208 posts categorized "New plays" Feed

Review: The Claim, Shoreditch Town Hall - farcical and dark asylum seeker tale

I don’t think I’ve ever felt quite so angry while watching a play. Angry at story steeped in a ridiculous incompetence from those that hold sway over the lives of others.

The Claim  UK Tour - Yusra Warsama  Nick Blakeley and Ncuti Gatwa (courtesy of Paul Samuel White)
The Claim UK Tour - Yusra Warsama Nick Blakeley and Ncuti Gatwa. Photo: Paul Samuel White.

Serge (Ncuti Gatwa) is seeking asylum and has an interview with Home Office officials.

He has been in the UK for a year, lives in a house in Streatham and has a job. His wish is simple: He wants to live, something he feels he can’t do in his home country the Congo.

The story the Home Office staff want to know is why he can’t go back home but it isn't as straightforward as that.

Hindered by the opening of old wounds and a desire to give the right information, the telling of Serge's story is also hampered by language barriers and interruptions. 

One of his interviewers, B (Yusra Warsama) is officious and doesn't speak Serge's language. Her colleague A (Nick Blakeley) is a sympathetic but incompetent translator. Both are distracted by personal issues such as forthcoming holidays and leaving work on time. 

It is a scenario that has the ridiculousness of a farce. However, given his research into the Home Office immigration process writer Tim Cowbury has created a story which takes on a Kafka-esque edge of frustration, dehumanisation and danger.

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Review: My Mum's A Twat, Royal Court - my first five star play of 2018?

Patsy Ferran’s ‘girl’ is sat in the corner playing a mini Casio keyboard. She says ‘hello’ to me and I go and sit on a red bean bag on the turquoise coloured carpet.

Helen murray-My-Mums-A-Twat-patsy ferran royal court
Patsy Ferran in My Mum's A Twat, Royal Court. Photo: Helen Murray.

We are in a kids bedroom - not a surreal dream but the set of Anoushka Warden's play My Mum's A Twat.  The furniture has glittery stickers on it, there's a shelf of Troll dolls, photos and pictures stuck to the walls.

This room, ironically, becomes a marker for the end of innocent childhood a time before the divorce and marriage to ‘moron’ lead her Mum into a ‘healing’ cult and a journey of estrangement and conflict between mother and daughter.

Patsy Ferran’s girl tells the story bubbling with defiance, resourcefulness and sassiness. You can imagine the pursed lips of the adults in her life.

Her tale unfolds through the prism of child then teen logic but while there is no abuse or great cruelty the perceived emotional abandonment by her Mum smacks hard and there are hints of the pain it causes.

We are transported swiftly from the ‘healing centre’ of her mother’s cult to Canada and back again with effervescent energy, colour and wit but in the still moments the hurt that ripples to the surface is all the more powerful.

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Fringe review: Do opposites attract in Lobster, Theatre503

The gold, helium-filled, party balloon letters at the back of the stage spell out 'Happy Fucking Whatever' which forms an appropriate back drop to this relationship comedy drama in which J (Alexandra Reynolds) seems to represent the 'Happy' part and K (Louise Beresford) the 'Whatever'.

They bump into each other at a party several months after they have split up which becomes the starting point for a journey looking at how they met, fell in love and fell out of it again.

Lobster - Ali Wright-9
L-R Louise Beresford and Alexandra Reynolds in Lobster. Photo Ali Wright

J is one of those naturally happy people. Always cheerful, excited, agreeable and eager to please. She is also traditional wants to get married and have a family.

K has a dry wit and can be sarcastic to the point of coming across like she doesn't care. She's doesn't really know what she wants.

As they recall the details of their first date, they correct and contradict each other. It is charming, and amusing - snappily written and performed - but also perhaps an early sign of how their differences might actually shape their relationship.

At first the light and dark in their personalities complement and it is what they love about each other but life, dreams and experience start to mould things differently.

Lucy Foster's play isn't just a funny drama about the quirks of love and being a couple, it is also a keenly observed look at the complexity of relationships made more so by the complexity of human nature.

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My best of theatre list for 2017 - with some rom-com, Chekhov and Christmas surprises

If you'd told me at the start of the year that there would be a rom-com, a Chekhov and a Christmas play on my best of list, I'd have laughed in your face. Just goes to show you should always expect the unexpected...here are my favourite plays of 2017, in no particular order and links are to my reviews.

An Octoroon - Orange Tree Theatre - publicity photo by The Other Richard
An Octoroon - Orange Tree Theatre - publicity photo by The Other Richard

Dirty Great Love Story, Arts Theatre

Let's face it most rom-coms are a bit rubbish - they generally aren't that funny - but this tale of modern romance had me guffawing with laughter and I wasn't on my own.

An Octoroon, Orange Tree Theatre

This is a play that reminded me why I love going to the theatre and I could write pages on it. Thought-provoking, sometime uncomfortable to watch and yet it was still entertaining. It's transferring to the National Theatre in June and I'll definitely be getting a ticket.

Apologia, Trafalgar Studios

In my review I said: "Apologia is a play of sharp humour and depth that slowly breaks down the defences to reveal something raw and emotional. You will laugh and you will have a lump in your throat." It was also a great play for female characters.

Out There on Fried Meat Ridge Road, White Bear Theatre and Trafalgar Studios 2

This odd-ball, misfit comedy was a breath of fresh air and it got a much deserved transfer so I got to enjoy it a second time.

Hamlet, Almeida

Up there as one of the best Hamlet productions I've seen, it made me see the play anew.

BU21, Trafalgar Studios 2

Writer Stuart Slade took real testimonies from terrorist attacks around the world and used them to create a story around a fictional attack in London. The result was an honest, awkward and funny piece that was also really clever.

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10 plays I'm really looking forward to seeing in London 2018

Julius Caesar, Bridge TheatrePrompted by the Daily Telegraph's rather uninspiring and quite frankly lazy list of upcoming theatre treats - three plays which have already opened? Oh come on - here's my list of what I'm already really excited about seeing in the first half of 2018*.

1. My Mum's A Twat, Royal Court Theatre - Patsy Ferran, I love Patsy Ferran and this is the first of two plays she's doing in 2018 and it's a solo piece *insert big smile here*

2. Julius Caesar, Bridge Theatre - Ben Whishaw playing Brutus alongside David Morrissey and Michelle Fairley and the chance to mingle with the Roman mob? Already booked to see it twice.

3. The Brothers Size, Young Vic - Written by Tarell Alvin McCraney who also penned Oscar best picture winner Moonlight (which I loved) and starring Sope Dirisu who was brilliant in One Night In Miami at the Donmar and the RSC's Coriolanus.

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Review: Albion, Almeida Theatre

XALBION.jpg.pagespeed.icSat down to watch Albion with a mixture of expectations. A theatre loving friend said they'd left at the interval but Victoria Hamilton and Luke Thallon were both shortlisted for Evening Standard Theatre awards. Now, I don't believe there is too much inference to be drawn from award nominations but I was, nonetheless, encouraged.

And the verdict? Well I definitely didn't want to leave at the interval and Victoria Hamilton and Luke Thallon were very good.

Victoria Hamilton plays Audrey who has just moved from London to a big house in the country. The gardens were once something and she wants to restore them to their former glory. She is obsessed with restoring them to their former glory but that isn't really what the play is about, its about a woman who is adrift, grieving the death of her soldier son James and trying to find an anchor.

She has her patient and self deprecating second husband Paul in tow (a completely lovable Nicholas Rowe) and her university student daughter Zara (Charlotte Hope) who is not happy to be displaced into the country. Also tagging along is Anna (Vinette Robinson) who is James' grief-stricken girlfriend and Audrey's famous writer friend Katherine (Helen Schlesinger).

The house comes with furniture, Matthew (Christopher Fairbank) the gardener and his wife Cheryl (Margo Leicester) who is the cleaner and a neighbour's son, Gabriel (Luke Thallon), who cleans the windows and quickly develops an awkward crush on Zara.

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Quick review: The brilliant Beginning, National Theatre

Beginning-2160x2160-sfw-50Still catching up post hols, hence the quick review but I loved this play. It's set at the end of Laura's (Justine Mitchell) flat-warming party when all the guests have left apart from one: Danny (Sam Troughton). She's confidence, sassy; he uses slightly laddish humour to try and mask his nerves. For an hour and forty minutes the two talk, drink and make fish finger sandwiches.

Do they have more in common than initial appearances would suggest, is this the start of something and what is that 'something'?

It's a play that slowly unwraps the layers of two characters through their interactions and exchanges like a pass the parcel present and it is done in a way that is smart, wry, funny and moving. David Eldridge's play avoids cliches and stereotypes giving us two very human and identifiable characters whose life experiences and dilemmas are fresh and contemporary.

Performed with seemingly effortless skill I was gripped, I laughed out loud a lot and I may have had a tear in my eye. And if that isn't enough the soundtrack is great and there is a superb dance scene. I'm so glad this has got a transfer into the West End: From January 15 it is at the Ambassadors Theatre in Covent Garden.

 


The new play, new theatre experience - Young Marx at the Bridge Theatre

IMG_5152The benefits of being a brand new theatre is that you can address a lot of the niggles people have with older theatres: uncomfortable seats, lack of space for refreshments, bad sight-lines and not enough ladies loos etc. Nicholas Hytner and Nick Starr's Bridge Theatre beautifully situated on the opposite bank of the Thames to the Tower of London seems to have made a pretty good job of it.

Walking in, it is light and airy without feeling stark and impersonal and I imagine the spacious cafe/bar area will double as a nice daytime hangout. The seats are comfortable (a bit like those at the Royal Court) but sight-lines will have to be an ongoing test as the configuration is going to change. For this production we sat in the middle of front row and although the stage is reasonable high, I've sat closer to higher stages, so it was perfectly fine.

And as for the ladies loos, there are lots of them and there is even an 'in' and 'out' door to the main facilities similar to The Globe which means a better flow if you'll excuse the pun. Only one minor quibble is that the coat/bag hooks on the back of cubicle doors are really high - I had to stand on tip toes to reach it. I know I'm short but even so it was the primary topic of conversation as people were washing their hands.

And what about the play? It would have been easy to open with a relatively safe classic but Hytner and Starr are setting out their stall by choosing a new play by Richard Bean and Clive Coleman. Obviously they aren't strangers, Hytner having directed Bean's plays England People Very Nice, One Man, Two Guv'nors and Great Britain and this has the potential to be a crowd pleaser.

It's a bit of a romp in fact, telling the story of the time, the 30-something Karl Marx's (Rory Kinnear) lived in exile with his family in Soho. The central narrative is his journey from disillusioned genius, thinking of jacking it all in to work on the railways, back to the writer, thinker and activist he is famed for.

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Review: Life, the universe and family drama in Mosquitoes, National Theatre

Mosquitoes-v2-1280x720There are five ways the world will end, we are told by a scientist (Paul Hilton), but Luke's (Joseph Quinn) world is ending, not because of particles and black holes but because of that incident, in the bedroom of the only girl that talks to him.

Luke is clever and bright, he comes from an intelligent family. His mum Alice (Olivia Williams) is a brilliant scientist working on the Hadron Collider, his grandmother Karen (Amanda Boxer) was also a scientist and his grandfather won a Nobel prize. His aunt Jenny (Olivia Colman), on the other hand, prefers reading horoscopes and Googling answers to questions. Luke thinks she is stupid and so secretly does Alice and, not so secretly, so does, Karen.

As the Hadron Collider is about to be switched on tragedy throws the family together and it will be more than particles colliding in Geneva.

Mosquitoes mixes art and science examining intellect versus emotion and the extraneous variables that human nature brings to life. It puts family and parenting under the spotlight; Luke and Alice may be clever with computers and physics but they stumble when it comes to relationships. Jenny is led by emotion, making decisions that her family would say lack intellectual rigour, with painful 'told you so' consequences but she shouldn't necessarily be written off, there are stronger bonds and human needs that science can't help with or explain.

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Review: Friendship, politics and power in the RSC's Queen Anne, Theatre Royal Haymarket #RSCQueenAnne

Queen Anne marketing image_ Theatre Royal Haymarket 2017_2017_211146The RSC's production of new play Queen Anne opens with a satirical song about the monarch's many pregnancies, the joke being that her latest was just trapped wind. It is a humorous song with barbs, Anne is portrayed by a man with fake fat belly and voluminous breasts - her reign was said to have seen the birth of political satire, if not an heir to the throne. 

It is one of a handful of satirical songs that pepper the play, reflecting political opinions and gossip, and a growing tool for those trying to manipulate or discredit the monarch, her politicians and advisers. These songs are like the equivalent of an 18th century Spitting Image sketch. There is a disquieting irony to the fact that the same day I was watching the play, our 21st century Parliament was discussing abuse and intimidation in the run up to the last election.

The song feels both cruel and understandable when we meet the Queen (Emma Cunniffe) for the first time. She appears sickly, weak - physically and mentally - evasive on important issues and prone to changing her mind and yet there is something tragic, pitiable and occasionally admirable about her too.

Her personality means she is putty in the hands of her supposed friend Sarah Churchill (Romola Garai) who has wit, intelligence and confidence in abundance. Sarah and her husband John (Chu Omambala) are also skilled at negotiation and manipulation, using the Queen for their own advantage and that of their political allies.

However, Sarah doesn't so much overestimate how much power and influence she has over her friend but just how far she can be pushed. While the Queen is to a large extent a pawn among political factions, in her naivete she is perhaps wiser than the Churchill's give her credit but there is no mistaking the killer blow she ultimately delivers.

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