Tag: Gate Theatre

Dear Elizabeth by Sarah Ruhl, Gate Theatre, 18 January 2019

Oh dear, Elizabeth! This one sounded so much up our street in the promotional literature – two real world poets who corresponded for decades – their own words dramatised into a chamber play.

Here is a link to the Gate’s rubric.

One of the conceits of this production is that different actors will play the roles each night, having never previously seen the script (or quite possibly each other) before.

We got Shalisha James-Davis and Emun Elliott our night. Emun seemd well up for a sight reading gig, but Shalisha, bless her, even admitted before the play proper started that sight reading was not really her forte.

I was reminded during the performance of the Peter Cook and Dudley Moore sketch, One Leg Too Few, in which a one-legged fellow auditions for the role of Tarzan.

https://youtu.be/lbnkY1tBvMU

You get my drift.

We wondered whether the piece would have worked better for us if both actors had been better able to sight read. It was especially disconcerting, given that Elizabeth Bishop was a woman of letters, to hear her character struggling to make sense of many words on the page…

…in truth, we suspect that the piece wouldn’t really have been for us anyway. The story told in these letters just didn’t grip us as we thought it could or should.

Here is a trailer from an earlier (US) production of the play:

https://youtu.be/Yt-qgskH6HI

Those who get to see some of the fine actors and actresses who are going to give The Gate’s experimental production a go might get a lot more out of it than we got, but for us, I’m afraid, both play and production are a dud.

The other memorable thing…but not in a good way, was the sycophantic audience – presumably friends of cast and crew – laughing at even the weakest jokes and desperately trying to give the impression that this thin gruel was enticing.

So rare at The Gate, but one we really didn’t take to – these things happen.

The Human Voice by Jean Cocteau, Gate Theatre, 14 September 2018

I read this play “back in the day” – when I was in my twenties – and had long wanted to see this Cocteau classic performed.

So when the Gate Theatre, one of our favourite places, announced that it would be producing this play, I was one of the first in metaphorical line to snap up tickets.

Here is a link to the Gate Theatre resource for this play/production.

When this play was first written, the telephone was a relatively novel medium, so the piece will have been seen as exploratory – what might it sound like to be a fly on the wall hearing one side of a telephone conversation between lovers whose relationship has very recently broken down?

Of course, these days you only have to travel on public transport or sit in a cafe to eavesdrop on one side of such conversations all the time. Perhaps with that contemporary reality in mind, this production is performed with a mobile phone, bringing in additional opportunities for call interruption business while eliminating the potential for existential telephone chord business.

Also, to accentuate the theatrical “fly on the wall” sensation, the action took place inside a room-like windowed booth which we, the audience, observed from two sides. The photos below illustrate how that looked, from our seats, before the actress appeared. We all wore headphones to hear the actress as she might sound talking into a telephone. For this play, done this way, I think these touches worked.

 

Leanne Best did a grand job as the grief and panic-stricken woman who is the only visible and audible character in this play.

Janie concluded that the man was a piece of shit who was trying to drive the woman to suicide. That was not my reading of the play back then nor of this production of it.

We both thought this was a cracking good piece of drama- perhaps too good for us on a Friday evening when we were both tired and not really desirous of being gripped by the emotional throat.

Still in preview at the time of writing, but the reviews should be found through this search term if you click here.

We thought very highly of the production – if you are reading this while the run is still on, you might need to book early to avoid disappointment.

Trust by Falk Richter, Gate Theatre, 23 February 2018

This was a quite extraordinary piece. Weird, in a way that, it seems, only German plays can be weird.

Janie and I often walk away from such strange stuff baffled and dissatisfied, but certainly not on this occasion – we found the piece compelling to watch and entertaining, as well as baffling.

Sixteen very different scenes, ranging from videos with voice-overs, to seemingly straightforward two-handed romantic strife, to a Mandarin Chinese lesson for the audience…

…I suppose it’s all about the abuse of trust – domestic, financial and governmental.

Here is a link to The Gate’s resource on this production – click here…

…and below is the trailer, although the play only gives a passing mention to Brexit – you might expect more Brexit based on the trailer.

Excellent performances from Pia Laborde Noguez and Zephryn Taitte…and indeed from Jude Christian, the ubiquitous director who chose also to appear in this one.

Exceptional use of an infeasible quantity of props in a small space.

We thought the piece was very imaginative indeed and would recommend it highly. Yet another feather in the cap for Ellen MacDougall and her Gate tenure.

It will be interesting to see how critics and other people react to this piece. We saw a preview, but Daisy and I were interviewed for reaction on the way out – so we might well “form part of the conversation”, as the young folk say.

Update: yes, I got my 1.5 seconds of fame in the vox pop – see below but don’t blink or you might miss it:

Go see this show for yourself, if you are able – at the time of writing it has three weeks more to run.

Once it has reviews, this search term – click here – should find them.

Twilight: Los Angeles 1992 by Anna Deavere Smith, Gate Theatre, 12 January 2018

I’m so often saying how wonderful The Gate Theatre is under Ellen McDougall’s new regime, I’m starting to bore myself by saying it.

We loved The Unknown Island…

The Unknown Island adapted from a short story by José Saramago, Gate Theatre, 29 September 2017

…we loved Suzy Storck…

Suzy Storck by Magali Mougel, Gate Theatre, 10 November 2017

…and now I’m not going to surprise you by saying that we thought this production of Twilight: Los Angeles 1992 was also superb.

We nearly didn’t book it – we wondered whether this was overly heavy subject matter for us on a Friday evening and whether the 1991/1992 news aspect of it (the aftermath of the Latasha Harlins killing, the Rodney King video/policemen’s trial and the resulting riots) might make this verbatim play seem dated.

But in this post-truth, crazy era of ours the piece seemed eerily topical and prescient.

We arrived to a heaving lobby – there was a large party of Americans on a London Theatre marathon who had virtually bought out the house for the night.

Turned out the Americans were an exceptionally friendly and polite bunch who pretty much pushed us to the front to collect our tickets, apologising for the fact that they were a huge bunch of visitors preventing the locals from getting their tickets. Perhaps Janie and I had “make way/Brexity” expressions on our faces when we came in from the wind-chill-factor-enhanced bitter cold.

When we got to the front, apart from the ticket desk chap, the only faces that looked as though they might not be the American party were Daisy Cooper from the Gate production team (whom I mistook for an actress) and Caoilfhionn Dunne who had played Suzy Storck, but to whom I couldn’t say, “good evening Caoilfhionn” because I couldn’t remember how to pronounce her name; it’s pronounced “kay-lean”, btw. I did get a chance to congratulate her on her stellar Suzy Storck performance just before we all went in.

The ticket man didn’t give us tickets, he gave us badges to wear and a pen with which to label up the badges. I emblazoned mine thus:

At Janie’s request, I emblazoned hers with the name, “Daisy”, plus her talk about topic, “life”.

Daisy Cooper pointed out that her name was Daisy too.

On to the show, which is a one woman performance.

The actress, Nina Bowers, was superb. I have had to do some real detective work to discover her identity, though, as there was no leaflet on the night and at the time of writing (14 January 2018) the Gate website is silent on that matter.

There is an excellent preview piece by Ellen McDougall – click here – which says watch this space for cast…

…but on the main resource for this production – click here – at the time of writing, only the creatives are listed, not poor Nina Bowers, who has to play 20 parts all by herself and plays them brilliantly well. I guess the piece is about injustice and powerlessness in the face of such injustice, so perhaps Nina Bowers will enjoy the irony of her credit’s omission…

…or perhaps the injustice will have been put right by the time you read this Ogblog piece.

Nina even serves intermission drinks and biscuits to the audience – yes really. In fact, this is a performance without a real interval, but for 10 minutes towards the end of the show, the piece itself has a short intermission for tea, biscuits and conversation around the subject matter on our badges.

Janie and I chatted with a charming young American woman who turned out to be one of a handful of the audience who, like us, was not with the large party of New Jersey-folk. She was in fact from Orange County – not too far from the location of the riots but far too young to remember them. She must have been mighty confused when she asked about my fish, because I told her that my pet goldfish, Simon, had died and Daisy told her that my koi carp was named Peter and had gone down the plug hole.

No-one asked Daisy about life, probably because she had put her badge on upside down which made it quite hard to read.

If this all sounds silly and superficial, please do not be deceived by my ramblings and please do not be put off this play/production.

It is seriously well worth seeing – a very well-crafted piece of verbatim theatre about the terrible injustices that played out in Los Angeles in 1991 and 1992 which led to the riots, some further injustices and eventually an element of correcting some of the injustices and reconciliation. The USA has not eradicated the culture that led to those injustices and the subject matter seemed all-too relevant today.

I cooked a pasta dish for Janie after the show, using an excellent Speck sauce. We did not talk about fish and we did not talk about life – we were talking about Twilight: Los Angeles 1992.

Highly recommended, this play/production.

Cast – Nina Bowers – playing all the parts – remember where you read her name first.

Suzy Storck by Magali Mougel, Gate Theatre, 10 November 2017

This was a very affecting piece. An unusual piece of writing; brilliantly acted, directed and produced.

Another mini triumph for The Gate Theatre since Eleen McDougall took over as artistic director recently. We also much enjoyed The Unknown Island – click here – recently – indeed for Suzy Storck we found ourselves again inadvertently at The Gate on a Young People’s night. Must be some sort of type-casting for me and Janie.

The story is a shocking one, about a young woman entirely dissatisfied with her life, suffering from post-natal depression and getting neither help nor sympathy from her man, mother or anyone else.

All of the acting was top notch, but particular praise goes to Caoilfhionn Dunne, who we saw in another stand out performance not so long ago in Wild at The Hampstead – click here.

“Caoilfhionn” is pronounced “kay-lean”, btw, an Irish shibboleth of a name if ever there was one.

The Q&A afterwards was attended by Theo Solomon and Jonah Russell. Young People’s night was not so heavily populated with young people this time. It was a very jolly mixture of people who stayed on for the Q&A and who asked sensible questions of the team, hosted by Daisy Cooper from the Gate’s production team.

Here is a link to The Gate’s on-line resource for this play/production.

Here is a link to a search term for reviews and stuff – the reviews are deservedly very good indeed.

This piece and production really does deserve a wider audience, both for the quality of the drama on show and for the issues covered in a shocking yet subtle way. I do hope it gets a transfer.

Below are links to four YouTubes: the show’s trailer and then a fascinating three-part interview with the extraordinary director Jean-Pierre Baro:

https://www.youtube.com/watch?v=Eo36FIItoOg

https://www.youtube.com/watch?v=oS9aMsvh8Ng

The Unknown Island adapted from a short story by José Saramago, Gate Theatre, 29 September 2017

Ellen McDougall is the new artistic director of The Gate and this production is a great start to her role.

Based on The Tale Of The Unknown Island, an allegorical short story by Portugese writer José Saramago, four actors enact the piece. It is a very simple story with many-layered themes; to some extent the unknown island is an individual’s capacity to explore personal horizons, to some extent it is an allegorical tale about bureaucracy, leadership, power and colonialism.

Sounds heavy but honestly it isn’t. It is a one hour piece full of fun and little coups de theatre. There’s even a tiny bit of audience participation…but not of the “embarrassing pick on one person” kind.

Here is a link to The Gate’s resource on the play/production. The production has deservedly had superb reviews, links to which can be found in this resource, saving me the trouble.

Janie and I thought we were the oldest people in the audience…

…turns out I had inadvertently booked for “Young People’s Night” – it was simply the only Friday evening we were available!

Still, we are young at heart.

There was a short Q&A session after the show for Young People’s Night. As we were honorary young folk by then, Janie and I stayed on, finding the discussion interesting.

But back to the play/production – it is most certainly well worth seeing; for the story, for the production and for the quality of the performances, all four performers being excellent.

At the time of writing (the next morning), this production still has a week to run; Janie and I would thoroughly recommend it. Hopefully the piece will transfer and allow a wider audience to enjoy this thought-provoking and thoroughly enjoyable production.

Diary Of A Madman by Al Smith after Gogol, Gate Theatre Notting Hill, 29 July 2016

I rather liked the idea of this modern adaptation of Gogol’s magnificent short story, Diary of a Madman, set in modern Scotland.

This show is going to Edinburgh in August and then running at The Gate Theatre in September, but we booked for one of three previews at The Gate, which we thought would be a good way to see the production.

The play and production certainly had its moments, but also had some longueurs. Perhaps these will be ironed out between preview and main show, but the preview ran for some 90 minutes and I suspect that 60 to 70 would work better; there is certainly at least 20 minutes-worth of material, mostly earlier in the piece, that is surplus to requirements and made the play seem slow.

But it was very well acted and there were some lovely ideas in there. The bar scene towards the end was a wonderful mixture of anarchic, comedic and suspenseful drama. Some of the topical humour about referenda should play well, especially in Edinburgh.

Here’s a link to the Gate resource on the production. Too early for reviews at the time of writing, but perhaps not at the time of reading.

Janie particularly enjoyed the pea soup followed by “Big Al” pasta dish at Chez Clanricarde after the show.

 

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.

Chimera by Deborah Stein, Gate Theatre, 21 November 2014

Chock full of interesting ideas, this one generated lots of topics for me and Janie to discuss afterwards and had some lovely vignettes within it, yet it didn’t work quite so well for either of us as a coherent piece of drama.

Here is a link the The Gate resource on this production.

Still we enjoyed and were glad we saw this production.

I think it left some of the critics as confused as we were – click here for a search term that finds the reviews.

The Edge Of Our Bodies by Adam Rapp, Gate Theatre, 26 September 2014

This was a really special visit to “my local” – a truly gripping short play about a pregnant teenager having to grow up fast.

I realise at the time of writing (February 2018) that Shannon Tarbet might get typecast as the pregnant teenager, having recently played that sort of role again in Yous Two at the Hampstead Downstairs – click here or below:

Yous Two by Georgia Christou, Hampstead Theatre Downstairs, 20 January 2018

The Edge Of Our Bodies was a far more sophisticated play and a more challenging piece for the performers. Cast and creatives did a superb job with this one. Especially Shannon Tarbet. We had seen her a few times before, but on the back of this piece we have been looking out for her.

Below is a video trailer:

The reviews were deservedly excellent – pretty much universally. Here is a link to a search term for those. 

Earlier that day, plenty of cricketing drama as I followed Middlesex narrowly survive Lancashire in a relegation dogfight:

Lancashire v Middlesex in the County Championship – match report

If anything by chance ever happens to the King Cricket website, that page is scraped to here.