All posts by Edward Lukes

2020

“In Search of a White Identity” from The Actors Centre

This well-intentioned piece, written by Cliffordkuju Henry, is hampered by its brevity.

The scenario is simple but effective: two childhood friends, Mikey and Patrick, are reunited in a police cell, arrested after taking part – on opposite sides – in a protest about race.

The subject matter is rich and important. Having middle aged protagonists provides an interesting perspective. And the characters’ demographic – the script was originally part of a Working Class Season – is one that attention must be paid to.

Regrettably, problems arise with the white character of Mikey. While the anger here is convincingly portrayed by Drew Edwards, it is monotonous and depressingly predictable. It is too difficult to have any patience with Mikey or to find him interesting.

Henry does try to explore the root of Mikey’s frustrations. Indeed, both characters share troubled backgrounds. But both are too ready and open with explanations for their life choices. Soul searching arrives too quickly and isn’t given enough time to develop.

The role of Patrick, performed by Henry, is more nuanced. The character’s life-long fear of racially motivated violence is moving. And both performers are aided by Victoria Evaristo’s direction. The camera work is sophisticated, providing variety and rhythm.

Unfortunately, the camera cannot hide that Patrick, dramatically speaking, is a source of frustration. Admittedly, arguing with Mikey would exhaust anyone, and his shouting hurt their ears. But surely presenting a few facts about racism is what the character, and this drama, needs?

Henry has difficulty ending his too-short play. A suggestion of reconciliation is dramatically unprepared and subsequently unconvincing. Although I wouldn’t mind seeing another meeting: more is very much what In Search of a White Identity needs.

Until 6 December

www.actorscentre.co.uk

2020

“The Poltergeist” from the Southwark Playhouse

Tramp Productions continue to thrill fans of Philip Ridley during lockdown. While it’s hoped that the playwright’s cancelled show, The Beast of Blue Yonder, goes ahead one day, The Beast Will Rise web series was fantastic. Now another new monologue has been filmed for an exciting live stream.

The recording benefits from its location, albeit sadly empty, because of the extra space. In an excellent performance, energetically directed by Wiebke Green, Joseph Potter makes his character appropriately expansive. The extra room, after so much filming from homes, suits the energy of this latest creation from Ridley – an artist called Sasha.

The action centres on Sasha at his niece’s birthday party, an event he describes as a “new circle of hell”. But this is hardly the apocalyptic setting for otherworldly events Ridley often specialises in. East London is described with the playwright’s usual skill, detail and beauty. But it’s mundane Ilford that low-key events occur in. Don’t worry though, there’s nothing tame about this play’s spirit.

It’s a marvel to see how Ridley fleshes out characters who never appear; The Poltergeist becomes a family drama despite being a monologue. For Sasha, his family looks like a pretty Monet painting but is really a Damien Hirst installation. Yet it becomes clear a despised sister-in-law is just trying hard to be nice. And niece Robin is a kindred spirit whose “beautiful and scary” artwork could well summarise the feel of the whole play.

“beautiful and scary”

The Poltergeist isn’t scary because of the supernatural but since Sasha is so damaged. Potter conveys the character’s pain wonderfully, with anxiety keeping the audience on edge. Alongside an addiction to painkillers, Sasha’s grip on reality is blurred by his powerful imagination and his paranoia. So much life seems like a film set to him. A brief brush with fame and personal grief have caused profound damage.

Ridley challenges us to retain the sympathy Sasha deserves. It’s a challenge Potter’s performance doesn’t shy away from. Irascible, “sneering at everyone” and potentially violent, it’s easy to see this prodigy as spoilt and literally destructive. But Sasha still wins hearts, how?

A strong romance allows light into the play and a touch of stability in Sasha’s life. The relationship with his partner Chet is a constant presence. This being Ridley, the affair is sharp with sometimes painful truths. But the love is sincere and supportive.  Vividly rendered in Potter’s asides, Chet calls Sasha a “force of nature” – it’s hard to disagree. The outcome is a touch more hope than many of Ridley’s plays offer. Another surprising move from this master playwright, and a welcome one.

Until 21 November 2020

www.southwarkplayhouse.co.uk

2020

“Falling Stars” on stream.theatre

Leave a comment

Peter Polycarpou’s show fell afoul of the second Coronavirus Lockdown earlier this month. Thankfully, this version for streaming, produced by Ginger Quiff Media, is a real treat.

Based on a cache of sheet music – of “glorious forgotten melodies” and massive hits – found in an antique shop, the piece is a fantastic collection of songs from the 1920s.

Polycarpou’s delivery of the stories behind this musical miscellany is a lovely mix of facts and fun; he proves to be a great guide. The musical archaeology, aided by arranger Mark Dickman, is combined with sheer wonder at the talent and artistry of the past. The sense of joie de vivre Polycarpou admires, and brings to the stage, is grounded with details about the composers, some famous, others now obscure.

Sally Ann Triplett, in fine voice, aids the show’s pace. The variety of moods, reflected in the song selection, is also ably handled by director Michael Strassen. Triplett moves effortlessly between ballads and comedy numbers. The couple make a convivial pair; a sense of their friendship making even melancholy numbers strangely welcoming. A shared enthusiasm for the music of Charlie Chaplin is contagious: as Polycarpou suggests, Chaplin’s music for his films could make a show of their own… yes please!

Welcome though the recording is, I’m sure Polycarpou and Triplett would agree this music is best live, with loved ones and maybe a drink… I’m thinking a cocktail. Fingers crossed, two dates are planned 8th and 9th January; so, watch now and book for later.

Streaming until 29 November 2020

www.stream.theatre

Photo by Paul Nicholas Dyke

2020

The Original Theatre Company

Leave a comment

Artistic director Alastair Whatley has had a good lockdown. His Original Theatre Company started by filming its productions, The Croft and The Habit of Art, when denied a live audience back in March. Since then, three online productions, including the acclaimed Birdsong, have been enjoyed on the theatre’s own streaming site. Currently two shorts are generously available for free.

Watching Rosie

For personal reasons, I normally shy away from theatre about dementia. But this short film, first screened in August, is a wonderfully sensitive and inspiring piece with an important purpose.

Highlighting the plight of dementia sufferers, and their careers, during current times, Louise Coulthard’s video call scenario is moving and sweet. It focuses on loneliness as much as failing faculties.

Miriam Margolyes, Amit Shah & Louise Coulthard in Watching Rosie Original Theatre Company
Miriam Margolyes, Amit Shah & Louise Coulthard in Watching Rosie

Coulthard also stars as Rosie, who is calling her nan, and while the pain of the situation is clear there’s also humour. Miriam Margolyes plays the elderly Alice to perfection, showing the frustration and fear that this cruel condition brings.

As the title indicates, it’s Alice who is watching out for Rosie. Matchmaking in lockdown, with a volunteer who is bringing food, a date is arranged for her granddaughter! Reminding us of what Alice can still do manages to suggest possibilities as well as problems.

Mrs Goldie vs The World

A new addition, Nicky Goldie’s piece, which she wrote and performs in, follows similar lines. This time a middle-aged carer recounts looking after her mother during lockdown. Cooking and having a glass of wine as she asks “permission to rant” makes for a sociable and intimate feel that Goldie (pictured top) sustains with ease.

Mrs Goldie may claim to suffer from dementia herself, but she’s as sharp as they come. Sometimes, a little too sharp for her daughter so that, presumably based on real life, the piece has a frank and honest tone. This is a vivid, enjoyable, depiction of great affection. Mrs Goldie is a character you long to hear more about.

Aided by Goldie’s impersonations, a “grumpy old woman” comes to life with her independence and eccentricities. That she’s a touch snobbish is easily excused – anyone who corrects Julian Fellowes is fine with me – and it’s sincerely hoped that she is as “indestructible” as her daughter describes.

Coming next…

Apollo 13: The Dark Side of the Moon is also available to view. This new online play written by Torben Betts boasts strong reviews. And there’s a Christmas treat in store: from 17 December Philip Franks has adapted an MR James ghost story that should be perfect for dark winter nights. Tickets are available at a special pre-order price of £12.50 now.

www.originaltheatreonline.com

2020

“Emilia” from the Vaudeville Theatre

Archive recordings of shows can never match a live experience. But, thankfully, the energy that powers Morgan Lloyd Malcom’s 2018 play is so ferocious, exciting and contagious that this filming (far from the highest quality) still does this stirring play proud.

Lloyd Malcom uses the life of Renaissance writer Emilia Bassano to highlight modern concerns about representation, sexism and racism. I’ve seen it described as “mock history”, which sums up its irreverent tone if not quite doing justice to the anger in the piece.

That rage first: Bassano’s life story provides a framework for examining the prejudices women and immigrants face. There are efforts to highlight hope, too – calls for action as much as anger. If a balance was intended it has, surely, failed. But what’s wrong with angry? Bassano – “stifled, ignored, abused” – certainly had plenty to be cross about.

As for cheek, Emilia is a very witty play, with lots of jokes around period details and plenty of fun at the expense of men. Lloyd Malcom is a dab hand at deadpan lines that the cast deliver brilliantly. Unafraid of crudity or contemporary touches (a dance lesson proves a fantastic scene for Jenni Maitland as the Countess of Kent), the jokes are strong.

Lloyd Malcolm spoils us with ideas and loose ends result. There’s the notion of “muscle memory” that women have concerning feminine experiences that surely needs developing. And the matter of Emilia’s own privilege causes the play to stumble more than once. Part of acknowledging Emilia’s relative wealth, scenes with her as an educator (of working-class women) deserve to be a play in their own right.

This recording is of the show’s second outing after a premiere at Shakespeare’s Globe. Some of the charge of having Shakespeare as a character in Emilia might be diminished in the new location. In truth, this is not the strongest role, despite Charity Wakefield’s efforts. But the play isn’t hampered by the Vaudeville’s smaller stage and Luisa Gerstein’s music benefits from being indoors. Nicole Charles’ direction is excellent, keeping the action moving with well-placed pauses at emotional moments. Thanks to Charles the production is more contained and focused.

All involved excel at making Emilia clear. Getting hung up on period detail (well, any detail really) is avoided in favour of entertainment and polemic. That so much ground is covered, with such confidence, is aided by having Emilia represented by three actors. Which leads to a trio of fantastic performances from Saffron Coomber and Adelle Leonce, led by Clare Perkins. In a play whose project is to provide a voice to those ignored, these women prove the foundation for the production’s success.

Until 2 December 2020

www.emilialive.com

2020

“The Death of England: Delroy” at the National Theatre

Leave a comment

While its back catalogue of broadcasts from NTLive was a blessing during lockdown, being back on the South Bank for a show in real life is the real deal. For those lucky enough to have caught the brief window of performances, before a second closure, this new play by Clint Dyer and Roy Williams was a very special occasion.

An introduction from creative director Rufus Norris, justifiably proud of his theatre getting back into action, added to the atmosphere. The caution shown around protecting customers is clear: there are allocated tables before being taken to seats and – beware – last orders for pre-show drinks is in the afternoon.

What of the play selected to welcome theatre devotees back? As well as the important subject matter of racism, Death of England: Delroy is topical. After seeing shows years old, it’s good to be reminded of how quickly theatre can respond to current concerns.

A sort of sequel to their show last year, Dyer and Williams develop a character mentioned in their previous monologue, Death of England. Recounting a “very bad day” Delroy has had – quite randomly – this likeable character runs into trouble with the police. Serious consequences include estranging him from partner and new-born child.

The show provides a starring role for Michael Balogun who is superb. It’s amazing to learn he was drafted into the project last minute. A rapid-fire delivery shows remarkable confidence with the script. And his level of energy over 90 minutes is astounding.

Welcome as the show is, it would be wrong to say it’s perfect. The Olivier is an unforgiving space at the best of times and the Covid-reduced seating feels particularly detrimental. All the more credit to Balogun for creating an atmosphere that ranges from convivial to confrontational.

The unusual conditions can’t be avoided. But Dyer’s direction creates problems too. It’s understandable that all aspects of design (the set by Ultz, lighting by Jackie Shemesh and sound by Pete Malkin) want to show off what the National is capable off. Like us, the team is thrilled to be back in the theatre. But does this show need any extras? Loud, dazzling, effects and some pretty naff props (including an explosion of confetti) are not needed with such a strong script.

Because the text itself really is excellent. The bravura language, which Delroy aptly describes as a “riot in my mouth” is provocative and funny. The ease with which ideas are raised is impressive, including arguments both enlightening and far-fetched (a motivation for voting to leave Europe is worth a raised eyebrow). There’s anger alongside a cool recognition of “colour class bullshit” that pervades all aspects of Delroy’s life. Putting the spotlight on privilege couldn’t be more timely; Dyer and Williams are experts at it.

www.nationaltheatre.org.uk

Photo by Normski Photography

2020

“Little Wars”: a rehearsed reading

Leave a comment

As a second lockdown begins, there’s still a chance to get close to quality theatre, even if it is online. It’s hard not to be grumpy, though. This rehearsed reading of Steven Carl McCasland’s play makes it painfully obvious how much better a staged production would be. Nonetheless, the history in the piece is interesting and the event boasts an excellent cast.

Set in the home of Alice Toklas and Gertrude Stein, the scenario at first is a dream dinner party or, rather, soirée. Lillian Hellman, Agatha Christie and Dorothy Parker are going to pop by. There’s plenty of wit as well as friction to entertain, led by the somewhat dotty old couple who are as eccentric as they are erudite.

Little Wars quickly takes a more serious tone as a war-time spy drama. Toklas and Stein’s final guest is the brave Muriel Gardiner, who smuggles refugees out of Germany on the very night France surrenders. She’s a fascinating character, capably depicted by Sarah Solemani, so it’s a shame that the role feels like a forced foil – a too obvious moral conscience for the play. Unfortunately, McCasland’s plotting is slow, a flaw director Hannah Chissick cannot disguise, as well as heavy handed.

The superb cast adds some sophistication. Debbie Chazen makes an excellent – drunk – Dorothy Parker (tricky on stage, let alone online). Juliet Stevenson is fantastic as the steely Hellman, a role that, like a too-aloof Christie (Sophie Thompson) needs further development. The real treat comes with our hosts. Ably supported by Catherine Russell as Toklas, Linda Bassett’s performance as Stein is astonishing. Full of fury as much as fun, this “rare kind of bird” is dignified, frightening and inspiring. Bassett makes Stein’s poetry sound natural and the way her cold anger is carefully exposed is brilliant.

It’s no surprise that the evening’s conversation never lacks drama or interest. The talk is crammed with detail about the women’s lives that shows a lot of research. It’s fascinating, but McCasland does not wear his learning lightly. A bigger problem comes with efforts to expand from specific biography to broader experiences. There are highlights: a preoccupation with memory arising from Stein’s potential dementia is very moving. But the battle of ideas that McCasland tries to set up as his finale – with Christie and Hellman coming across as downright odd – falls very flat. At least there’s some fantastic acting to enjoy along the way.

Until 8 November

www.littlewars.co.uk

Photo by john Brannoch

2020

“I Wish To Die Singing” from the Finborough Theatre

Leave a comment

The November online offering from Neil McPherson’s venue is his own piece about the Armenian Genocide. With the help of director Tommo Fowler, the theatre becomes a classroom and a place of campaigning as the audience is given a history lesson and left with a call to action.

The past first. McPherson’s use of eyewitness reports to events in Turkey in 1915 is skilled, showing just enough of life before the atrocities. Suggesting a flavour of the rich Armenian culture, the voices of children are balanced with those of adult survivors looking back.

The best deliveries come from Bevan Celestine, Tamar Karabetyan and Kate Binchy (especially strong as a missionary) who each bring a tear to the eye more than once. It should be stressed that much of what we hear is stomach-churning. Quite rightly, McPherson does not shy away from detailing the swift, sudden massacres or the “hopeless exile” of a “relocation” Armenians were forced to make – walking into the desert to their deaths.

McPherson and Fowler understand context is especially important when dealing with a subject matter less well known than it should be. Their solution is highly effective: the whole show is led by Jilly Bond, who plays an approachable narrator capably filling in details.

As for the history, I Wish To Die Singing aims to be more than a lecture in a theatre. Debate about the definition of a genocide leads to roll call of countries that recognise what happened and those that refute facts. Adding commentary up to the date of recording, including insulting tweets the theatre received, brings an immediacy to the show that can still be sensed.

Until 31 December 2020

www.finboroughtheatre.co.uk

Photo by Doug Mackie

2020

New Perspectives Theatre

Leave a comment

Never short of novelty, the coronavirus lockdown has seen theatre makers more inventive than ever. New productions, such as those from The Original Theatre Company, and plenty of podcasts, such as Seeds, might have been expected. But there have also been installations, at the Donmar, and numerous live streams embracing Zoom. And here’s a particularly fun example of embracing technology from East Midlands-based company New Perspectives – the first drama I’ve come across on WhatsApp.

Stay Safe

Billed as a treat for Halloween, the scenario is simple. We are given access to a WhatsApp group for parents whose children go to the same school, one of whom asks about an unknown Mr Mathers that their child has been talking to!

As the story progresses, trying to track this character down, it has to be admitted that the content isn’t original. The piece is working within a genre after all. But it works well. If the twists aren’t unexpected, they manage to raise a smile.

A little spoiler as an example…that it turns out you and the group might be fooled about who is really texting isn’t a huge surprise. But it is an effective use of the format and a smart point; seeding suspicion and menace as well as raising the issue of online security.

Is it scary? So, so…I confess I didn’t want to watch the video clips in case I saw something! But more impressive is Jack McNamara’s writing for this novel format. ‘Eavesdropping’ on a group who aren’t quite friends proves funny. And McNamara turns the action dark and tense with ease. The characters, especially Phil and Meena, become clear and distinct. Correcting their mistakes or faux pas and using emoticons builds up personalities with surprising success.

It is traditional writing skills that really make Stay Safe a success and, as an experience, it’s engrossing and easy to recommend.

More from New Perspectives

There are more good ideas, too, with an eye on festive presents for theatre lovers. New Perspectives has worked with six renowned theatre names to produce limited edition Christmas cards that “reimagine traditional yuletide messages”. And their ‘show’ from earlier this year, Love from Cleethorpes, will also be available again – another different format for drama, this time a play on a series of postcards!

www.newperspectives.co.uk

2020

“Howerd’s End” at The Golden Goose Theatre

As you’d expect from a show about the legendary comedian Frankie Howerd, Mark Farrelly’s play has lots of laughs. The material, after all, is excellent. But, as a gay man in the public eye before the decriminalisation of homosexuality, Howerd’s story is more than just fun. With a clever twist and psychological insight, Howerd’s End is moving as well as funny.

Farrelly’s script works hard. I suspect it has been long in the making. Covering “sex, death and existential philosophy” is a lot on top of the biography. Ultimately, only two out of three succeed – fanciful digressions on time and mortality prove far-fetched and self-consciously poetic. Whimsy is what we want, but it doesn’t mix well with Weltanschauung.

Thankfully, when it comes to Howerd’s loves and legacy the piece is excellent.

The clever move is to make the play as much about Howerd’s partner, Dennis Heymer, as the man himself. The comic is a ghostly visitation the other can command. Making demands that would never have been met during their life together results in time travel through a difficult relationship. Farrelly knows the “broken-hearted clown” story is too common ground (although Howerd’s troubles were particularly dark). So, we are given a hero in Dennis who energises the play, being free of Howerd’s self-loathing and angry that a fear of intimacy has blighted life.

As for the delivery of this, often painful, love story – it really is superb.

Simon Cartwright’s impersonation of Howerd is remarkable. For a time I wondered if an uncanny physical resemblance was the key but it’s really down to mannerisms being spot on. Like his subject, Cartwright can make you titter with just a raised, suitably bushy, eyebrow.

Howerd could work a crowd like nobody else. Everyone here, including director Joe Harmston, has learned lessons from him. But none so more than Farrelly, who also takes the role of Dennis and draws in the audience expertly.

In character, Farrelly holds his own for comedy but adds an exasperation that raises the drama. That the men had the “tools for joy” in their lives, yet were not happy, isn’t played for innuendo – it’s simply very sad.

As a writer, Farrelly uses the audience, too, drawing us into a final fantasy that is sweet and romantic. Brilliantly, we all end up cooperating as witnesses… to a happy ending for Frank and Dennis that has a funny magic all its own.

Until 31 October 2020

www.goldengoosetheatre.co.uk

Photo by Jacky Summerfield