Heather at the Bush Theatre review *****

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Heather

Bush Theatre, 8th November 2017

For me the best plays take a very few ideas, or even better one idea, and then explore those ideas from multiple perspectives. If the writer loads up the text with too many ideas and messages, usually because he/she can and “it would be a shame not to” it can lead to confusion and drift in my simple mind. Less, as is so often the case, is usually more.

Thomas Eccleshare’s play Heather sticks fast to this rule and I loved it. It first popped up at the Tobacco Factory in 2014, again in Edinburgh I gather, and is now at the Bush for a couple more weeks. I implore you to see it.

I won’t detail the plot and central conceit as this would spoil the elegant twist. The play takes a children’s novel, in the vein of that wretched Potter (love JK Rowling, hate her work, sorry), as a springboard to explore the question of authorial identity and the relationship between art and the nature of the artist that creates it. We get to think about who we find acceptable in the creation of mainstream culture, how culture is represented, owned and marketed and whether rehabilitation is possible or desirable.

There is formal invention in the structure of the play, again I won’t delve too deeply to avoid spoiling, and some very clever and funny wordplay. The three parts of the play do not always entirely ring true but this is sort of the point in a play about how we should regard the representation of the written word. The two actors, Ashley Gerlach and Charlotte Mella, have the characters and the relationship between them absolutely nailed down, and the pace and rhythm of the production under Valentina Ceschi’s direction (she partners the writer in the Dancing Brick company) is spot on. As is the design of Lily Arnold.

That’s it. I won’t labour the point. Along with The End of Hope at the Soho Theatre this is the best way I can think of to spend an hour, (actually slightly less in the case of Heather), this weekend. Take a friend, discuss, eat.

My pick of London theatre – on now and booking ahead

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Right let me cut to the chase. Here is my latest attempt to distil the best of what is on now and what is coming up in the world of London theatre. There is a bunch of new stuff notably at the National Theatre, the Barbican, the Donmar Warehouse, the Hampstead Theatre and in the West End which has been announced since my last round-up which should be investigated. Happy theatre going.

Top 10 – all on now

1. The Ferryman at the Gielgud Theatre. I know most of you theatre lovers will have already seen it but if you haven’t you must. The Ferryman at the Royal Court Theatre review *****

2. Oslo at the Harold Pinter Theatre. This shouldn’t work – a straight narrative of the negotiations that led to the Oslo Accord between Israel and the PLO – but it does and is bloody magnificent. Oslo at the National Theatre review *****

3. Follies at the National. I hate musicals. This is different though. Made me want to cry and punch the air. Pretty much sold out but if it transfers snap it up or watch the cinema transmission next week. Follies at the National Theatre review *****

4. The End of Hope at the Soho Theatre. Go see this this weekend if you have nothing else to do. I saw this at the Orange Tree. A two hander which set in Northern Ireland by David Ireland and directed by a student amazingly. Just 60 mins and cheap as chips. It is hilarious and cutting. Highly recommended. Directors’ Festival at the Orange Tree Theatre review

5. Young Marx at the Bridge Theatre. The Bridge’s first offering. Not perfect but still v. funny and the new Bridge Theatre is wonderful. Young Marx at the Bridge Theatre review ****

6. Albion at the Almeida Theatre. Mike Bartlett’s (he who wrote the lines that have you shouting at the telly when Dr Foster is on) latest offering. A state of the nation thing. I loved it. Looks like it is sold out so you should have paid attention when I recommended it months ago. Albion at the Almeida Theatre review ****

7. Beginning at the National Theatre. Two hander on the excruciating pain of dating. Terrific. A few tickets left for the last week. Beginning at the National Theatre review ****

8. Minefield at the Royal Court. Only a couple of dates this weekend. Six veterans from the Falklands War act out their experiences. Really engrossing and moving.

9. Heather at the Bush Theatre. Tiny venue. Gold star from me if you see this. Amazingly clever play about a children’s author who is not what she seems. Only an hour.

10. The Comedy About a Bank Robbery at the Criterion Theatre. I went with LD to see this for the second time recently. Terrible West End venue and full of tourists (no offence intended) but it is still the funniest thing on the London stage so an Xmas treat if you haven’t been. The Comedy About a Bank Robbery at the Criterion Theatre review ****

Top 12 – booking ahead

1. A Very, Very, Very Dark Matter at the Bridge Theatre. I WILL WRITE THIS IN CAPITALS. YOU MUST BOOK THIS. This has just been announced. A new play from Martin McDonagh about Hans Christian Anderson (don’t laugh). McDongah’s last play was Hangmen which me and the SO think is the best play we have seen in the last 3 years. He wrote the classic film In Bruges. It will be caustically funny and gripping. I know it is next year but don’t blame me if you miss out as this won’t transfer since the Bridge is already a commercial theatre.

2. Julius Caesar at the Bridge Theatre. I know. Bloody Shakespeare. But the cast here is to die for. Plenty of tickets.

3. Macbeth at the National. Rory Kinnear and Anne_Marie Duff, our two finest stage actors of their generation, as the Lord and Lady. Will be unmissable. Booking opens next week.

4. John at the National. New Annie Baker play. This will likely sell out in hours as she has a cult following. Booking opens next week. Make sure to look at the “coming soon” part of the National as there is lots of good stuff.

5. Network at the National. High expectations but should be justified. Bryan Cranston as the TV anchor who has a meltdown. Looks like it is pretty much sold out so again should have listened a few months ago.

6. The Encounter at the Barbican. Bear with me on this. It is amazing. Simon McBurney (who is a genius) brings to life a book about a bloke getting lost in the Amazon. They give you fancy headphones and then he takes you on the journey. Booking opens tomorrow.

7. Pericles at the Barbican. From Cheek by Jowl a theatre company I love. A rare(ish) outing for a late(ish) Shakespeare. In French with surtitles so if you are a French speaker this is your time to shine. Booking opens tomorrow

8. The Twilight Zone at the Almeida. Don’t know if this is going to work but it’s the Almeida so I will give them the benefit of the doubt. Based on the 60s sci-fi TV series !! Plenty of tickets.

9. Belleville at the Donmar Warehouse. US transfer. Main draw is that James Norton in the lead who my ladies fancy something rotten. Looks like it may have sold out. Sorry. Elsewhere in the Donmar season is Congreve’s restoration comedy Way of the World which has Linda Bassett in the lead who is a genius actor (only a few tickets left cos us luvvies snap them up) and The York Realist a gay love story set in the 60s. Like the Almeida and the Royal Court the Donmar doesn’t generally do duds.

10. Glengarry Glen Ross at the Playhouse Theatre. Mamet’s shouty modern classic with a stellar cast and Sam Yates given the director’s chair.

11. The Birthday Party at the Harold Pinter Theatre. Pinter’s guest house to avoid with a fascinating cast and Ian Rickson directing.

12. Gundog at the Royal Court Theatre. I pretty much book anything that looks even vaguely interesting at the Royal Court, Orange Tree, Arcola and Young Vic. This is a guaranteed way to see stunning theatre at bargain prices. (though the RC prices have crept up) I can’t tell you why Gundog is on this list. I just have a feeling.

 

 

Directors’ Festival at the Orange Tree Theatre review

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Directors’ Festival 2017

Even Stillness Breathes Softly Against A Wall ***

The End of Hope *****

Albert’s Boy ***

Orange Tree Theatre, 26th, 27th, 28th July 2017

Now this really is a mighty fine idea. Take five short plays by some of Britain’s finest contemporary playwrights and hand them over to five talented young directors currently completing their MA’s at the local St Mary’s University (just down the road). Assemble fine actors and students to support the enterprise, carve out a week of rep, and charge just £7.50 a ticket to us punters. Everyone’s a winner.

Now I was only able to make 3 of the 5 offers, missing out Enda Walsh’s Misterman and Kate Tempest’s Wasted. But the three I did see where very good, and, in the case of David Ireland’s The End of Hope, outstanding.

Brad Birch has form at the Orange Tree with his The Brink being performed a couple of years ago and Black Mountain coming up. Even Stillness …. has some of the qualities I observed in the Brink. There is an anger and paranoia in the way characters react to contemporary life which is interesting if not entirely satisfying. In the Brink the lead character, teacher Nick, may have stumbled across a conspiracy or may be cracking under the stress of the job. It is funny and sharp but, once the direction of travel was established, seemed to run out of steam a bit for me. Here,  Even Stillness ….. shows a couple, Him and Her, in full on alienation at work mode, who then slowly retreat into each other at home, but whose rejection of their rubbish modern life spells another type of disaster. It is spiky and angry but in some ways lacks surprise. On the other hand it is hard to see how the direction of Hannah de Ville and the acting of Orlando James (last seen by me as a convincing Leontes in Cheek by Jowl’s Winter’s Tale) and Georgina Campbell could have been bettered.

Albert’s Boy is, I believe, the first play from the pen of James Graham. Mr Graham is now the master of the socio-political comedy – witness Ink at the Almeida (Ink at the Almeida Theatre review *****). This two hander sees Andrew Langtree’s Bucky, friend of the family and Korea vet/POW, visiting Robert Gill’s Einstein, in the US in 1953. Einstein is tortured by his involvement in the programme that led to the launching of the atomic bombs, Bucky is scarred by his recent internment. Cue an examination of the big picture political landscape of the times and smaller scale demons of our two leads. Like Mr Graham’s more mature works this has some laugh out loud lines and easy to digest learnings. yet is is a little worthy and static. Once again though I couldn’t fault cast or the direction of Kate Campbell.

Now I have to say I think The End of Hope is a terrific play. I ended up having to cancel Cypress Avenue at the Royal Court last year (bloody kids were up to something) which annoyed me immensely. And I missed Everything Between Us at the Finborough recently. That was stupid judging by this. The End of Hope takes a slightly surreal one night stand and proceeds to mercilessly skewer notions of identity, political, religious, sexual, the nature of fame, high and low culture and pretty much anything else that takes Mr Ireland’s fancy over 50 minutes or so. It is hilariously funny with twists and turns which are not at all forced. As with his other plays sectarian division in his native Northern Ireland acts as the backdrop for the satire. But this is far from geographically bound. Breathless stuff with a real chemistry between Elinor Lawless and Rufus Wright as Janet and Dermot. And hats off to director Max Elton. I suspect getting the pace of performance right here is much trickier than it looks.

So there we have. Three fine plays. Theatre alive and well in the hands of these lovely young people and an urgent need to see more of David Ireland’s plays.