Tag: Nadi Kemp-Sayfi

Tender by Eleanor Tindall, Bush Studio, 23 November 2024

Janie and I love the Bush Theatre and we love the Bush Studio.

Sometimes love puts people through trials and ordeals. On a horribly wet, blowy night, Janie and I wondered whether we love the Bush THAT much when we set off to see this show.

No pressure, but it had better be good…

…said a windswept me to the faintly-amused-rather-than-horrified young woman who sold me the play text.

We needn’t have worried. The Bush Studio has, once again, found and produced a truly excellent piece of small-scale theatre.

Here is a link to the Bush page on this play/production.

Light on plot and heavy on coincidence, the play explores the love trials and ordeals of two young women who fall for each other but who both, in different ways, working their way out of relationships with men. The piece is laced with symbolism and surrealism, at times reminiscent of Lorca, at other times reminiscent of Greek tragedy. We both liked its weirdness.

The play is performed as a two-hander by Nadi Kemp-Sayfi and Annabel Baldwin. We had seen Nadi Kemp-Sayfi before – in A Museum In Baghdad. Both are excellent actresses. The strength of the theatrical experience is surely down to those two and the director, Emily Aboud, who surely got the most out of their undoubted talents.

We saw the last preview. The audience was a little sparse, but perhaps that was a preview thing; a stormy Saturday before Monday’s Press Night. The audience was mostly people who were a lot younger than us; makes a change to go to places where we bring the average age up considerably.

We left the theatre feeling thoroughly exhilarated and genuinely glad that we weathered the storms to see that production. Having foreshadowed the tempestuousness of the relationships on show in the play, the weather then pandered to us as we left The Bush, keeping the wind and piss to a minimum for our journey home, before letting rip again soon after we got home.

It looks as though some tickets, especially for later in the run, are still available, whereas some nights are sold out or down to the last few. We’d thoroughly recommend this play/production, so if you fancy it, book early to avoid disappointment. Runs until 21 December 2024.

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.