THEATRE REVIEWS: Newly-written Plays
Jun. 20th, 2022 05:13 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
grondficI’m well lost on theatre reviews. We’ve been running around the London West End and (often more daringly) the fringe, since last I reviewed Cabaret (https://grondfic.livejournal.com/293206.html, https://grondfic.livejournal.com/294690.html), yet nary a peep have I written.
So I’m dividing up what we’ve been seeing and will now consider the most memorable of a number of newly-written plays which have been premiered (or are UK-premiers) since November 2021.
One trend that has been prominent is living playwrights writing pieces based on classic literature or drama, and either going deeper into the canon story, or taking it further after the end of the given plotline. In other words – FANFIC drama!
I hope to review some notable revivals, including of course, some Shakespeare, (and some more new plays too) once I’ve looked at these specific ones.
So – welcome to the cutting edge of playwright-ism:
Folk (Hampstead Downstairs)
Playwright: Nell Layshon
Based on: Real life – Cecil Sharpe and his ‘sources’
When 'Omer smote 'is bloomin' lyre,
He'd 'eard men sing by land an' sea;
An' what he thought 'e might require,
'E went an' took - the same as me!
Kipling, a contemporary of Cecil Sharpe, is quite open about nicking, not just folk and music hall songs, but also the words of the people he encountered (in the third verse of this poem, he excuses himself because they knew he stole, but just winked at Homer (and him).
In Nell Leyshon’s amazing musical play (so amazing that we’re going to see it again when it returns to Hampstead Theatre in July) Sharpe (played by Simon Robson, an actor and musician) has what he thinks are more noble motives in plundering the rural singers’ repertoire.
An indifferent composer at best, he is mining a fruitful seam by listening to, and recording, each unaccompanied singer, taking the songs home to London, adding a piano accompaniment and publishing the sheet music (with sometimes bowdlerised words) for sale to the general public, and to schools. Then pocketing the proceeds.
The original singers (for these are all real people) never saw a penny.
Leyshon uses this situation to explore cultural appropriation, ‘Englishness’ in music (as opposed to ‘German’), and the notion of spirituality embedded in the land. The singers – two sisters who are cottage-based glove-makers; and a gardener - have their own lives and struggles; but share the almost constant melody of song that accompanies the rhythms of their work. The main singer is the wondrous Mariam Haq, whose version of Lord Randal absolutely electrifies Sharpe and the audience alike.
For me, this piece deals with MY music, and it was wonderful to hear it being used to such an effect. Reader, I cried a bit, and felt validated.
The 47th (Old Vic)
Playwright: Mike Bartlett
Based on: Real life – extrapolated
Following in the footsteps of Charles III Mike Bartlett has extrapolated ‘real life’ to look at the Presidential election of 2024 (to elect The 47th president).
The play itself is not quite so successful as Charles III, but the big coup lies in the casting of Bertie Carvel as Donald Trump. He must have been LOADED with padding and prosthetics, because the likeness is uncanny.
Take a look at Bertie:
https://www.imdb.com/name/nm1584487/
And his take on Trump:
https://www.londontheatredirect.com/play/the-47th-tickets
And really – that’s all you need to know about The 47th, except to say that it’s all written in blank verse!
The Father and the Assassin (National Olivier)
Playwright: Anupama Chandrasekhar
Based on: Real life - Gandhi’s assassination, and his assassin
A new play about the guy who murdered Gandhi - told by the assassin himself. Although it sagged a bit towards the end of the first act (heavy on the exposition), personal and political were generally balanced very skilfully; and a small ensemble carried the sweep of events with apparent ease and lightness. Shubham Saraf grounded the production as the assassin, Godse; Ayesha Dharkar shone as his mother; and Paul Bazely was convincing as Gandhi.
Cancelling Socrates (Jermyn Street)
Playwright: Howard Brenton
Based on: Plato’s Dialogues
A lovely 4-hander, constructed by Brenton as a series of Socratic dialogues, which details events leading to the state-ordered murder of Socrates for alleged atheism and corruption of the youth.
Socrates is played by veteran actor Jonathan Hyde, as (in many ways) an idiot-genius who is totally unable to resist asking unanswerable questions of people from – as he says - the profound to the trivial - What is light? Why does my bottom itch?
The other three actors share five roles between them. Robert Mountford plays Euthyphro, an upright Athenian citizen (who is visiting the magistrates in order to indict his father for murder!), with whom Socrates debates his itchy bum. Mountford also takes on the Gaoler in Act 2, when Socrates is awaiting execution. Hannah Morrison is Xanthippe, the philospher’s wife, who also plays his personal Daemon (seen only by him towards the end of his life). Finally the great Sophie Ward is the ageing courtesan Aspasia.
All these characters Dialogue with one another; even the Gaoler is beguiled into it by Socrates. The Wife and Mistress have their own waspish debate on obligation to Family (Xanthippe) or State (Aspasia). But in the end, Socrates talks his way into his own execution (having been offered numerous opportunities to escape, and rejected them all).
This is a brisk, witty piece, with lots of allusions to current affairs (covid is referenced, though not named; and debates over democracy resonate somewhat unpleasantly). We thoroughly enjoyed it.
Starcrossed (Wilton’s Music Hall)
Playwright: Rachel Garnet
Based on: Shakespeare - Romeo and Juliet
It's a species of slashfic, really - 'Romeo and Juliet' starring Mercutio/Tybalt.
(But I won’t call it that, because there’s a HUGE debate to be hadabout attitudes to ‘fanfic’ versus attitudes to literary ‘homage; not to mention the question (cf. Folk above) of stealing, and copyright ... but no! Not here!)
However, it's very superior fic with a nicely worked-out plotline (fitting into the middle section of the original), and some decent Shakespearean-style writing (except, of course, when it IS Shakespeare!). Rachel Garnet is the playwright.
Three actors cover the whole - Connor Delves (Mercutio), Tommy Sim'aan (Tybalt) and Gethin Alderman (rest-of-the-cast, including - briefly - Juliet). Beautifully, they intersperse the action with some fine renditions of traditional ballads - 'Twa Corbies', 'Parting Glass' and (explosively) 'The Spotted Cow'.
It's really Alderman, with his quick-change routines and spot-on comic timing, who acts as ‘interface’, both between stage and audience, and between Shakespeare’s plot and Garnet’s. I liked him best as County Paris - clearly an Eton-educated, highborn twit; although his(literal!) turn as both Lord Montague and Lord Capulet – simultaneously – was fun!
Delves is a lightweight Mercutio, who instigates the affair as a stratagem and a joke - and then finds himself falling head-over-heels. Sim'aan slowly morphs from Capulet's resident bully-boy into someone much deeper, darker and conflicted.
As the affair progresses, they debate their differences in an almost Socratic way – some passages (eg. family versus wider society) even recalling what we’d seen at Jermyn Street! They mirror the timings of Romeo and Juliet’s romance, which allows for some fun in the soliloquies 'A lion by any other name would roar as loud'.
They also have some pertinent things to say, given that this production has been running in London during Pride week. It’s very moving to hear Mercutio wishing that in future times, young men like himself might be able to proclaim their love for one another openly, instead of resorting to what is ultimately a fatal subterfuge to convince people that they are still enemies (and loyal to their respective feuding Houses).
Together then, they are convincing enough for us to hope that - just maybe - the original ending will somehow get subverted. They have a lovely meta-dialogue, where they imagine that they could leave Verona to become touring actors – and could thus kiss openly onstage without anyone batting an eyelid!
But ...... :((
'Starcrossed' is only on at Wilton's until June 25, so go see it soon!
So I’m dividing up what we’ve been seeing and will now consider the most memorable of a number of newly-written plays which have been premiered (or are UK-premiers) since November 2021.
One trend that has been prominent is living playwrights writing pieces based on classic literature or drama, and either going deeper into the canon story, or taking it further after the end of the given plotline. In other words – FANFIC drama!
I hope to review some notable revivals, including of course, some Shakespeare, (and some more new plays too) once I’ve looked at these specific ones.
So – welcome to the cutting edge of playwright-ism:
Folk (Hampstead Downstairs)
Playwright: Nell Layshon
Based on: Real life – Cecil Sharpe and his ‘sources’
When 'Omer smote 'is bloomin' lyre,
He'd 'eard men sing by land an' sea;
An' what he thought 'e might require,
'E went an' took - the same as me!
Kipling, a contemporary of Cecil Sharpe, is quite open about nicking, not just folk and music hall songs, but also the words of the people he encountered (in the third verse of this poem, he excuses himself because they knew he stole, but just winked at Homer (and him).
In Nell Leyshon’s amazing musical play (so amazing that we’re going to see it again when it returns to Hampstead Theatre in July) Sharpe (played by Simon Robson, an actor and musician) has what he thinks are more noble motives in plundering the rural singers’ repertoire.
An indifferent composer at best, he is mining a fruitful seam by listening to, and recording, each unaccompanied singer, taking the songs home to London, adding a piano accompaniment and publishing the sheet music (with sometimes bowdlerised words) for sale to the general public, and to schools. Then pocketing the proceeds.
The original singers (for these are all real people) never saw a penny.
Leyshon uses this situation to explore cultural appropriation, ‘Englishness’ in music (as opposed to ‘German’), and the notion of spirituality embedded in the land. The singers – two sisters who are cottage-based glove-makers; and a gardener - have their own lives and struggles; but share the almost constant melody of song that accompanies the rhythms of their work. The main singer is the wondrous Mariam Haq, whose version of Lord Randal absolutely electrifies Sharpe and the audience alike.
For me, this piece deals with MY music, and it was wonderful to hear it being used to such an effect. Reader, I cried a bit, and felt validated.
The 47th (Old Vic)
Playwright: Mike Bartlett
Based on: Real life – extrapolated
Following in the footsteps of Charles III Mike Bartlett has extrapolated ‘real life’ to look at the Presidential election of 2024 (to elect The 47th president).
The play itself is not quite so successful as Charles III, but the big coup lies in the casting of Bertie Carvel as Donald Trump. He must have been LOADED with padding and prosthetics, because the likeness is uncanny.
Take a look at Bertie:
https://www.imdb.com/name/nm1584487/
And his take on Trump:
https://www.londontheatredirect.com/play/the-47th-tickets
And really – that’s all you need to know about The 47th, except to say that it’s all written in blank verse!
The Father and the Assassin (National Olivier)
Playwright: Anupama Chandrasekhar
Based on: Real life - Gandhi’s assassination, and his assassin
A new play about the guy who murdered Gandhi - told by the assassin himself. Although it sagged a bit towards the end of the first act (heavy on the exposition), personal and political were generally balanced very skilfully; and a small ensemble carried the sweep of events with apparent ease and lightness. Shubham Saraf grounded the production as the assassin, Godse; Ayesha Dharkar shone as his mother; and Paul Bazely was convincing as Gandhi.
Cancelling Socrates (Jermyn Street)
Playwright: Howard Brenton
Based on: Plato’s Dialogues
A lovely 4-hander, constructed by Brenton as a series of Socratic dialogues, which details events leading to the state-ordered murder of Socrates for alleged atheism and corruption of the youth.
Socrates is played by veteran actor Jonathan Hyde, as (in many ways) an idiot-genius who is totally unable to resist asking unanswerable questions of people from – as he says - the profound to the trivial - What is light? Why does my bottom itch?
The other three actors share five roles between them. Robert Mountford plays Euthyphro, an upright Athenian citizen (who is visiting the magistrates in order to indict his father for murder!), with whom Socrates debates his itchy bum. Mountford also takes on the Gaoler in Act 2, when Socrates is awaiting execution. Hannah Morrison is Xanthippe, the philospher’s wife, who also plays his personal Daemon (seen only by him towards the end of his life). Finally the great Sophie Ward is the ageing courtesan Aspasia.
All these characters Dialogue with one another; even the Gaoler is beguiled into it by Socrates. The Wife and Mistress have their own waspish debate on obligation to Family (Xanthippe) or State (Aspasia). But in the end, Socrates talks his way into his own execution (having been offered numerous opportunities to escape, and rejected them all).
This is a brisk, witty piece, with lots of allusions to current affairs (covid is referenced, though not named; and debates over democracy resonate somewhat unpleasantly). We thoroughly enjoyed it.
Starcrossed (Wilton’s Music Hall)
Playwright: Rachel Garnet
Based on: Shakespeare - Romeo and Juliet
It's a species of slashfic, really - 'Romeo and Juliet' starring Mercutio/Tybalt.
(But I won’t call it that, because there’s a HUGE debate to be had
However, it's very superior fic with a nicely worked-out plotline (fitting into the middle section of the original), and some decent Shakespearean-style writing (except, of course, when it IS Shakespeare!). Rachel Garnet is the playwright.
Three actors cover the whole - Connor Delves (Mercutio), Tommy Sim'aan (Tybalt) and Gethin Alderman (rest-of-the-cast, including - briefly - Juliet). Beautifully, they intersperse the action with some fine renditions of traditional ballads - 'Twa Corbies', 'Parting Glass' and (explosively) 'The Spotted Cow'.
It's really Alderman, with his quick-change routines and spot-on comic timing, who acts as ‘interface’, both between stage and audience, and between Shakespeare’s plot and Garnet’s. I liked him best as County Paris - clearly an Eton-educated, highborn twit; although his(literal!) turn as both Lord Montague and Lord Capulet – simultaneously – was fun!
Delves is a lightweight Mercutio, who instigates the affair as a stratagem and a joke - and then finds himself falling head-over-heels. Sim'aan slowly morphs from Capulet's resident bully-boy into someone much deeper, darker and conflicted.
As the affair progresses, they debate their differences in an almost Socratic way – some passages (eg. family versus wider society) even recalling what we’d seen at Jermyn Street! They mirror the timings of Romeo and Juliet’s romance, which allows for some fun in the soliloquies 'A lion by any other name would roar as loud'.
They also have some pertinent things to say, given that this production has been running in London during Pride week. It’s very moving to hear Mercutio wishing that in future times, young men like himself might be able to proclaim their love for one another openly, instead of resorting to what is ultimately a fatal subterfuge to convince people that they are still enemies (and loyal to their respective feuding Houses).
Together then, they are convincing enough for us to hope that - just maybe - the original ending will somehow get subverted. They have a lovely meta-dialogue, where they imagine that they could leave Verona to become touring actors – and could thus kiss openly onstage without anyone batting an eyelid!
But ...... :((
'Starcrossed' is only on at Wilton's until June 25, so go see it soon!
