Dealing With Clair by Martin Crimp, Orange Tree Theatre, 24 November 2018

We thought this was a fabulous piece and production – once again a superb evening of theatre at the Orange Tree.

Here is a link to the Orange Tree on-line resource for this production.

We’ve been interested in Martin Crimp’s writing for years. Sometimes his plays are a bit too weird even for us, but they always make us think and are usually chock-full of suspense and creepiness.

Dealing With Clair is no exception. One of Crimp’s earlier works this, when he was writing exclusively for The Orange Tree, it is very loosely based on the Suzy Lamplugh tragedy, which occurred a short while before the writing of this play and not too far away from Richmond.

Yet, this play from 30 years ago seems very contemporary and relevant today in this production.

The whole cast was excellent.

Our hearts sank a little when we saw that the designer had gone for one of those “behind a screen” designs, which we tend not to like, but actually it worked extremely well for this production, not least because the screen is removed at a telling moment in the play.

By gosh the play is creepy. We were talking about it a lot, for ages, after the evening – which is usually a sign that a play/production has really affected us – which this one surely did.

There are plenty of review snippets on the above links to the Orange Tree, but click here for links to the full reviews – mostly very good ones which the production thoroughly deserves.

I keep saying it, but the Orange Tree is doing great work at the moment – I hope they keep it going.

Nahda by Sevan K. Greene, Sandpit Arts, Bush Attic, 17 July 2015

An interesting looking production in the Bush Attic; we thought we’d give it a go despite it starting quite early (19:00) on a Friday. Janie made it to mine with bags of time to spare.

Excellent stub for this production on the Bush site, sparing me the trouble to explain it all – click here.

This short piece was really a few sketches presented together, overlapping more in their subject-matter (female and second generation identity) than the stories themselves.

We enjoyed it and were glad we invested the time to see this production.

I hope the Bush use that attic space more after the refurb (I am writing in December 2016). We thought it had great potential for this sort of studio work, much like the Royal Court Upstairs and Hampstead Downstairs.