Tag Archives: David Byrne

"The Incident Room" at the New Diorama Theatre

If you are a lover of true crime stories, you’ll lap up this show. An in-depth retelling of the Yorkshire Ripper case that gripped Britain in the late 1970s, the detail is fascinating and the story compelling. But there’s more to Olivia Hirst and David Byrne’s play – an intelligent engagement with history makes their work the very best of its kind by questioning the genre it is part of.

Hirst and Byrne condense events with skill, but their real triumph is in imposing focus on the story by highlighting police work and effectively ignoring the killer. The raw material is fascinating: the lengths the police went to over tyres, bank notes and the sheer number of people interviewed.

Yet what provides the driving force for the show is the tension of working a case that is massive and inventive – apparently changing police procedure – but was ultimately a famous failure. Aided by excellent live video work, designed by Zakk Hein, and a Kafkaesque set from Patrick Connellan, Byrne, along with Beth Flintoff, directs with discipline. The action – in reality slow, boring, work – becomes engrossing and the impact of events powerful.

The Incident Room at the New Diorama Theatre credit The Other Richard

The precision creates characters a long way from your average crime drama, surely aided by the fact that the show is devised by its ensemble. A cracking cast rises to the material with solid performances. As police under pressure Colin R Campbell, Peter Clements, Ben Eagle and Jamie Samuel are all good, creating an impression of a tight team with conflicts big and small managing to inject a surprising amount of humour. But Hirst and Byrne are relentless and focus further.

For The Incident Room has a steely eye on both sexism and the responsibilities of telling stories of this kind. Parallel instances of women in a men’s world reflect both of these concerns. A female journalist, played with winning presence by Natasha Magigi, who sees the chance for a big break, provides commentary while piling on the dramatic pressure. Meanwhile, detective Megan Winterburn, ignored for promotion and doing far too much typing, narrates events in a very special fashion. As Winterburn re-enacts the case in her mind (as if she were rewriting the story, like the playwrights) we see how what she could have done haunts her. Hindsight reveals how traumatic the case was for the police involved. It makes a star role for Charlotte Melia, who gives a magnificent performance.

The Incident Room knows that its subject matter treads a fine line between truth and “titillation” and is careful to address the victims of the Ripper’s crimes. Here the skill is to continue to reflect those concerns about story telling in such a sensitive, honest, fashion. With a woman who survived an attack, Maureen Long, the wish is to be forgotten. Fearing she will be forever defined by her victimhood, an address to the audience, delivered with passion by Katy Brittain, who takes the part, serves as a powerful theatrical moment characteristic of a show marked by both brains and sensitivity.

Until 14 March 2020


Photos by The Other Richard

“Down & Out in Paris and London” at the New Diorama Theatre

In 90 minutes of theatre that packs a punch, David Byrne brings George Orwell’s titular memoir, about living in poverty in Paris, to the stage with energy and invention. And there’s more. Updating the issues and action, the down and out in London comes from investigative journalist Polly Toynbee’s recent book, Hard Work. The two are interwoven with skill and the rewards are plentiful.

There’s a literary and biographical journey here that proves fascinating in its own right. Headed by an excellent performance from Richard Delaney, who we see develop from Eric Blair into Orwell through his time abroad. The degree of sympathy between Orwell and fellow residents in a flea-bitten hotel, or his exhausted kitchen co-workers, shines through. Karen Ascoe, who plays Toynbee, shares the ability to engender a sense of outrage as both retell the depressing consequences of penury. The writers also share a sense of guilt about their time as ‘tourists’ in the different world that the poor inhabit, with a sincerity that is essential to the success of the show.

Andy McLeod and Richard Delaney
Andy McLeod and Richard Delaney

A respectful tone is adopted when representing those the writers met, although it seems fair to say that Orwell’s encounters are more richly painted, especially in his friend Boris, a role embraced by Andy McLeod. With imaginative touches, Byrne, who also directs, has three performers (Mike Aherne, Andrew Stafford-Baker and Stella Taylor) flitting seamlessly from the 1920s to the present day, playing both the rich and the poor. The parallels drawn bring home the hopelessness of poverty and how little has changed for those at the bottom of society, making this an appropriately frustrating piece of theatre that everyone should see.

Until 21 May 2016


Photos by Richard Davenport