Tag Archives: Tinuke Craig

Uncategorised

“Trouble in Butetown” at the Donmar Warehouse

Focusing on an African American soldier and a mixed race family in Cardiff provides a new take on World War II in Diana Nneka Atuona’s new play. Behind this interesting story, the piece is a traditional affair – well-crafted and carefully observed – that is a tidy drama and a gorgeous love story.

GI Nate is on the run, providing excitement, and it’s no plot spoiler to say he is the victim of prejudice. But what’s important is what he runs into: a boarding house with no colour bar and a romance with young Connie. The roles make impressive stage debuts for Samuel Adewunmi and Rita Bernard-Shaw with characters whose instant attraction and innocent courtship is sweet. 

The play is full of heart-warming relationships that centre around Connie’s mother, a powerful matriarch, performed by Sarah Parish with consummate skill. As funny as she is formidable, and ferociously protective of her daughters, she is a sympathetic figure. How hard it must be to raise two mixed race children at the time is never overstated, a powerful move on Atuona’s part.

Along with her younger daughter and lodgers, who are all satisfying characters, this little idyll is under threat from the American Military Police. There are big debates here with plenty of perspectives. And maybe some caricatures (the Police seem dull next to characters we’ve come to admire). Importantly, Nate’s actions aren’t glossed over.

There is a lot of action – a director less skilled than Tinuke Craig could make a mess – that builds nicely. The second act provides more nuance in each character, more intergenerational conflict and a realistic yet inspiring finale. Random acts of kindness and cruelty that are deftly handled make the piece involving and interesting throughout. Excellent work all-round.

Until 25 March 2023

www.donmarwarehouse.com

Photo by Manuel Harlan

Uncategorised

“Jitney” at the Old Vic Theatre

August Wilson’s great play gets a good revival under the directorial guidance of Tinuke Craig. Set in the office of a taxi company (the cars give the play its name) the piece is a close look at a community, full of emotion and drama.

The co-op business is headed by the admirable Becker (Wil Johnson) who is struggling to keep the premises open and about to meet his son who has just been released from prison. Old-time drivers struggle with drink (leading to a sensitive performance from Tony Marshall) or their past, while in conflict with a younger generation. Arguments between the gossiping Turnbo and the aptly named Youngblood are a highlight and make strong scenes for Sule Rimi and Solomon Israel. In all cases, Wilson’s characterisation is impeccable.

Unlike the writing, the performances are uneven. Some scenes feel more rehearsed than others. It’s an odd fault but Johnson – who is outstanding – possesses considerably more confidence than his colleagues which leads to uncomfortable moments. Johnson’s is a performance not to be missed as he portrays his character’s dignity and trauma with considered attention and intense passion. The production sags after Becker and Johnson finally leave the stage.

The play’s 1970s Pittsburgh setting is evoked in costume design and video projections (strong work from Alex Lowde and Ravi Deepres). But the period feel doesn’t always come through in performances – accents are hit and miss and the odd declamatory moment jars.

The production works from firm ground though. There’s an excellent balance between humour and darker moments that shows the writing’s sense of rhythm. And some serious thought-provoking antagonism as younger characters – Becker’s son especially – are told to take responsibility for their lives. Wilson draws us into the characters’ complex lives with consummate skill and Craig’s calm understanding of script’s strengths ensure the revival’s overall success.

Until 9 July 2022

www.oldvictheatre.com

Photo by Manuel Harlan

Uncategorised

“The Color Purple” from the Curve Leicester

In his introductory remarks to this new online version of a 2019 revival staged with the Birmingham Hippodrome, the Curve’s artistic director Nikolai Foster hopes the production inspires and uplifts the audience. Taking on the task, director Tinuke Craig has achieved exactly that – 100 per cent!

Adapted from Alice Walker’s novel, the Tony award-winning musical sounds fantastic. The singing here is superb, and the score, from Brenda Russell, Allee Willis and Stephen Bray, is interesting and intelligent. Staged in the round, the play’s sensitive filming allows us to take in strong acting and appreciate Mark Smith’s choreography. Craig combines all this to give us “a story to believe in” that won’t leave a dry eye in your house.

The lead characters, with their difficult lives, aren’t easy to portray. Celie’s self-sacrifice, as her children are taken from her and she endures horrific domestic abuse, is hard to watch. But, taking the role, T’Shan Williams expresses pain and anger through song with incredible power – the range in her singing is awe-inspiring. Celie’s whip-wielding husband, Mister, is relentlessly awful, with Ako Mitchell suitably repellent in the role. Casting vanity aside, his redemption is a strong companion to Celie’s. In the scene of Mister’s breakdown, Mitchell has a raw power that is breath-taking.

Rosemary Annabella Nkrumah, Danielle Kassarate and Landi Oshinowo
Rosemary Annabella Nkrumah, Danielle Kassarate and Landi Oshinowo

While Celie’s life is full of trauma, there’s humour in The Color Purple. Plenty comes from the gossiping church ladies, a brilliant trio performed by Rosemary Annabella Nkrumah, Danielle Kassaraté and Landi Oshinowo, who have some of the most adventurous musical moments. And while the story of Celie’s stepson and his wife Sophia is troubled, their relationship contains laughs as well as passion and is portrayed marvellously by Simon-Anthony Rhoden and Karen Mavundukure – I could have watched both all night.

Handling relief in such a powerful story is tricky. But the show needs light… and colour. This is most clearly revealed in the joy that surrounds the character of Shug Avery. With yet another magnificent performance, from Carly Mercedes Dyer, the blues singer who both Mister and Celie fall in love with becomes a sage who holds the key to Celie’s future. Dyer’s portrayal convinces, while her powerful singing commands. And Shug and Celie have one of the best love songs there is.

The finale reveals how well structured the show is, Marsha Norman’s book prepares us for emotion and T’shan Williams excels in delivering it. It is Celie’s journey of self-discovery that makes the show so powerful. I had goosebumps for the last 20 minutes. Acknowledging the beauty in herself and the world, Celie comes to accept her sexuality and her religion in an inspiring and uplifting fashion that, fittingly, ends with a prayer.

Until 7 March 2021

www.curveonline.co.uk

Photos by Manuel Harlan

Uncategorized

"Vassa" at the Almeida Theatre

Mike Bartlett’s adaptation of Maxim Gorky’s 1910 play is a suitably irreverent and darkly funny version of a text with revolution at its heart. About capitalism as much as feminism, it provides a magnificent title role for Siobhán Redmond and a range of grotesque characters for a strong supporting cast to have fun with. Both Bartlett and director Tinuke Craig have a keen eye on entertaining their audience and, although the show is uneven, the production has enough humour to make it a success.

Vassa is as much a mogul as a matriarch. As her husband lies dying upstairs, her concern is to secure the family business by fiddling his will. She has to tackle her useless sons and mendacious brother-in-law, who each want their inheritance, along with their various romances, all of which are problematic. Herding these cats is done with a vicious tongue and a ruthlessness that beggars belief. Every acid line and heartless act is delivered to perfection by Redmond, who makes a brilliant villain.

Since it was revived this summer, you might think of Githa Sowerby’s Rutherford and Son as an English equivalent to Vassa: close in date, with another tyrannical capitalist and questioning economics. But Gorky, via Bartlett, has a more satirical edge that shows venality in many forms. Yet there’s a fussy feeling to the direction that detracts from how forceful the adaptation is. It’s interesting to see Craig play with elements of farce – notably with Fly Davis’ set full of doors – but unfortunately the comings and goings in this conspiratorial household aren’t that well-handled. Bouquets of flowers that cover the floor for the finale are another example: the idea might delight a florist but the blooms become bothersome.

It isn’t quite accurate to say Vassa only cares about money – her legacy plays a part, too. Any case for her as an arch pragmatist is weakened by this (for the better) while abuses of power for its own sake bubble underneath the text. The results allow a depth to her character that might surprise and that Redmond excels with. The relationship with her daughter, played exquisitely by Amber James, proves fascinating. Likewise her affection for her daughter-in-law Dunya, played by Daniella Isaacs, is developed well. More unhappily, the fate of her maid Lipa, superbly performed by Alexandra Dowling, brings home how high the stakes are.

It’s the men in the piece that let the production down. This isn’t quite Bartlett’s fault, or the performers’ – Vassa dominates the play so much that, when she’s off stage, interest plummets. As her sons, Arthur Hughes and Danny Kirrane have characters a touch too hysterical to deal with. And as Vassa’s potential nemesis, Michael Gould’s Prokhor just isn’t enough of a threat. Thankfully, with a lot of judiciously placed swearing, the text is fresh as well as funny. And the attention to detail is great. There’s a brilliant line about an off-stage character, described as “so drunk he fell over his own arm”. Touches like that aren’t just funny – they convey Vassa’s world so vividly that visiting it proves engrossing.

Until 23 November 2019

www.almeida.co.uk

Photo by Marc Brenner