Thursday, 19 October 2017
by Mike Bartlett
Stab In The Book
Successful entrepreneur Audrey Walters gives up a life in the metropolitan London, buying back a family home amid the birdsong of the English countryside, bringing cynical but supportive husband Paul and Cambridge graduate daughter Zara in tow.
She becomes evangelical in her rather desperate mission to revive a once-celebrated garden created in the twilight decades of the British Empire and remembered from her youth in the 1970s.
Albion is a strange, bitter mishmash which strives to be a weighty history and state-of-the nation drama. In fact, for TLT and her own 21st state-of-the-art motorised sidekick, it felt rather dated despite the insertion of a few Brexit references.
Audrey (Victoria Hamilton), having founded an apparently flourishing furnishings business, appears to have had her head turned in a Bovaryesque way by literary romance and a very British deluded concept of family heritage.
She rushes in where many a lesser soul would fear to tread and becomes an unwitting agent of change in the village.
From the title, Albion, an ancient name for Britain also adopted by Romantic poet William Blake, you might expect an exploration of Britishness. However Mike Bartlett's drama deals more in scattergun, on-the-nose (or should that be nosegay?!) metaphors and token gestures towards its many themes.
There are plenty of literary references but nothing to copyright home about. It could have been an agile, sly but touching satire. However it becomes a scattergun, lumbering play with contrived conflicts and simplistic viewpoints.
Directed by Rupert Goold most of the characters - and they are explicitly identified with past literature and a rather troubling ultimate identification of the feminine with novelistic insanity without any proper context - give expositional speeches.
That's all, except for Audrey's bestselling novelist friend Katherine (Helen Schlesinger) whose words, in contrast need to be treated with caution. As with Audrey's business, the nature of Katherine's talent and her financial set up appear somewhat hazy. However she appears to churn out novels with romantic aplomb without an editor or any such mundane publishing accoutrements.
Zara (the name of a shop! the name of a royal!) has aspirations to be - what else? - a writer. Despite her mother's achievements, Zara (Charlotte Hope) embodies the work and housing problems of graduates eternally on placements, never getting a job, and sleeping on a friend's couch. Ha, another theme ticked off!
Meanwhile the garden with its tall and sturdy English oak, is haunted by the ghosts of two male wartime casualties (shades of another property-based play, Clybourne Park with its Korean veteran ghost), separated by a century.
Albion strives to be a weighty history and state-of-the nation drama set in a would-be Edwardian country garden.
Nevertheless, for TLT, it remained inorganic despite the best efforts of designer Miriam Bluether, with a turfed traverse stage alongside lighting designer Neil Austin and sound from Gregory Clarke, to give it a cycle-of-the-seasons feel.
In its machine-like churning out of themes - and its length! - it did bear some resemblance to A Day By The Sea, currently on a run in South London - but far more smug.
While something again of a stereotype, the most interesting character and the story with the most promise is that of Krystyna (Edyta Budnik), the go-getting Polish cleaner who has set up her own efficient company.
She obviously has clients outside the boundaries of the rather tiresome house and grounds and there is the question mark overwhat will happen to her beliefs and business after 2019.
Albion seems like a play that has been stretched out in all directions to be a big, meandering state-of-the-nation play, rather than organically growing some potentially interesting relationships into satisfying integrated drama.
The literary metaphors feel very self-consciously, rather than wittily, tacked on, so it becomes a case of spot-the-literary-reference.
The actors do their best with this big, baggy monster of a play but nothing can disguise its overblown nature for TLT and it's a lower-range amber light.
Game Of Thrones' star Natalie Dormer impresses Francis Beckett, catches the zeitgeist, but turns out to be less than the sum of its parts.
Venus in Fur
By David Ives
Of Human Bondage
Sometimes timing dictates what your play is about.
Harvey Weinstein was just another Hollywood film mogul when several years ago David Ives sat down to write Venus in Fur. In his play a theatre director, who rather despises the actresses he hires or declines to hire, gets his comeuppance.
That, at least, because no play is an island, is what Venus in Fur is about right now and what the zeitgeist demands in late October 2017.
However I suspect that was not the original subject of the play Mr Ives wrote. I think it had much more to do with sexual fetishes, sado-masochism, and the strange things they do to the brain.
Never mind. It’s the Weinstein affair, and the consequent pleasure of seeing an actress turn the tables on a male director, which will have theatregoers flocking to the Haymarket.
In addition, perhaps attraction will be the not totally unpleasant sight of Game Of Throne's Natalie Dormer’s shapely legs protruding from S&M outfits.
In Ives's two-hander comedy drrama, New York writer and theatre director Thomas (David Oakes) has had a long day failing to cast the main female part for his adaptation of Leopold von Sacher-Masoch’s 19th century novella.
The word masochism is coined from the author's name. The book is about a woman who makes a man her slave urged on by the man who wants to be enslaved.
Thomas is just packing up to go home when Vanda (Natalie Dormer) walks in, persuades him to hear her read for the part and turns out to know most of the lines.
He is in charge at the start, for he has a wonderful part to bestow on some lucky actress. But slowly Vanda persuades Thomas to act out in real life the relationship she has read about in his play, to become her slave. What starts as a reading merges into role-play.
It’s a clever, witty play with a lot of blunt but resonant one-liners, like “Working in the theatre is the world’s greatest way to get laid”.
Patrick Marber, for my money Britain’s best contemporary playwright, directs with a sure touch and there is a splendidly detailed realistic set from Rob Howell.
As the director Thomas, David Oakes is extremely competent, but most of the time he’s simply a foil for a stunning virtuoso performance from Natalie Dormer as Vanda, at once a monster and an avenging angel.
So, a thoroughly engaging 90 minutes in the theatre (straight through, no interval). However, in the end, I wanted a bit more.
I didn’t care quite enough what happened to either character. Truth to tell, not quite enough did happen and Thomas’s swift capitulation strained the suspension of disbelief. So it's almost full marks; but in the end only an amber/green light.
Sunday, 15 October 2017
Book by Mel Brooks and Thomas Meehan
Music and Lyrics by Mel Brooks
Based On The Story And Screenplay by Gene Wilder and Mel Brooks
Mel's Show Of Shows (Again 😉)
Young Frankenstein is an odd re-animated creature. Mel Brooks, of course, comes with a guaranteed store of goodwill from his fans. So a lot of the audience will come to Young Frankenstein determined to enjoy it.
Professor Frederick Frankenstein - Les Miserables' veteran Hadley Fraser - is quizzed on his grandfather's experiments by his keen research students.
After singing a eulogy to the organ in the body that he loves best - Yes, "You can bet your ass on the brain!", - and a fond farewell to his fiancée (a splendid Dianne Pilkington), he arrives at his family's Transylvanian family seat.
There he's greeted by Igor - comedian Ross Noble in a career-making performance. He's a family retainer who sounds like a non-bitter remnant of the ups and downs of would-be moguls of old Hollywood, "My grandfather worked for your grandfather!".
And of course there's leggy and busty blonde Inga (yes, Summer Strallen, a Brooksian Swedish blonde who's a Transylvanian lab assistant!). She introduces the American professor to a cleverly animated roll in the hay and the animation of high kicks.
Add to this musical theatre test tube concoction the stern housekeeper (Lesley Joseph) who announces with Beethoven 5th-Symphony-like- bravado "He Vas My Boyfriend!". Oh and of course Grandpa Victor's "How To" book on brain transfer and raising the dead for Frederick to follow and you have a rollicking tale.
It all proceeds wih the precise timing of an 1970s' adult nostalgia-fest pantomine, ideal for the forthcoming Happy Holiday season. All over the world, judging from this Spanish language Mel Brooks' episode of The Simpsons!
Offensive? More out of context - compared with the already retro black and white movie, that is.
In 1974, there were still folks alive who knew people who made the original movie and the movie manages to be both a parody and an appreciation of its creators' filmmaking skill.
If you're under 40 and not an aspiring comedy writer or film student who has swotted up on Mel Brooks, here's the trailer of the movie.
As it is, it's an enjoyable, well-choreographed stage show with the broadbrush highlights of the movie kept, but it does become rather a different creature.
Once one could have chuckled and said how non-PC it all was, even though that already felt retro some years ago. Now with the son of Woody Allen and Mia Farrow breaking the latest (very serious and, for want of a better word, incestuous) movieland scandal, it feels like a tough time for bawdy humour and satire.
Young Frankenstein the musical is slick and laugh-inducing with the involuntary reflex reactions to tried and trusted vaudeville and sketch humour honed on Sid Caesar's TV shows.
TLT still kicks herself for guffawing, for there's something mildly re-heated about it all. But the timing, verbal and physical, is impeccable, as befits the work of a seasoned writer, as well as pianist and drummer - Brooks was taught by Buddy Rich before he turned stand up comedian, gag and sketch writer.
It all slots satisfyingly into place There's the direction and dance routines of Susan Stroman. There's the cartoony design from Beowulf Borritt (he of Microsoft advertisement fame in case you don't believe anyone with a name like that can exist!). Excellent sound design from Gareth Owen and musical director Andrew Hilton leading the nine-piece band make the kitsch songs easy-listening.
There's even a shameless emotional manipulation of our emotions making us feel sorry for Shuler Hensler's monster never quite getting to grips with his Stein - oh, sorry, beer tankard - and remaining thirsty while others drink. But finally the monster is transformed into a Broadway star ...
In some ways it's as if Mel Brooks, aged 91, is being buried alive very, very comfortably, with his stone (that's Stein in German) tombstone reading, "He was (is) a genius!"
The thing is, he is. A genius, that is. In that he represents the spirit of a time - the Catskills comedians thrust into the brave new (or at times cowardly and cowering) world of television in the 1950s and 1960s with something of the involuntarily television salaciousness whirling around us now and it's an amber/green light.
Peter Barker discovers a place for belief and its challenges in an intriguing new play from across the Atlantic.
The Busy World Is Hushed
by Keith Bunin
Father, Son And Holy Ghostwriter
The Busy World is Hushed is a discursive three hander looking at parenthood and sexuality, as well as the significance of holy scripture in the 21st century.
Playwright Keith Bunin sets the play in the New York household of a single mother.
In this case, Hannah's part of a modern Manhattan Episcopalian priesthood and an academic about to embark on a book exploring the possibility and implications of a missing New Testament gospel.
She's hiring Brandt as an assistant, a kind of holy ghostwriter, but she's also preoccupied with her restless 20-something son, Thomas.
Both mother and son are haunted by the past, the sudden death of her husband when she was pregant with Thomas.
Her son has just returned from one of his habitual long absences in the New England wilderness, immediately hitting it off with Brandt.
Bunin's writing is intelligent and humane, intertwining theological debate with the domestic circumstances and the emotional undercurrents swirling around and motivating the characters. From this simple situation Bunin spins off a plethora of ideas.
Marc Turcich's set design, a study with its chaotically strewn bibles and Anglican works interpreting the holy texts, will be familiar to anyone who has entered a priest's study.
Director Paul Higgins keeps up the momentum throughout the play's 90 minutes by often drawing the characters on the stage into triangles of conflict.
Kazia Pelka is the believer Hannah who nevertheless maintains a healthy scepticism about the man-made nature of the bible as text, but still cannot fathom her husband's sudden death years before.
Mathew James's Thomas conveys the febrile nature of a young man, also seeking answers about his father, who enters into a relationship with his mother's new employee.
Meanwhile Mateo Oxley, as Brandt, is the writer who struggles to have any belief, especially with the impact of his father's serious illness. Oxley makes a convincing East Coast patrician, an urbane intellectual, both a lover and grieving son.
The two men's love affair is handled as a naturally occuring circumstance. However, sometimes a self-conscious effort to introduce conflict feels contrived and the attitudes and actions of the characters are skewed to suit the needs of the plot.
It's not perfect but it's an amber/green light for an absorbing drama in a well-performed production.
Saturday, 14 October 2017
Freelance writer, editor and journalist Elizabeth Ingrams, now joins the TLT team and is taken with a fragile new love story where opposites attract.
Heisenberg: The Uncertainty Principle
by Simon Stephens
Two strangers, an American woman and an Englishman, meet accidentally on a London train station platform and embark on an unlikely and unexpected unrelationship.
There are waves of false starts, lies, confusions and sheer luck for Alex, a tango-teaching South London butcher in his 70s and Georgie, a much younger middle-aged primary school teacher.
Georgie's opening parry so confounds Alex's expectations, after his half a century of celibacy, he agrees to date her. By the second half of this two-hander, 90 minute play, it is Georgie who has her expectations confounded by Alex.
And so begins a slight but attractive love story, a Brief Encounter for the 21st century filled with expectation on every level,
The drama directed by Marianne Elliott unravels on the no-man’s land white space of designer Bunny Christie’s minimalist set, saturated with the ingenious, pulsing coloured lighting of Paule Constable.
How does Heisenberg come into it? Any expectation this play is about physics and a Nobel Prize winner, deviser of the eponymous theory of uncertainty, should certainly be parked outside the theatre.
And don't sigh and think this has as much to do with the play’s title as the title of the film Beethoven has to do with the German composer (in case you don't know the movie's about a St Bernard dog).
Or that that this might closely mirror one of those discussions on Brexit, in the words of The Clash song, "Should I stay or should I go"? There is something subtle that’s worth waiting for here.
Uncertainties do abound: Georgie’s self-invented identity; the whereabouts of her missing son and her former partner; Alex’s uncertainty over the sale of his failing butcher’s business, and, more crucially, what to make of Georgie.
Thus it is that Heisenberg’s Principle, which can be crudely paraphrased as, ‘the more we look into something, the less we can predict how it will turn out, or when,’ is woven into the play's fabric.
Stephens has always been a master of dialogue, allowing him to build his plays on the slightest of premises. Here, though, he allows meaning to emerge from between, rather than in, the lines.
The unexpected happens in plenty of inventive, witty and touching ways - Alex's post-coital classical music treat, Georgie's propensity, perfectly timed by Anne-Marie Duff, for screeching unexpectedly which brings the house down.
Is Georgie truly smitten or a calculating, mercenary opportunist preying on an old man? Is Alex a dotard or a wily fox picking up a younger woman for his own future benefit?
The play delicately leaves questions hanging in the air. The feature film-length, one-act play's slender structure immeasurably benefits from the cast, Anne-Marie Duff’s performance as Georgie - a brash, sometimes raucous New Jerseyite - and Kenneth Cranham’s shy-but-cuddly butcher.
Cranham’s strangled-cat vowels only finally emerge into full voice in the second half of the play when Duff's Georgie shows us her tango and the final dance of these two lonely hearts binds several negatives into a positive and a TLT amber/green light.
Thursday, 12 October 2017
The world première of a magnificent orchestral silent movie score in a palatial venue gives Peter Barker a thrilling experience,
The Phantom Of The Opera
Roy Budd's score to the 1925 classic silent film
The Sound Of Silence
The French Gothic novel The Phantom of the Opera, first published as a newspaper serial in 1909, has since the late 20th century gained fame in a modern global blockbuster musical adaptation.
However, the first dramatised version to reach a mass audience was over 80 years ago, a classic Hollywood silent horror movie starring Lon Chaney, legendary actor and "man of a thousand faces".
Years later in South London, a young Roy Budd, the son of a grocer, developed a love for silent movies and haboured a dream all his life of scoring the Universal Pictures cult horror film.
Now the 77-strong Docklands Sinfonia, led by conductor Spencer Down, has finally given the piece its world première during a screening at, fittingly, the exquisite opera venue, the London Coliseum.
For Budd was a musical child prodigy who gave his first official concert aged six at the opera house in 1953.
He became a leading jazz musician, a friend of fellow musician and comedian Dudley Moore, and composed the music, often jazz-inflected, for around forty films, most famously the iconic harpsichord score for British gangster film, Get Carter, starring Michael Caine.
After purchasing an original 35mm print of The Phantom Of The Opera and having it restored for £350,000 over the course of three years, he finally achieved his dream, creating an orchestral score for the movie.
The world première was scheduled for September 1993 but just five weeks beforehand, Budd suffered a fatal brain haemorrhage.
His widow, landed with the bill for the cancelled concert screening, then saw others perform their own scores for the film.
While Budd's was the first of several modern symphonic Phantom Of The Opera scores by various composers, like the phantom it has been a ghostly presence, only released on CD and DVD many years after it was composed and, until now, never performed live publicly.
A melodically lush and romantic score mirrors and adds to a movie, as much a love story as a horror film and a suspenseful thriller.
Budd uses a rich and varied orchestral palette for a lucid accompaniment to the Beauty and the Beast story.
Keeping a precise balance between pathos and horror, the music often reflects the viewpoint of the Phantom, his longing and torment over young soprano Christine (Mary Philbin).
Lon Chaney’s performance as the Phantom, with the unmasking of his monstrous features, still stands the test of time, especially when accompanied by Budd's visceral music.
The notes of an organ, used in various ways throughout the film, evoke the uncanny atmosphere and introduce the sweeping aural panorama of the Phantom theme.
Equally, grace, suspense and humour where appropriate find their way into the music.
There's the exquisitely affecting Lovers' Waltz for Christine and her love Raoul (Norman Kerry), alongside the gorgeously elegant Masked Ball, in a colourised segment, inspired by Edgar Allan Poe's The Masque Of The Red Death
The composer seamlessly integrates the themes of each individual, bringing them together in a full-bodied score for the melodrama. The unfussy orchestration creates a backdrop of sound and musical characterisation that is both atmospheric and majestic.
Settling down after a slightly shaky start, The Docklands Sinfonia delivered a memorable and taut rendition of this piece.
Musically referencing several sources, Budd draws upon, amongst others, Richard Wagner’s opera of a doomed love affair, Tristan und Isolde, as well as the music of Wolfgang Amadeus Mozart and JS Bach.
These musical styles suit Budd's own eclectic jazz background, forming a tribute to classical composers, but also transforming into a classical work in its own right.
The logic of the melodramatic story may sometimes leave something to be desired for 21st century tastes. Yet the force of the movie's iconic imagery, with camerawork by Milton Bridenbecker, Virgil Miller, Charles Van Enger, fills the screen and mind: The Phantom's mask; the vulnerable horrific face beneath (skilfully made up by Lon Chaney himself) and the Phantom's underground lair.
This was a one-off performance, mounted as a result of Roy Budd's widow Sylvia Noel's tireless work over very many years, first to have the music released on CD and in a DVD movie version and, finally, to be given its live première.
Combining a glorious concert of a nuanced score with the screening of a sensational movie classic could work well in other venues. On the strength of this performance in the lavish opera surroundings of the London Coliseum, it is a well-deserved TLT green light.
Tuesday, 10 October 2017
by Chris Thorpe
This is the kind of play you'll be either for or against. A sweeping statement, TLT and her four wheeled companion know, but this is a binary play you'll (ok, probably) either love or hate.
But to proceed. A man and woman (we never get to know names) unlock the door of their modern, pretty plush flat (design by Chloe Lamford) and wheel in their brightly coloured, plastic mould suitcases.
They go about unpacking both their luggage and their minds in an apparent stream-of-consciousness.
He (Jonjo O'Neill), it appears, is either an assassin or, influenced by a computer game he starts to play later on, imagines he is one. She (Sharon Duncan-Brewster), more plausibly for the world TLT inhabits, seems to work for an advertising agency.
Their minds range over multiple images and subjects which obviously colonize their minds - his more intent on warfare and spaceships. Her thoughts concentrates more on her personal frailty and the possibility of collapse in a public place and the abuse of a trafficked child.
O'Neill's Northern Irish accent and Duncan-Brewster's London accent gives some variation - even though there are glimpses of the Ukraine in O'Neill's monologue, the talk of barricades also has resonance for Northern Ireland.
Duncan-Brewster's image of collapsing, on her back and helpless on an underground station platform with a brain haemorrhage, is a potent image. However, the audience is never given the chance to connect with much in the intercut monologues.
The couple (the audience is given enough to work out they are a couple) move around the well-organized flat doing whatever they feel needs doing and consuming whatever takeaway food and images that they want to consume.
Our expectation was that something would happen to bring a recognizable narrative rather than an attempt solely to bring thoughts on to the stage - albeit in fully formed words and sentences.
The overall impression was of a dream where you see yourself rather than view the world from inside your own head and you know that it's all wrong.
There also seem to be enormous assumptions. Our first thought was that they worked as airplane stewards. Looking at the play text, it appears they've come back from a holiday in Greece. And that's part of the problem.
Why put something like Greece, which does have a resonance, in play text stage directions when it has has no bearing on what the audience members see and hear in the performance?
TLT wouldn't always make this point about the differencce between the printed and performed script but here at least one person involved in the production is assuming that everyone thinks in the same way she or he does.
The same goes for the title of the two internal monologues - Victory Condition. There was no clue in the piece TLT watched as to what this term means - an assumption that everyone in the audience must know gaming terms. However TLT can't pretend that knowing this term now makes the play itself any more comprehensible.
The blurb says Victory Condition is "An attempt to get to grips with the fact that everything happens at once. And to see if there’s anything we can do about it." Maybe. There's a lot of maybes with this play.
Maybe it's an attempt to make some kind of correlation between infinite psychic space and the non finite nature of computer games. Maybe it's a tease but if so, it's a rather mind-numbing, frustrating and ultimately boring one.
Maybe writer Chris Thorpe will collect all the Victory Ambition reviews and turn them into some sort of play. TLT and her engineered companion or a TLT reviewing colleague would still turn up 😉, but in the meantime it's a red/amber light.
Monday, 9 October 2017
A Day By The Sea
by NC Hunter
The Sense Of An Ending
Taken at face value, A Day By The Sea is a languid post Second World War family drama, crafted, apparently, to mimic a Chekhov play.
A fusty middle aged career diplomat Julian, a bachelor, has left his Paris posting for a short break with his widowed mother and his frail uncle at the family's seaside Dorset home.
In a past era, he and a playmate ranged over the beach and cliffs in a picture book childhood and there's certainly an elegaic feel to director Tricia Thorns' handsome production at Southwark Playhouse designed by Alex Marker.
But surely the piece's Chekhovian vibe is deliberately just a little over the top? For it's a curious piece, even with solid individual performances from a 10-strong cast. Yet as a play, written in the 1950s just before the advent of kitchen sink drama, it almost verges on a coded parody of its own genre.
The stock literary characters meander in stage left and right.
There's the dry stick diplomat Julian (John Sackville) who finds his assured position at home and abroad is in jeopardy. His mother Laura (Susan Tracy), as fit as a fiddle, tending the garden, apparently unembittered at being pushed aside from home ownership in an act of primogeniture arranged by her late husband and the white-haired solicitor (David Gooderson).
Ah, yes, the doddering solicitor whose sinecure seems to involve becoming energised by a tenant's expensive new - er - pigsty.
Ailing uncle David (David Whitworth) remembers real or imagined colonial adventures sitting in his bath chair. A doctor (David Acton), over fond of gin, is kept on to care for the old man but, we are told, is in an 'ambiguous' position.
The welfare of the unwitting medic is, in turn, the unasked-for concern of lovelorn spinster governess (Stephanie Willson). She looks after the children of outcast divorcee (Alix Dunmore) who came to the house as an orphan and now returns as a sophisticate.
So it's a house over-stuffed with literary and movie stereotypes and glimpses of other plots.
They, eventually, decide to take a picnic and the children scavenge for a shell on the oil-free idyllic beach, after Julian hears bad news from the office conveyed by a colleague (Hugh Sachs) and loosens up.
Yet the news, in spite of the play receiving its first performance back in 1953, two years after seismic Anglo-Soviet happenings in the foreign office, is hardly front page stuff.
TLT and her own motorised aide cannot believe that a 1950s London audience, also au fait with the lead actor's involvement in a real life scandal just before the opening night, would not have recognised a certain deliberate desperation and hollowness in the whole scenario of A Day By The Sea
The play itself feels like a workmanlike piece, where each role is written in such a way that every actor can have his or her "turn" - in this, TLT supposes, it does also reflect a "Chekhovian" style.
Sackville as diplomat Julian and Dunmore (a dead ringer for Emma Thompson) as divorcee Frances are pitch perfect with good support from Stephanie Willson as governess Miss Mathieson, David Acton's private live-in doctor and David Whitworth as the invalid uncle. Susan Tracy grapples well with the slippery part of the mother.
However this production could have done with a little more speed and vigour as the family's losses finally start to bite in the more hallucinogenic final scenes of what amounts to the fourth act in the old-fashioned structure of the play.
Maybe there should have been a little more left field thinking about how to pace the play for the 21st century.
Even so, there's nice work in styling the production from costume designer Emily Stuart but the star of the show is truly Alex Marker's exquisite blue sky, warm brick and late summer glow design with its photo album framing.
Was it TLT's overactive imagination which glimpsed something of the iPad and its "Do Not Disturb" crescent moon in the framing adding a welcome extra dimension to the play? If it were an accidental effect, it still worked well for us!
A Day By The Sea is an interesting piece set in the context of the 1950s. There's a parallel to contemporary British movies with subtexts of imperial decline, Britain thrown back on having to cultivate its own garden and Soviet and American Cold War politics.
But it's also an insight as to why a new post-Second-World-War generation might have felt it was time to stop the London and civil service establishment occupying theatres and sneaking in home truths - but only for their kind of audience.
TLT began to feel the criticism of writers like ex-army man NC Hunter by critic Kenneth Tynan and the Royal Court generation had a pertinent literary point.
A fellow critic, Bernard Levin, remarked in a 1958 review of another Hunter play in The Spectator, "... for all its dabbling in grave social questions (are the rich really parasites? is it their fault?), [it] is only another of the machine's products.
"Everybody, as is the way with the machine, is made of cardboard, and although the cardboard is tricked out very nicely it remains cardboard ... only the dialogue, which is a cut above the general level of the play, saves the evening ... And the acting, of course."
After sitting through A Day By The Sea, the TLT machine thinks we know what he means and it's an amber light.
Sunday, 8 October 2017
What Once Was Ours
Writer/Dramaturg Chris Elwell
Peace In Our Time?
The world has become a slippery place for many across the generations.
However young people who have grown up in the 21st century UK and elsewhere have never known anything else.
Globalization seems to have crumbled into a mass of contradictory lobbies, authorities and commercial enterprises seeking to influence hearts and minds. Inevitably, in all this Brexit, Britain's exit from the European Union, looms large.
But in the midst of all this, Callum (Jaz Hutchins) has come searching for a part of himself left behind when his Mum split from his Dad.
He knocks on the door when Katie (Pippa Beckwith), his younger half sister, is home alone, their Dad and his current partner away.
At first she is reluctant, submerged in her own thoughts, although polite enough to come out of herself and invite him in for a cup of tea.
We, the audience, sit in the black box space of the children's theatre, The Half Moon, right in the middle of the action on blocks as spongy and porous as the uncertain world in which we now all live.
Verity Quinn's ingenious, playful design is as much a character as mixed race Callum and white Katie. Kettles and tea emerge from an uncapped pillar and the actors move round and gently shift audience members as the two require the blocks and minimal props for action.
It's unusual to see, hear and feel a play where the design is so integral to the experience and part of the Brexit feel without mentioning the B word itself.
Swirling past our ears is a soundscape, designed by Guy Connelly, with young voices taken from Remain and Leave towns in Britain but also dwelling on jobs, community, isolation, a generation dislocated by technology and the certainties of previous times.
Writer and dramaturge Chris Elwell, who alongside director Toby Eaden has worked with a quartet of researchers, keeps it archetypal but puts in tiny pinpricks of literature involved in other communal shifts.
Nobody needs to know any literary history. They can just absorb delicate but powerful images contributing to an atmosphere everyone can recognize.
But surely there is just the tiniest gesture towards Thornton Wilder's Our Town? Callum, two years older than Katie and still brought up on the printed word, also spills the lively children's DC Thompson comics he's always kept, The Dandy and The Beano, on the floor,
These were first published when a mobile phone would have meant a rotary dial telephone on a table with wheels!😉, but they reminded TLT too of Adrian Mitchell's Nostalgia - Now Three Pence Off, a poem about a 20th century generation gap.
At another point Callum takes the lead and the blocks are transformed into an island or a boat without moorings where brother and sister seem to be sharing an adventure as in one of those now old fashioned children's books so popular before social media tightened its girdle round the world.
Toby Ealden keeps what seems to be a light touch. The actors know where they have to be for each of the play's movements, even if how they get there changes from performance to performance dependent on the audience.
It's easy to take the fluent work of movement director Amy O'Sullivan for granted in this fluid piece lasting barely an hour. The story may be bordering on the stuff of soap opera but that also means it doesn't shy away from issues. It's fast-moving but also a peaceful framework for divisive issues distilled in mixed up Katie and watchful Callum.
The graceful staging and thoughtful script make it a soulful, delicate and, yes, communal experience for the audience, whatever their opinions. It's jolly, wistful, stimulating and calming all at the same time and certainly deserves a bright TLT green light.
This is a touring production which continues at the Half Moon Theatre until Wednesday, October 11 before moving to Oxford, Bournemouth, Hartlepool, Sunderland, Banbury, Newcastle Upon Tyne, Woolwich, Finchley and Stratford in London, Farnham in Surrey, Bedford, Sale, Burnley, Barnsley, Louth, Norwich, Grantham, Stamford, Spalding, Lincoln, Doncaster, Bath, Burton, Canterbury and Didcot.
Friday, 6 October 2017
Catherine Kelly finds joy and sadness in a play facing up to a traumatic moment in India and Pakistan's history.
Child Of The Divide
by Sudha Bhuchar
based on the story of Bhisham Sahni
Born Of A Fragile Land
Imagine yourself at five years old. Suddenly your parents are fleeing from your home as the country is split in two and a new border created. In the chaos your hand slips from your Dad's grasp and you find yourself alone.
Child Of The Divide is a family-friendly, heart-rending, poetic tale focussing on little Pali lost during the chaos of forced migration in 1947 Partition when India was divided into majority Hindu India and majority Muslim Pakistan.
Pali is saved, given a new identity, name, faith and home by a kindly Muslim couple, only for his young life to be torn apart again when, years later, his birth father finds him.
This is the story of individual, blameless citizens left to cope with the consequences of imperial retreat, a subject already amply dealt with in productions such as Drawing The Line and movie The Viceroy House.
Child Of The Divide, adapted by Sudha Bhuchar from a story by Bhisham Sahni, was first produced eleven years ago and is now revived to mark 70 years since Partition.
Karan Gill gives a tender, eloquent central performance as the little boy in Jim Pope's quick moving production in Polk Theatre's comfortable, intimate space.
A large map backdrop from designer Sue Mayes keeps the physical geography and the man-made red line of the new border between the two nations in constant view and in the minds of the audience..
The versatile set turns into a variety of locations, whether a hectic train station, a mosque, a river or playground. Carefully-chosen props - luggage, a bed frame, boxes, bags - evoke the meagre but vital possessions of the refugees. Peter Harrison's lighting with sound by Arun Ghosh set the tone with exquisite precision in each scene, drawing the audience into this topsy turvey world.
Devesh Kishore and Halima Hussain as Pali's adoptive father and birth mother respectively and doubling as two children also divided from their families manage to give clearly defined and poignant performances. However, it is a complex story, with a seven year span, to fit on an intimate stage with a cast of five adults playing all characters on both sides of the divide and a wide age range.
Alongside the fast-paced scenes, the doubling up can be challenging for audience trying to keep track and more use of props and character traits might have helped.
There is some unevenness in the performances with more work needed on projection of dialogue and clarity of exposition. The audience were left sometimes straining just to enjoy the poetic language and understand the discussion of ideas in the play.
Nevertheless there's enough there to indicate the production and cast will resolve these issues once the production is bedded in during its two week run at the Polka and on the following UK tour.
Otherwise this is a remarkable play bringing home the experience of displaced millions through one small child. One of its strongest aspects is in conveying the tug of love of the two mothers, one grieving for an incalculable loss and the other, childless, joyful at finding a longed-for son. whom she protects and cares for against all the odds.
Deep and heavy stuff, you may think, as a play intended audience for seven to 14 year olds. However, by not underestimating its young audience, Child Of The Divide takes on an added resonance for both adults and children.
Offsetting the darker issues and outer and inner conflicts, there are still plenty of lighter, fun scenes of children simply playing together, enjoying a rollicking good game. Stimulating and heartfelt, this courageous, life affirming play fully deserves an amber/green light.