Tag Archives: Nathalie Armin

“East is South” at the Hampstead Theatre

It’s an old trope in science fiction that, when asked if there is a God, a supercomputer replies: “There is now”. Playwright Beau Willimon’s riff on the idea of AI and divinity is intelligent and a refusal not to simplify such a complex topic is admirable. If too many ideas are mentioned then left unpacked, it probably isn’t a surprise. But this mix of modern concerns and religion benefits from director Ellen McDougall’s impressive infusion of dramatic tension and some fine performances.

The play is a series of interrogation scenes, set around an accident in an AI lab. So, there’s little action and an awful lot of talking. It works (just about) mostly through the efforts of Nathalie Armin, whose character is investigating the security breach. Her character is a psychologist, there’s the threat of terrorism, and Armin manages to make the role likeable, at the same time generating suspicion.

Luke-Treadaway-in-East-is-South-credit-Manuel-Harlan
Luke Treadaway

Willimon is too smart to give us good guys and bad guys, but the two programmers, Lena and Sasha, who have taken the dangerous step of “releasing” the AI programme might be a little more complex. Kaya Scodelario and Luke Treadaway both do well with the roles, but snippets of their relationship don’t add much (nor does an unnecessary Russian accent). The performers are strong enough to make us care for this young couple, who might even be in love, but, again, Willimon crams in detail that could be left aside.

It isn’t much of a spoiler to say Lena’s religious beliefs shape events – it’s easy to see the twist that she’s the mastermind and even to guess her eventual fate. Nonetheless, any mentions of blind faith are highlights, as is Willimon’s ability to reconcile contradictions (like those the play takes its title from). You might expect a little more scepticism, but sections connecting art and myth are well written and aided by David Ridley’s musical direction and some video design by Zakk Hein.

There are more problems with characters, though, and two really hamper things. A very standard Federal Agent (that Alec Newman manages to save) seems to belong in a different play. It’s odd that a government oversees the programme at all (and ironic most of us would feel reassured by that). Far worse is Lena and Sasha’s boss, a former academic so clichéd he could have been written by… no, I won’t say it. His insufferable word soup is dire and its delivery, by Cliff Curtis, is poor. The role is key, surely intended to help the audience out. But the character is a bad teacher, and the play suffers horribly as a result.

Until 15 March 2025

www.hampsteadtheatre.com

Photos by Manuel Harlan

“The Motherf**cker In The Hat” at the National Theatre

A play that comes with its own stars, albeit an excessively modest two of them, Stephen Adly Guirgis’ Broadway hit may have a title that fits uncomfortably with the National Theatre’s augustness, but The Motherf**cker In The Hat is a quality play that London should welcome. Detailing the struggles and affairs between a drug addict on probation, his ‘sponsor’ and their girlfriends, the work’s vigorous language belies its old-fashioned enquiry into morality.

Jpeg 1Ricardo Chavira plays Jackie, a troubled convict following a plan to free himself from addiction with a suitably cynical edge, making our hero hugely appealing despite his faults. Flor De Liz Perez (pictured) performs as Jackie’s partner, delivering vicious tirades with verve. Also from the States comes Yul Vázquez as Cousin Julio, delivering a marvellously understated, original performance. Completing this strong cast, directed flawlessly by Indhu Rubasingham, are Nathalie Armin as the unfortunate wife of the rehabilitated Ralph, the philandering sponsor with a PhD in persuasion, depicted brilliantly by Alec Newman as a devil who firmly believes he has all the best lines.

It can’t be denied that the play is reminiscent of a soap opera (or should that be a telenovela?), but the sordid plot twists, while predictable, are expertly handled and feel believable. Likewise, the bad language and lurid insults play their part, not just in making the script very funny, but in creating characters you really fall for. For all the shouting on stage, this is a work that quietly ensures we take seriously the questions it’s asking – about how to be good.

The play is calmer, less surreal, than Adly Guirgis’ other works seen in London. It’s tempting to say it feels more grown up, as that’s clearly one of the themes here; the talk of prayers and pharmaceuticals both play a part in questioning responsibility and relationships. Jackie and Ralph are just young men, with more than enough faults and few excuses. But Jackie has a heart and the potential for goodness that feels realistic and makes this play an unusually sharp comedy.

Until 20 August 2015

www.nationaltheatre.org.uk

Photo by Mark Douet

“Dara” at the National Theatre

With Behind The Beautiful Forevers still running – and well worth watching – The National Theatre offers another, very different, view of the Indian subcontinent with Dara. Adapted for a Western audience by Tanya Ronder, from Shahid Nadeem’s play, this historical epic shows the battle between Shah Jahan’s sons for the Mughal Empire. It’s a riveting story, all the more exciting if you aren’t familiar with the history (imagine the Tudors without knowing Henry had six wives); a family drama boasting an ambitious sense of scale that makes it topical too.

Nadia Fall’s quick-fire direction stages the action with speed, while Katrina Lindsay’s design and a large cast creates a sumptuous feel. Though a wide span of time is covered (the play is long, but never droops) and some roles are feel curtailed, Vincent Ebrahim manages to give Shah Jahan great depth, and Nathalie Armin is superb as his daughter, Jahanara. Zubin Varla takes the title role, a hugely satisfying character, saintly yet very human and ferociously intelligent. Dara’s fate is to be tried for apostasy – his own defence in court is fantastic theatre.

daradrop-Dara-credit-Ellie-Kurtz
Sargon Yelda and Anjana Vasan

Dara is as much about Shah Jahan’s other son, Aurangzeb, who claimed the throne and rejected both Sufism and the religious toleration that Dara explored. A tyrannical figure, Sargon Yelda’s performance as Aurangzeb is wonderfully layered. A brief, exquisitely crafted scene with his Hindu lover, ably played by Anjana Vasan, really helps. Aurangzeb isn’t just a villain and the play’s exploration of the need to choose between “faith or family” makes it great drama. It’s Dara’s religious content that makes it feel so urgent – presenting the “broken prince”, a figure to revere despite his fall from power, it provides a different view of religion at a time when one is so desperately needed.

Until 4 April 2015

www.nationaltheatre.org.uk

Photos by Ellie Kurttz