Black Roses, Royal Exchange Studio 8/3/14

“On August 11 2007, Sophie Lancaster was beaten unconscious in Stubbeylee Park, Bacup and later died from her injuries in hospital. She was 20 years old, had just passed her A levels and was working out what to do with her life. She was killed because she dressed differently” 

The above is a an extract from the playbill from this extraordinarily powerful play, on what I think is its third outing at the Royal Exchange Studio, before embarking on a tour of community venues and a short run at the South Bank Centre in London.

I remember hearing about this sickening attack on Sophie and her boyfriend at the time, and the subsequent trial. When I initially heard about the subject matter of this piece I did have my doubts, is it ‘seemly’ to seek to make entertainment from such a horrible and relatively recent event, did I really want to subject myself to something so potentially upsetting. But the things I heard following its debut made me want to go and see it for myself.

What has been created in this piece is something quite special. It is full of contrasts, most strikingly in the delivery. Julie Hesmondhalgh as Sophie’s mum Sylvia, addresses the audience in a realistic and conversational style, using Sylvia’s own words, as she remembers Sophie’s life, and the tragic circumstances of her death. Sophie (Rachel Austin) tells her story through a series of poems conjuring up some beautiful images, and she moved lightly around the performance area like some kind of delicate sprite. The main focus of the play is more about who Sophie was, a celebration of her life, her strengths, her individuality and potential and what she brought into the lives of the people she loved.

When the narrative moves towards the events of the night of the attack and beyond, the testimony of Sylvia is absolutely heartbreaking, and shockingly realistic. It’s hard to witness, but excellently played. And the beautiful poetry of Sophie is in stark contrast to the pain and fear that she experienced, and the hell her family were going through.

Austin and Hesmondhalgh are both brilliant in their contrasting roles. Hesmondhalgh is measured, conversational and controlled, and when she falters as she describes the latter events it is completely heartbreaking. Austin has an amazing stage presence as Sophie and a wonderful lightness of delivery. 

The bringing together of Sylvia Lancaster’s own words and Simon Armitage’s poetry has been done in a very clever way, carefully balancing telling Sophie’s story and celebrating her as a person. The piece has a very important message, but it gets in across in an understated and measured way, and is all the more effective for that. 

You could assume that the message that the play is trying to get across is only aimed at one section of society, but it is far wider than that. It really makes you think about how you perceive and treat others, the assumptions you make when you see someone who looks a bit ‘different’. Whilst only the minority would use this as an excuse for violence, I do think it has something to say to all of us. I hope this can be seen by a wide section of people as it’s a very important lesson for us all.

Following Sophie’s death a charity was set up in her name, The Sophie Lancaster Foundation, with a focus on creating respect for, and understanding of, subcultures in our communities. Details of the charity and its work can be found at sophielancasterfoundation.com.

Blithe Spirit, Gielgud Theatre, London 15/3/14

Whilst I have seen quite a few productions of this Noel Coward classic, including a fantastic version at the Royal Exchange a few years ago, the prospect of seeing the legend that is Angela Lansbury, live on stage, in the role of Madame Arcati, found me pitch up at the Gielgud to enquire about the availability and affordability of a ticket for the show in its preview run. The best part of £50 later (gulp) I had secured a ticket for the front row of the grand tier, which turned out to be a great view, but extremely unforgiving on the knees!

This is an excellent production, and made for a very enjoyable night at the theatre. Wilde’s play is a classic for a very good reason. His writing is sharp and witty, the plot is pacey and fun, and it definitely stands the test of time.

Lansbury is predictably fabulous in the role of the flamboyant and eccentric medium. She has enjoyed an amazing career on both stage and screen, spanning over 70 years, and winning many awards. Her biography in the programme is quite awe inspiring, appearing in over 60 films, on stage in numerous plays and musicals and having an extensive television career including, of course, 12 years as Jessica Fletcher in Murder She Wrote. Now 88, she shows no signs of slowing down, in the last few years she’s starred in at least three Broadway shows and toured Australia in Driving Miss Daisy, and now reprises a role she performed on Broadway in 2009, to mark her first return to the UK stage in 40 years. It is an absolute privilege to get the chance to see her, and she brings great energy and fun to the role. It goes without saying she’s an extremely talented performer, but she is also a very generous actress working as a true member of the ensemble cast.

Understandably, this production has been marketed very much on Lansbury’s casting and that is what has drawn the majority of the audience in, evidenced by the cheers every time she entered or exited the stage, occasionally drowning out the other actors lines. Whilst possibly the most memorable, Arcati is not actually the main character in the play, and an excellent cast has been brought together for this production.  I especially loved the pairing of Charles (Charles Edwards) and his second wife Ruth (Janie Dee), and Patsy Ferran, in her professional stage debut as the maid Edith was hilarious – what a start to a career!

All in all, and despite the balcony related bruises I still sport, a brilliant and memorable night and a great production of this witty play. And an absolute treat to see such a well-known and accomplished actress take to the stage with the energy of a lady half her age!

Orlando, Royal Exchange Theatre Manchester 1/3/14

Based on the novel by Virginia Woolf and adapted for the stage by Sarah Ruhl, this is an unusual tale. It tells the story of Orlando, a young man in the 17^th century, who has a string of relationships, including a brief dalliance with Elizabeth I and a passionate love affair with a Russian princess. After fleeing abroad, one night he falls into a deep stupor for a week, and upon waking finds he has been transformed into a young woman, a state he finds himself in, never aging, for the next 400 years, which we see through a snapshot of events and encounters that examine the ‘place’ of a woman in terms of gender roles and expectations, and the nature of love through the centuries.

This is an energetic and fast paced production with plenty of humour. With the help of an excellent ‘chorus’ (Richard Hope, Thomas Arnold and Tunji Kasim) , who along with Orlando, provide narration, but also step in and out of the roles of various participants in events, forever with their tongues firmly in their cheeks, we romp through the adventures of the central character. There are a number of inventive and magical touches woven into the actions including puppetry, fantastical costumes, graceful aerial acrobatics, and gorgeous music, providing in part by on stage musician Hetti Price.

There are many layers to this tale, especially I imagine if you are already familiar with the novel. As a newcomer to it I found that once I surrendered to its surreal nature I found it totally mesmerising, magical, graceful and very funny in parts. The style reminded me in some ways of a previous Exchange production, Rats Tales as the stories played out before me. 

Suranne Jones in the title role was simply superb and totally captivating. She has just an amazing stage presence, and a great grace and balance to her portrayal. It really was a privilege to witness her clever and accomplished performance in the intimate setting of the Exchange. 

This was a wonderful production. Clever, almost exhausting to experience, funny, touching and skilful. Bravo!