. Des Barrit an obvious highlight but Emma Fielding was excellent as always and Tony Britton made an excellent Belch…as it were.

I vaguely remember dining at the Shakespeare after theatre that night…or did we do the Shakespeare after Pentecost and Fatty’s after this? Who cares?

Arcadia by Tom Stoppard, Lyttelton Theatre, 17 April 1993

I liked this play and production far more than Janie did. Where I liked the intellectual aspects of the content, Janie found them pretentious and at times confusing.

Wikipedia gives a decent synopsis of the play – here.

Janie has never much liked plays that jump backwards and forwards in time, although, coincidentally, we saw Emma Fielding in a similarly time-shifting play recently (autumn 2019) which Janie really liked.

Michael Coveney revewed it the day after we saw it:

Sun, Apr 18, 1993 – 57 · The Observer (London, Greater London, England) · Newspapers.com

I think that’s one-nil to Janie in the “confusing rather than clever” stakes.

Michael Billington liked it more, I think:

Wed, Apr 14, 1993 – 26 · The Guardian (London, Greater London, England) · Newspapers.com