Powerful revival of Jim Cartwright’s 1986 modern classic comes alive in all its noisy, vulgar and transcendent glory.
I ranked the play as the fourth best thing that I saw last year and though I don’t always like to go back to things I enjoyed (in case it sullies the memory), I wanted to treat myself to this again. And I’m glad I did, for the layered complexity of Churchill’s writing allows for re-appreciation and indeed re-interpretation.
Next week sees the 9th Gay Art Festival GFEST start, an eclectic showcase of art, films, and performance work by LGBTQI artists from London, UK and beyond. There’s all sorts to choose from – full details here – with this year’s theme being OUT [in the Margins] and some of the things piquing my interest are European films Jonathan and Brothers of the Night, at Rich Mix and Arthouse Crouch End respectively, and trans documentary The Pearl on at Rich Mix on 15th November. You might be interested in their performance night at the RADA Studio on the 19th November too, a 2 hour double bill of LGBTQI music and dance narratives. Visit their website at www.gaywisefestival.org.uk.
One of the more exciting pieces of casting news was the announcement that the original cast of Caryl Churchill’s Escaped Alone – the glorious Deborah Findlay, Linda Bassett, Kika Markham, and June Watson, will be reuniting for the show’s revival early next year. Escaped Alone (my review here) will play a short run in the Jerwood Theatre Downstairs 25 January – 11 February 2017, skip over the Atlantic for a wee run at BAM Harvey Theater, New York starting on 15 February and then returns to the UK to go on a national tour 7 March – 26 March to The Lowry, Salford Quays; Cambridge Arts Theatre and Bristol Old Vic.
I suppose a few people might be interested in the return of David Tennant to the stage in Don Juan in Soho… 😉
I’m not 100% in love with the venue, more for the journey through the casino to get to the room, but Leicester Square’s Hippodrome Casino has announced a star-laden set of concerts to follow up on recent successes including Jeremy Jordan, Titus Burgess and Michael Ball. You’ll be able to see Murder Ballad’s Kerry Ellis on 20th December, Memphis’ Matt Cardle on 17th February, Sharon D Clarke – so good in Ma Rainey’s Black Bottom – on 10th March, and the luscious Oliver Tompsett, recently in Guys and Dolls, on 24th March. More info here.
Congratulations to Andrew Thompson, whose play In Event of Moone Disaster was announced as the winner of the biennial Theatre503 Playwriting Award. Chosen from a shortlist of five and from a longlist that stretched over 52 different countries, Thompson won a nifty £6,000 and will see his play produced as part of his prize.
Hang out the bunting too for the New Diorama Theatre, who won this year’s Empty Space Peter Brook award.
And an interesting snippet from across the pond about Charlie and the Chocolate Factory. The Broadway version of the show, starring Christian Borle as Charlie and scheduled to open Spring 2017, will cleave closer to the Gene Wilder-starring film with Willy Wonka appearing “much earlier in the production, starting the show by welcoming children and guests to his sweetie empire” and “more classic songs from the film that were left out of the London production, as well as new songs by Shaiman and Wittman. Audiences can expect yodeling from Augustus Gloop as he enjoys a mid-breakfast snack of 50 chocolate bars, plus a number called ‘Strike That, Reverse It’ highlighting Wonka’s constant mental frenzy”.
All good things must come to an end. Last night was the third and final post-show panel discussion in the series that I’ve programmed and hosted around Jagged Fence’s new production of The Father, starring Alex Ferns. While I’m sad the series has finished (it was such invigorating fun!), I’m happy to say that we went out on an absolute high. Following the past two weeks, in which we tackled “Feminism Today” and “Parenting Rights”, last night’s discussion subject was titled “Women in the Arts: Is Enough Being Done About Gender Inequality?”
Director Fiona Laird suggested that the balance be redressed by only allowing only plays by female writers to be produced for the next 300 years
The guests gathered to debate the point were: The Stage editor Alistair Smith, director and feminist campaigner Fiona Laird, actor and Act for Change founding member Stephanie Street and Evening Standard chief arts correspondent Louise Jury (click here for full panelist biographies); and, from The Father, director Abbey Wright, leading lady and producer Emily Dobbs, and cast member June Watson, as well as, on behalf of venue owner the Ambassador Theatre Group, London programmer Charlotte Longstaff.
All good things must come to an end. Last night was the third and final post-show panel discussion in the series that I’ve programmed and hosted around Jagged Fence’s new production of The Father, starring Alex Ferns. While I’m sad the series has finished (it was such invigorating fun!), I’m happy to say that we […]
Trafalgar Studios, London
Written by August Strindberg
In a new version by Laurie Slade
Directed by Abbey Wright
Few go to a Strindberg play looking for an harmonious depiction of the sexes and this co-production between Emily Dobbs’ Jagged Fence and Making Productions, while sharp in its execution, won’t do much to radicalise expectations.
Written in 1887 by the deeply embittered Swedish playwright, on the brink of marital separation and in a fashion that has triggered many autobiographical interpretations, The Father pitches husband and wife into a dark custody battle that predates paternity tests and equal rights. Laurie Slade’s modern adaptation – requested by his friend, theatre director Joe Harmston for a 2012 production – is driven more by collaborative forces than real-life drama, but it retains the original’s antagonistic bite.
Director Abbey Wright takes the reins for this intimate production with great success. While the Captain’s last-minute attempt to break the fourth wall doesn’t sit well with the play’s largely naturalistic style, Wright’s depiction of conflict – whether that be between husband and wife, mother and daughter, or father and child – is as stylish as it is evocative. As the warring characters face each other in mirror image, Wright clouds the dialogue’s clear oppositions with vivid visual similarities.
Thomas Coombes is a treat as Nöjd, the playful trooper who, if rumour is to believed, has impregnated a member of the Captain’s staff. While Nöjd is unable to deny a certain degree of intimacy, it is beyond his power to prove whether or not the baby is his. Coombes excels at lacing Nöjd’s crude, pastoral expression – “no guarantee that a night in the hay means a bun in the oven” – with a cheeky, modern charm, furnishing Slade’s notion that this is “a modern play, which happens to be set in the C.19th”.
What seems like idle gossip transforms into psychologically taut obsession as the play pulls towards its inevitable conclusion. Just as Nöjd doubts his lover’s fidelity, Alex Ferns’s dazzling Captain ploughs his own memories, as he questions whether young Bertha, who calls him ‘Papa’, is actually his issue or was in fact conceived by wife Laura (excellent on-stage work from Dobbs) during a lovers’ tryst. Ferns is vibrantly volatile and while other characters are equally paired in their disputes, he retains a chilling control over the tempo of the piece.
While the relationship between the Captain and his wife provides the thrust of this narrative, and the Captain and his Doctor (Barnaby Sax) are splendidly matched as rivals, it is the tender and trusting affinity between Captain and Nurse (June Watson) that brings the strongest emotional clout: “rest your breast on my chin”, the Captain commands his attendant, as a redundant Laura looks on jealously. This gentle, strikingly maternal relationship is complemented by James Turner’s set and Gary Bowman lighting, all stripped-back, monochrome as a Gothic aesthetic gradually melts into warmer reds.
Husband and wife may be “black and white…different species” but there’s a faith in relationships and the power of one gender to sooth and complement another. While this production doesn’t fall far from Strindberg’s tree, it’s a well-designed and interrogative take on an unfashionable play.
Runs until 11th April 2015
Guest reviewer: Amelia Forsbrook