Tag: Sule Rimi

Glass. Kill. Bluebeard. Imp. by Caryl Churchill, Royal Court Theatre, 5 October 2019

We have a split jury on this one. I found the production interesting and entertaining in equal measure. Janie didn’t much like it.

You can read the reviews for yourself – click here and then beyond.

Many of the reviews agree with me. Some of them agree with Janie. It was that sort of production.

Sort of four short plays – the longest, Imp, being an hour or so long and comprising the whole second half. I liked that play the best.

The other three were very short and took up the first half, interspersed with a juggler and an acrobat during the set changes between the three.

Here is a link to the Royal Court resources on this production/collection of plays.

Caryl Churchill stuff is always challenging and a bit different…this production was no different…if you see what I mean.

As a collection of plays, the production touches on themes such as violence in our society, myths and the relentless desire to turn just about anything into a marketing opportunity. The final play, Imp, brings several of those themes together, subtly, in an understated, domestic chamber play.

Excellent cast, direction and design throughout. But the standout performances, for me, were the quartet in Imp: Deborah Findlay, Louisa Harland, Toby Jones and Tom Mothersdale.

Bus outside The Royal Court, Sloane Square - geograph.org.uk - 1089253
Don’t think we’d have made it if we’d bussed it

We had terrible trouble getting to the Royal Court on time on this occasion – we really must allow more time in future. The journey seems to be taking longer by car now on a Saturday evening and we keep allowing less rather than more time. We arrived in the nick of time. Others didn’t. Our marriage has just about survived the hair-raising journey and the difference of opinion about the production. Just about.

They Drink It In The Congo by Adam Brace, Almeida Theatre, 3 September 2016

Our first visit to the theatre for a wee while, as there tends to be less of the stuff we like to see over the summer.

This play looked very interesting in the Almeida leaflet. Unusually, this was the only play we booked at the Almeida this season; they seem to be doing fewer new plays these days.

It was indeed an interesting play. Mostly set in London, where a do-gooder jolly hockey sticks woman is trying to organise an awareness raising Congo Festival with the consent and co-operation of the local Congolese diaspora community. Funny and sinister in equal measure. But the play doesn’t shy away from also showing us a glimpse into the horrors of life in the war-torn DRC.

Michael Longhurst directed this one, as he did Carmen Disruption last spring. We found that play interesting with some excellent scenes, but a little disjointed. I’d suggest that They Drink It In The Congo is similar in that regard. In particular, some of the festival-organising intrigue was a little drawn out and convoluted, but some of the scenes were superb. Interesting set and scene changes. All performances very good indeed.

The Almeida stub with all the details of They Drink It In The Congo is linked here.

Reviews:

In our household, I’m with the “four stars out of five” reviewers (most of those above), while Daisy would be more with Fiona Mountford and the three stars brigade.

We went home with plenty to think/talk about and nibbled at cold compilations rather than our more regular routine; to take away a hot meal.

 

 

The Rolling Stone by Chris Urch, Orange Tree Theatre, 16 January 2016

We seem fated to sit next to the luvvies this year. Last week Daisy ended up with Benedict Wong sitting next to her at The Royal Court. Then earlier this week, she took a call from the Orange Tree , to see if we minded shifting up one seat on our row to make space for an actors’ seat. I’m not sure what would have happened if we had refused this request. Anyway, I ended up with half the cast sitting next to me at one time or another (not all at the same time).

Don’t let the jovial start to this posting deceive you. This was another bleak piece about troubled people in a troubled place. This time the place is Uganda and the story is basically that of a young man who gets himself and his religious family caught up in the persecution of gay people. At no point in the play would you sensibly anticipate a happy ending.

The play has won awards and is another of Paul Miller’s canny transfers from Royal Exchange Manchester, where it was deservedly very well received – see synopsis, reviews from Manchester (presumably, eventually, also from Richmond – we attended the last Oraneg Tree Preview), cast and creative credits here.

This is only Chris Urch’s second play, so his is certainly a name to look out for in future.

The title, The Rolling Stone, refers to a newspaper in Uganda that acts as a focal point for persecution by naming and shaming homosexuals.  You’d need a heart of stone not to be moved by this production and the real life plight of gay people in Uganda (and indeed many parts of the world), which this play puts under the spotlight.