Tag Archives: Rosie Elnile

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“Beautiful Thing” at the Theatre Royal Stratford East

There is a reverential air to Anthony Simpson-Pike’s revival of Jonathan Harvey’s coming-of-age story. As a celebration of the play’s 30th anniversary, this much-loved piece is determined to please fans… and it succeeds. The romance between young neighbours Ste and Jamie has more optimism and fun than ever, so relax and enjoy.

Simpson-Pike and his cast provide studied performances that are carefully restrained. Raphael Akuwudike and Rilwan Abiola Owokoniran take the lead roles and make a suitably sweet on-stage couple. That both boys are bullied is in the background, with little time taken over potential trauma. Ste’s home life, in particular, seems glossed over, with little sense of threat from how his violent father might react to his sexuality.

Other roles come close to stealing the show. Shvorne Marks plays Jamie’s mother, Trieve Blackwood-Cambridge her boyfriend, and Scarlett Rayner is Leah, who lives next door. All three have excellent comic skills and appreciate that, while Harvey’s characters are larger than life they are not caricatures. The women, both well-written roles, make every eye roll or insult count. It’s all hugely entertaining.

Since most audience members know most of the jokes, the evening has a nostalgic feel. Of course, it is nice that people are no longer shocked by two schoolboys in love (they are all over Netflix, nowadays). But it is tempting to wonder whether updates might have been made. The characters are normally cast as white, and Simpson-Pike has changed this, but I only spotted one reference to the alteration and surely more might have been done?

Instead, there’s an air of celebration and an admirable emphasis on openness that is cleverly brought to life by Rosie Elnile’s fine design. The communal nature of the housing estate setting would warm a 1960s architect’s heart. Having the boys’ bed come out onto the flat’s balcony is a nice, suggestive, touch. And the production’s finale, where Elnile delivers a neat surprise, reminds us how stirring Beautiful Thing is and ensures everyone leaves the theatre happy.

Until 7 October 2023

www.stratfordeast.com

Photo by The Other Richard

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“The Cherry Orchard” at The Yard Theatre

Chekhov in space turns out to be a great idea. Vinay Patel’s inspired version of the Russian classic has theatre’s most famous trees on a spaceship that is searching out a new home for humanity. The mission is led by successive generations of clones, who have plenty of time to philosophise while those below deck do the work. With a new take on an aristocracy (whose members are actually inbred) and plenty of speculation on the human condition, Patel’s adaptation is stellar.

It makes sense that the astronauts are either wildly busy keeping the ageing ship going or have plenty of time to lounge around displaying a mix of ennui and desperation you can recognise as Russian. But Patel’s version stands happily on its own – you don’t have to know the source material. True, some dialogue is clunky (maybe it seems strangely dated)? But the characters are dealing with the weight of the past, even if the action is set in the future. The mission started centuries ago and how much old aims and rituals should shape lives becomes a burning question.

The performances are overall good – but not all are great. While Patel handles the classic plus another genre on top, juggling both proves too much for some actors, who seem stuck in a more traditional version of the play. There’s some waving of hands (ironically, explicitly warned against in the script) and stagey yawning (you know the type). And some delivery emphasises rather than accommodates long-winded speeches. It should be stressed that possibly the hardest role, a reimagining of the play’s manservant, isn’t part of these reservations. Despite being literally robotic, Hari Mackinnon’s Feroze is full of life.

Thankfully, a central trio of relationships – between the Captain, one of her daughters and an aspiring engineer – is strong, with excellent performances from Anjali Jay, Tripti Tripuraneni and Maanuv Thiara, respectively. Jay’s matronly role is aided by a focus on the fate of her son that leads to emotional moments. Her character aims to be “warm but at a remove”. That she does not quite manage this gives Jay a great deal to work with.

The production glides over some of the odder moments of Chekhov – the characters’ strange emotional intelligence and obsessions – which Patel, wisely, doesn’t linger on. All that misery and unrequited love can prove tiring if the pace isn’t strict, and director James Macdonald handles this perfectly. There’s also an atmosphere of menace that is particularly impressive.

Final praise goes to the convincing design. Even a decrepit spaceship on a budget isn’t easy, but Rosie Elnile makes shabby touches work for her. And her design suits the space perfectly. The use of a revolve and windows in the ship are simple, subtle and effective. Which really sums up the whole production. Behind the headline of a radical new version, the show works in a clear and concise manner.

www.theyardtheatre.co.uk

Until 22 October 2022

Photo by Johan Persson

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“Prayer” from the Gate Theatre

Hands up, I like theatre sets that are expensive, literally flashy and preferably moving. But this online project from award-winning designer Rosie Elnile is impressive for the opposite reasons. From her work with Ellen McDougall in Notting Hill, Elnile has taken the lockdown as an opportunity. And that’s the first recommendation to check out her project.

Creating a digital space to explore and enjoy, Elnile takes us into her thinking about set design with a collection of writings, poems and pictures that have inspired her, along with commentary to listen to, provoke and educate. The thinking is deep, questioning the fundamentals and ramifications of her discipline.

It is striking, and topical, how concerned with the broadest of cultural trends and theories Elnile is. Also, how politically correct. The later isn’t intended to be derogatory… why wouldn’t you want to be right about politics? The environment and all manner of power structures are considered as Elnile makes structures of her own. The concerns are eye-opening, if anxiety producing. The happier point is that Elnile’s practice is energised by the problems. There is woe… but get up and go, too.

The project is original: Elnile is quick to describe Prayer as unfinished and clear that the work shows “impossible models”. And we’re used to perfection in the theatre! But both factors engender idealism and new thinking, centring on the process of making rather than an outcome. Prayer becomes a personal piece: Elnile’s artworks are presented and there’s a strong sense of commitments and passions.

Among all the caveats and concerns – which taught me a deal – there’s one point I’d take issue with. Describing prayer as a “kind of surrender” is interesting. But is Elnile doing justice to her achievements? As well as prayers of submission, there are also prayers of resolution. It is clear Elnile can problematise, with a steely eye on history and politics. But there is also resolve… for the future. The idea that design should facilitate care and compassion proves, well, exciting. The tone of the piece is meditative, but it is also motivating.

Until 24 July 2020

www.gatetheatre.co.uk

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“[Blank]” at the Donmar Warehouse

This collection of 100 scenes, with the instruction that they can be selected at will and performed in any order, is “a challenge and an invitation” to theatre companies. It’s a startling idea that makes for a big book and shows playwright Alice Birch’s prodigious ability. It is also a suitable celebration of co-producer Clean Break Theatre’s 40 years of working alongside women involved with the criminal justice system. The treatment for the many situations they must have encountered is, by turns, heart-wrenching and thought-provoking. So what has this production, directed by Maria Aberg, created in response?

First, some brilliant performances. From names this theatregoer loves – such as Jackie Clune, Jemima Rooper, Zainab Hasan and Thusitha Jayasundera – to performers I’ve not had the privilege of seeing before, the acting is stunning. Tackling characters who all have a connection to crime, from the most serious to unnamed incidents, undoubtedly makes the show grim. But what’s important is how far-reaching and detailed repercussions are shown to be. Highlighting the children and relatives affected, as well as the women convicted, makes every character encountered a figure to be accounted for. As the 16-strong team moves from role to role, in scenes that are often very short, their achievements are breath-taking.

Much of [Blank]’s power come from its variety. Thirty scenes are delivered here, so we get to see many different women and hear multiple stories, from foster care, including one from the many scenes written for children (the young performers are fantastic), to an adult reunited with a mother freed from prison (providing stand-out moments for Kate O’Flynn and Lucy Edkins).

Shona Babayemi and Jemima Rooper in BLANK
Shona Babayemi and Jemima Rooper

Remember, teasing themes or coherence out of the texts is a choice Birch offers. Part of her point is to challenge conventional narratives about women ‘like this’. Aberg’s response is a light one; a couple of scenes share characters, but this feels like a coincidence. Rosie Elnile’s design and projections of the performers bind the play visually (although I am agnostic about the need for them). And there’s a nod to our specific location in the boldest scene that roots us in Covent Garden with the Donmar’s particular clientele: in a dinner party that turns into a disaster, Birch shows ruthless skills as a satirist and Shona Babayemi gives an unforgettable performance.

Aberg is wise to have faith in Birch’s short sketches – they are packed with emotion and drama. It can be frustrating to leave the action so quickly, and dizzying to think of how many scenes could be developed into full plays. That’s not the aim, and the writing is too precise for it to be the case – each scene stands fully formed. Rather, being overwhelmed by this breadth of – frankly awful – experience is a statement. This feels like a whole other kind of theatre. The play could be mounted anywhere, with any cast, making it a real treasure – full of possibilities and lives that we don’t normally see. While these women maybe invisible to some, [Blank] goes some way to filling that void.

Until 30 November 2019

www.donmarwarehouse.com

Photos by Helen Maybanks