Theatre 2014: Review Fifteen

The Malcontent. The Sam Wanamaker Playhouse, London. April 2014.

The Malcontent is almost an experiment by the SWP/Globe as it is performed entirely by children/young adults - like the boy players of Jacobean times.  If it is taken as an experiment then that is all well and good however this was staged, and priced, as all of the other plays this season have been and that is where I have a slight problem.

On the whole the actors were good, the costumes fine and on the whole you could hear all of the voices.  But they weren't, and possibly shouldn't have been, as good as the professionals.  They were a little self conscious, you couldn't tell if pauses were dramatic or where lines had been forgotten and they just weren't as good at the little stage actions that make a play special.  There was also the problem that when you couldn't see the actor it often wasn't possible to tell who was speaking (male or female) due to the unbroken voices.

However that sounds a very harsh review and the more I think about it the more the good parts did come through. I am not alone in this uncertainty about the play as after the interval an awful lot of people in all areas of the theatre did not come back - the first time I have seen this at the Globe or SWP.

I think that many of the problems I have are actually with the theatre space itself.

I said after seeing The Duchess of Malfi that I didn't think there was enough space to sit comfortably in the high priced seats of the upper gallery.  This problem isn't so noticeable in the side sections of the mid or upper galleries however and so I know know to avoid these.

However these more comfortable seats to the side in the upper gallery give such a restricted view that probably a third of the action is missed, plus a lot of what happens in the pit.  From here you are also looking through the candles and it was only afterwards that I notice how uncomfortable this was and both Rebecca and I attribute our headaches to this.

The seats we had for The Knight of the Burning Pestle, to the side of the lower gallery, were very good - if you can be at the back or front and have something to lean on.

I love the physical space of the Sam Wanamaker Playhouse and I appreciate that in an inaugural season there are things to work out (between my first and second visits for example the slightly padded carpeted benches have been recovered with much softer cushions) but after three plays - one excellent, one good and one okay - I think that I will probably return to try it again but only if I can get the exact seats I want.

Theatrical Interlude 21

The Hush. The Shed at the National Theatre, London. July 2013.

In London for the weekend and with open return train tickets what were Rebecca and I to do but squeeze a fourth play into our brief holiday...

Even we admitted that we didn't think we had the stamina for a full length play - although Amen Corner looked very tempting - so we decided to try the new temporary venue and a 55 minute play.  The free drink was also welcome on a warm afternoon!

The Hush isn't getting great reviews from either the press or other bloggers but I enjoyed it a lot, and the more I think about it the more happy I am that I saw it.  It is a simple play with just two speaking characters, one male and one female.

The characters enter a room called The Hush, the man is recreating noise for a scene (but you never really know if he is writing a play or recreating a memory) and the woman is listening to recordings created by her (dead?) father.

The stars of the show are the Foley editors. On a balcony above the set are two people creating the majority of the sound effects in the play - from showering to turning over in bed.

I found it very clever and with no script the impact of noise became very clear and when a cold wind was played I did get goose bumps and I now have immense respect for those who create all of the sound effects for radio plays.

There was no real story and through the use of sounds the audience is left to create a narrative, I can see that some would find this pretentious but for me the chance to try something so different was a treat and I am glad that we went.

The Shed - a temporary stage while the Cottesloe Theatre is being renovated to relaunch as the Dorfman

Theatrical Interlude 18

Love and Information, Royal Court Theatre, September 2012

I'm currently dipping my toe back into the world of study with a distance learning course on theatre, it is interesting and one of the things recommended is to see a play by all of the playwrights on the syllabus - and if possible the actual play being looked at. Obviously the latter isn't easy but when the Royal Court announced they were premiering a new Caryl Churchill play I had to be pretty quick off the mark to make sure I got a ticket.

I'm not sure what I was expecting (I haven't got to the Churchill module yet!) but this really drew me out of my comfort zone.

I'd purposely not read reviews of the play but I had seen the star ratings go by and these covered a lot of numbers, but I knew that the Royal Court had a good reputation so I wasn't too worried. On the day I wasn't sure I wanted to go but that was more because of the glorious weather and spending what could well have been the last nice warm day of the year in a dark theatre just sounded daft.

I think I should have followed my gut instinct. This wasn't a play - it was 50+ scenes that weren't really related in any way, shape or form. It felt like a whole bunch of random sketches that were being tested to see which would work in a sit com or stand up comedy routine (in my opinion less than half of them).

There was no interval - and if there had been I'm not sure how many people wold have come back - it was just scene after scene in a blank white box with shockingly bright lights around it.

Some of the sketches were very funny, even when retold to family later, some were very moving and the actors without exception were very talented. For me though the simple lack of anything linking the scenes, or any knowledge of even why they were in the order they were, meant I couldn't relax into the afternoon at all. Perhaps I should have copied a lot of the audience and taken a large stiff drink into the auditorium with me!

It was an interesting afternoon in an interesting venue but for me the highlight was the couple sitting behind me arguing as they tried to remember which of them wanted to see the play "and for the love of God, why did they want to see this...thing!"