Sunday, 14 August 2016

No Man's Land, Lyceum Theatre Sheffield, 13/8/16

This was the first Pinter I have seen, and on the basis of it I'm not sure I 'get' Pinter. There isn't a narrative as such, more an exercise in words. It centres around the exchanges between two gentlemen, Hirst and Spooner, one drunken evening and the following morning, with two other characters, Foster and Briggs, joining the fray. The nature of the characters relationships switches, the audience is constantly slightly wrong footed, just when you think you have a sense of what is going on, another shift occurs and you are as confused as when you started. It does feel at times like you are in some kind of disjointed, slightly trippy dream. The only option is to just go with it and enjoy the dialogue with its intriguing wordplay, and appreciate the performances, and boy, what performances they were.

Patrick Stewart as Hirst, and Ian McKellen as Spooner were a joy to watch. They make such clever choices in their portrayals, there is so much detail and craftsmanship in their performance but it looks effortless. They play off each other beautifully, there are plenty of comedic moments, especially from McKellen, never overplayed, perfectly judged. Both of them are a masterclass in what makes a great actor. I've seen Stewart on stage before in Hamlet, but this was the first time I have seen McKellen in the theatre and the combination of the two of them was an absolute treat.

Damien Moloney as Foster, and Owen Teale as Briggs ably completed the cast, albeit their parts were relatively small and even more infuriatingly complex which didn't give them as much opportunity to shine as the leads. 

If you are going to see this play, which is on a short tour before it's London run, it's definitely worth shelling out for the programme, it contains some really interesting features, and the most delightful cast notes I have seen in a long time.

All in all, I'm not sure I would rush to seek out Pinter again, but I do acknowledge the fascinating detail of the dialogue and the clever interactions. Maybe it's a mindset thing and I need to work on my Pinter appreciation more. But watching two exemplary classical actors deliver such an acting masterclass was a thing of wonder and one I feel very privileged to have experienced.

Friday, 24 June 2016

Lost, but looking for hope

So I woke up today to a very different home, a home that feels scary and uncertain and a unwelcoming. A home I don't feel like I fully identify with, that doesn't represent my values. Overnight Great Britain seems to have turned into little Britain. Outward looking and open to change and development feels insular and backwards. I'm scared, confused, baffled, and angry as hell and I don't know what to do. 

It seems inconceivable that a vote that was that close can be allowed to have such a massive and unreversible change on a country. Did no one think to put in a clause that said there had to be a defined majority to set this change in motion. Surely something like if it was under 10% a further period of consideration is given. You get a 10 day cooling off period when you take out a loan for goodness sake, this is a much bigger deal where were the safeguards? If you find out the day after you signed a contract that the seller lied to you there are things you can do, but this decision feels final. Now we feel like we are on the brink of a fracturing UK, a crashing economy, a rise in racism, a worse deal for the people who can least afford it, and a culture that has been the envy of the world that will erode and disintegrate. 

I might be being over dramatic, things might not turn out to be as bad as I paint, and I am not the most informed about the issues but it's how I feel and I won't apologise for that. Lies have been told and the truth has been overlooked. The EU wasn't perfect, but it's a darned sight easier to affect change from within than outside. Yes they made a minority of laws, but many of them benefited us and the environment. Working time directive, maternity leave, safety - many of these protections were enhanced not eroded by our membership. Trade was easier, markets were opened, there was give and take but I'd rather collaborate than divide. Closer to home, the EU helped Manchester recover and reinvent itself after the IRA bomb, far outdoing the UK contribution. 

I've spent most of today nonplussed and trying to make sense of where we go from here. I've seen a lot of people say they don't want to be a part of this new reality, they are not proud to be British, and to attack each other. I've been attacked myself for expressing an opinion. And it's scary and depressing.

But I can't survive in that dark world. I have to look for positives. I've been encouraged to see how many of my friends and acquaintances feel as lost and angry as I do. More people are engaged in the whole political debate than before. More people are asking questions and will hopefully hold those who negotiate our exit to account for the decisions that are made. What I value about my community, my 'logical family' as Amistead Maupin would define it, will not change. We will continue to welcome and embrace diversity, to encourage learning, to share cultures, to in small ways and big make this new reality better than it seems right now. It's the only way I can deal with this and I make no apologies for trying to find the positives. I need them, I need to think we can be better, I need to hope and believe in the people that make me proud to be brought up in this country and the values that it has instilled in me. I hate this decision but I still believe we can be better. 

Wednesday, 25 May 2016

Parade, Hope Mill Manchester 21/5/16

This was my first visit to Hope Mill Theatre in Ancoats (or New Islington if you want to be posh!), and I wasn’t expecting that much from such an unassuming exterior, but as you walk through the door into the cosy and welcoming bar area you begin to realise that your preconceptions have been very much misplaced! That theme of confounding my expectations continued with the reason for my visit, a new production of the musical Parade, which completely blew me away; so much so that I was back seeing it for a second time three days later!

The story is extremely moving and powerful and is based on true events. In 1913 in Atlanta, Georgia a young factory girl, Mary Phagan, is found brutally murdered. The quest for someone to punish overpowers the need for truth and the finger of blame points at factory supervisor Leo Frank, a Yankee and a Jew so a convenient scapegoat for the racist attitudes still embedded in the southern states. The subsequent framing of this outsider, and the attempts by him and his loyal wife Lucille, to fight back, make for troubling and deeply moving viewing as the piece progresses to its heartbreakingly inevitable conclusion against this background of hatred, intolerance and political posturing.

Director James Baker has brought together an amazingly talented team to create this production. Whilst the Hope Mill space is relatively small and intimate, there is nothing small scale about this show and the quality of every aspect of it was outstanding. Goodness knows how you deliver to this level on a limited budget, I suspect via many talented and dedicated people and a lot of time and effort, but it is all worth it.
The set is pared back but very effective, largely wooden pallet based which blended beautifully with the exposed brickwork of the mill. The lighting design was beautiful, partnering the stage action to great effect. A live nine piece band had somehow also been squeezed into the space, which, when combined with the powerful and gorgeous voices of the talented cast, could have happily filled a larger venue, although I felt the sound design worked brilliantly for me with a good balance across the space.

There is not a weak link amongst the supremely talented cast, equally in terms of their vocal and acting performances. Matt Mills and Shekinah McFarlane’s Act 2 opener, A Rumblin' and A Rollin' was a particular highlight, allowing both of their voices to shine. Andrew Gallo as the slimy prosecutor Dorsey did an excellent job at making you hate him as his chose ambition over the truth, and Aiden Banyard as the Young Soldier and Frankie gave a particularly fine performance.

Tom Lloyd, in the central role of Leo was superb. It’s a complex character to portray as his character goes through one of the biggest journeys, but he balances the pride, initial indignation, growing fear and disbelief, and the deepening admiration and love for his wife fantastically well.

Laura Harrison, as his brave and determined wife Lucille was simply stunning. She has a clarity in her powerful voice that is just beautiful, and her portrayal of her characters emotional journey was exceptional.

The choice of production was excellent, a challenging, complex tale full of prejudice and politics that sticks with you long after the music has stopped. I wouldn’t be at all surprised if this production had a life beyond Hope Mill but I feel very privileged to have seen it there. The intimacy of the space heightened the sense of involvement; you felt quite helpless watching the awful injustice unfold and being powerless to stop it. It was totally gripping from start to finish, and, whilst I held it together on first viewing despite being a bit of an emotional wreck, on second viewing they got me and I was a total blubbing wreck in the front row during Leo and Lucille’s final duet!

Deserved standing ovations have followed every performance in this limited run. Due to demand the production has now been extended to the 11th June and I can wholeheartedly recommend it. A superb achievement from all involved.

Saturday, 19 March 2016

Wit, Royal Exchange Manchester, 6/2/16

The Royal Exchange's production of Margaret Edson's Wit portrays the journey of Doctor Vivian Bearing, a spiky, clever and independent Doctor of Literature, as she is diagnosed with an aggressive ovarian cancer and becomes a research case for the medical doctors dealing with her case. It sounds bleak, and as Vivian points out at the start, the ending of her death is inevitable. Uncompromising and stark as it is though, it balances the harsh reality with wit and an examination of the motivations and drivers of the various characters on stage, whilst never shying away from the reality of facing a terminal illness. 

Told in part narration and part portrayal of events, from diagnosis to eventual death it has a clever structure whose fast pace keeps the audience's attention throughout. 

The play portrays the indignities of diagnosis and treatment with harsh and at times wince inducing reality, the fake and empty platitudes of doctors who see her as research rather than a person, the constant movement from one treatment or test to another, and the occasional moments of genuine human interaction and kindness which slow the pace, contrasting starkly with the bustle and impersonality of the medical factory.

Julie Hesmonhalgh is stunning in the central role of Professor, used to being the challenging one but faced with the ultimate challenge. As a researcher herself she is understanding of the motivations of the medical professionals, even enjoying the debate at times , and the needs to experiment and learn whilst knowing the outcome is unlikely to change. She is able to view it dispassionately initially,  but it's the glimpses of vulnerability and tenderness that break your heart.

The clever design and excellent performances and direction draw the audience totally into events on stage and the regular direct addressing of the audience by the Professor make you feel like an uncomfortable observer rather than a passive audience member.The sparse set is almost mesmerising  in its clinical emptiness, focussing you completely on the action on stage and echoing the bleakness of both the hospital and the prognosis.

I left this show with conflicting emotions, moved by the narrative, angry at some of the treatment that Vivian is subjected to, stimulated by the academic discussions, but tearful due to small moments of kindness where academic boundaries dissolve and human emotions, kindness and the frailty of life are highlighted. One of the best shows I have seen in quite some time. 

Thursday, 31 December 2015

Showboat, Sheffield Crucible 19/12/15

It's Christmas and that only means one thing in my theatre obsessed mind, no not panto , but a festive trip over to Sheffield to see what Christmas musical delights are on offer. This year the Crucible are staging Showboat by Jerome Kern and Oscar Hammerstein II, a show first staged in 1927 and quite controversial at the time, combining the more traditional romantic stories with darker themes including racial identity and injustice.

This production doesn't shy away from the tougher themes, in fact it highlights the racial divisions through a powerful piece of staging in the very opening of the performance and its treatment of the more serious elements of this epic tale remain impactful and relevant throughout. It is maybe more of a considered, serious musical than many of the Crucible's recent festive offerings, as the tale unfolds it is tender, heart wrenching at times and full of impact, but there are a few out and out foot stompers that allow the cast to make full use of the crucible's generous stage.

As always an incredibly talented cast has been assembled for the show who work together with such fluidity that even scene changes are a thing of beauty. With such immense talent on display it seems churlish to pick favourites but I will! Emmanuel Kojo and Jason Denton as Joe and Stevedore were fantastic and their rendition of Old Man River will stay with me for a very long time. Michael Xavier portrayed the complexities of Gaylord Ravenal's journey finely and has a powerful but unforced voice and Sandra Marvin as Queenie has a beautiful voice and gave an incredibly engaging performance.

The design is first class,from the sumptuous costumes, gorgeous lighting to amazing set design, it's what we have come to expect from the Crucible but no less delightful for that. The initial set reveal is simply breathtaking, plain wooden panels line the rear of the stage when we arrive which seem to magically disappear as the show gets under way to reveal the most gorgeously detailed steamboat deck with action able to play across three levels vertically as well as over the large thrust stage of the space. When the boat is not present in the Chicago scenes the wooden backdrop allows for extremely effective use of back projection, which as well as providing set detail, is used to great effect in transition scenes and is especially effective in detailing the passage of time and some of the major headlines associated with it, giving a nice historical context to the events portrayed. 

Director Daniel Evans is moving on from the Artistic Director role at Sheffield in mid 2016 to the celebrated Chichester Festival Theatre so this will be his last Christmas production for them, he has left quite a legacy in his five years with them, and what a musical to end his Sheffield Christmas career on. Although I did see in the programme that he will be directing a brand new musical there before he leaves so I will have to see about getting over for that. The bar has been set high for next year's Christmas delight! 

Wednesday, 30 December 2015

The Snow Child, Lowry Studio 30/12/15

The Lowry can usually be relied upon to provide a good mix of family festive entertainment to suit every age, budget and attention span. In particular, the Studio often has a lovely festive offering for the smallest members of the family, and now I have a niece and nephew I have a good excuse to go and check it out.

This year they have brought Tutti Frutti's production The Snow Child to us for our Christmas treat. Based on the traditional Russian folk tale where a couple's wish for a child comes true when the child they build of snow magically comes to life, this show looks at it from the point of view of the Snow Child having to adapt to the unfamiliar human world and the challenges that she and her new parents face in becoming a family.

This is a lovely production, full of music, movement and snowy sparkly magic that keeps young and 'not so young' engaged throughout. There are jolly songs (I particularly liked the one about 'other people's children') , clever but simple set design and scene transitions and a genuine tenderness to the work.

The cast of three wonderfully bring alive the characters, Paula James and Mark Pearce are great as the parents and various other parts, and Mei Mac as the Snow Child is simply delightful, so engaging with a real air of innocence, magic and energy as she whirls around the stage. 

The show kept the audience transfixed throughout, at just under an hour the running time was just right for the primary target age group ( although the 'not so young' were equally enthralled) My two youngest guests who are four and a half really enjoyed it and it had their full attention at all times. Their favourite bit was when the Snow Child made it snow, and they were a bit star struck to actually meet her as they left the auditorium.

All in all an excellent way to round off the festive season and a very good value piece of magical and touching entertainment.

Saturday, 12 December 2015

Whose Sari Now, Lowry Studio 19/11/15

This latest creation from Rasa Theatre weaves together the tales of a diverse group of women, with the theme of saris , and what that garments represents to them being the silken thread that connects  all the tales together.

Topping and tailing the piece is the engaging and funny grandma whose collection of saris represents key moments in her life, we also meet an edgy transgender poet, a mother fleeing conflict with her newborn twins, a village woman working for a pittance to create western goods and remembering the beauty and craftsmanship of the old sari weaving industry and an educated Malaysian curator held back by her faith and gender by a prejudiced system.

Saris can represent many things to these varied voices, shame, power, family and protection, pride and repression. It is fascinating to see the variety and sheer diversity of life represented by the action on stage.

Rani Moorthy as ever gives an absolute powerhouse of a performance, nailing each diverse character, and bringing such life, energy and warmth to the stage. She seamlessly transitions between the contrasting roles and you really care about the lives that you are seeing unfold.

Like any diverse group of characters, there are some that you would like to see more of, and some who you don't warm to as much. The Grandma who frames the tale was my favourite, engaging, tender, mischievous and as we see, ready to move on. I could have taken a whole show of her. The poet was an interesting character and a good contrast but I think for me maybe slightly outstayed her welcome.

Unlike the last show I saw of Rani's, Looking for Kool, which taught me a lot about a culture and a history I knew nothing about, with this show, whilst I enjoyed it immensely, I did feel that feel that a little background knowledge might have made it more immediately accessible for me, especially for the story of the curator. Unfortunately as it overran I was not able to stay for the post show q and a that might have filled in a few of the gaps for me and deepened my knowledge of the background to the characters portrayed.

But overall I was really glad to share in this performance that clearly meant so much to performer and a lot of the audience. Tender, touching, funny and brave, and performed by a fantastically talented writer and actress. A privilege to be part of.