Consensual is the latest production from the National Youth Theatre of Great Britain. Set in an urban modern school, it deals with very current issues. It was first performed three years ago, but following the rise of the #metoo movement in the intervening time, it catches the zeitgeist even more today than it did at the time.
The thrust of the play is about the what exactly constitutes consent and where the abuse of power begins. The play wastes no time getting into the subject matter. A teacher is discussing the “Healthy Relationships” curriculum in class, then after school, she is confronted by a relationship that she had with a student seven years earlier when she was a teaching assistant. She believes that the student took advantage of her naïveté at the time. He believes that she groomed him while he was underage.
These two, Diane and Freddie, nicely played by Marilyn Nnadebe and Fred Hughes-Stanton, are the main protagonists of the story. The are supported by a cast of pupils, teachers and family who highlight the blurring of the lines, between their opposing points of view. There is a host of great cameo performances among them, the play is sharply observed and cleverly written, so there are some nice characters and some excellent lines to be delivered. I particularly like Alice Vilanculo as Georgia, who manages to convey a begging for help by resolutely deny that she needs it. Jay Mailer is also outstanding in his one scene as Jake, Freddie’s brother, his exasperation giving way to grudging support in the end.
The direction is clever, the dark subject matter and deep conversation is interspersed with musical breaks and funny moments. The song where the school boys deliver a song in the manner of the Pussycat Dolls or Destiny’s Child is a highlight. There are some very witty exchanges between classmates and these lines are delivered fast and the scenes are short. Jamie Ankrah, Muhammad Abubakar Khan, Olivia Dowd and Simran Hunjun deliver nice brashness and impudence, they keep the mood upbeat and the pace brisk.
The set is sparse and inventive, allowing the direction and writing to shine. I did love the way the cast quickly make a car from school benches. Consensual is a thought provoking show, it tackles a difficult subject in an entertaining way. It could not be more topical. It has some great acting, keep your eyes on the cast list – I’m sure we will be seeing more of these actors in the future!
Sea Wall was written by Simon Stephens specifically for Andrew Scott. He first performed it ten years ago at the Bush theatre in Hammersmith. Since that time, both of them have become regarded as leaders in their sphere. Simon Stephens was already very well regarded, being involved with young writers at The Royal Court, but his hugely successful adaptation of “The Curious Incident of the Dog in the Night-Time” has taken his career to a new level. Andrew Scott has been involved in the big hit TV series, Sherlock, where he plays Moriarty, and his stage performance of Hamlet was one of last years stand out performances. https://reviewdonkey.wordpress.com/?s=hamlet
This particular play has developed something of a cult following, it has been performed in the UK and Ireland and there is filmed version of it available online. I have to say that it is a truly remarkable piece, beautifully written. It plays to all of Andrew Scott’s considerable strengths. He interacts directly with the audience, his naturalistic style of acting fits perfectly with the writing and one cannot help but be moved by his telling of the story. It was surely imagined for performance in a much smaller space than the Old Vic but Andrew Scott has even this larger audience in the palm of his hand.
The piece is short, only half an hour long, and the tightwad in me, initially felt a little short changed that The Old Vic is charging pretty nearly full price for a thirty minute one man show with no set. However, with perspective, Sea Wall is a very high quality, dense piece and I’m not sure that Andrew Scott, or the audience for that matter, could have kept up that level of intensity for any longer.
This show really enhances the reputations of both the actor and the writer. From Andrew Scott we really do get a masterclass in captivating an audience. He managed to make a thousand seat auditorium feel like a private conversation. I think that after he has finished the run here, there is life in the show yet and, I suspect that it is likely to be performed at other venues in the future. If not, I believe that you can watch the show on film at http://www.seawallandrewscott.com/ I haven’t watched it yet, but if it is half as good as it is live then you are in for a treat!
Nightfall is a play by Barney Norris, who has already written many plays and books, winning the Critic’s Circle Award for most promising playwright along the way. From this production, you can see that he has a talent for writing dialogue. It has a realistic feel and there are some lovely moments of insight. However, this is a four hander and all of the characters don’t feel fully developed. The two women in particular are caricatures who, despite the difficulties they battle through, one does not feel much empathy for. The storyline has many twists, some very dramatic, but I felt that we were told about them, then they were forgotten about and had little effect on the characters’ actions.
Having said that, there are positives, the set is amazing and uses the modern stage to its best effect. The Bridge Theatre is a new theatre, less than a year old, and it is beautiful. Bigger than I expected, although it holds almost 1000 people, the design is such that I cannot imaging that there is single restricted view seat in the whole auditorium. The stage area itself is very versatile, it would not have been possible to have a set of this design in a more traditional theatre. I loved the lighting too, it is set outdoors and sunsets and sunrises are done beautifully. Cars arriving and leaving at night were also lit very cleverly.
Ukweli Roach puts in a great performance as Pete. Sion Daniel Young is also good as Ryan and there was an undercurrent of chemistry between the two characters that felt undeveloped. It is interesting to see that one of Barney Norris’ non fiction books is about the theatre of Peter Gill, because there were times when I was reminded of The York Realist.
Overall, although I enjoyed listening to them talk for the two hours, I did not feel that there was any narrative arc or that any of the characters had moved on over the course of the play. Perhaps the type of nostalgia he was trying to evoke would have been easier to attain if it had not been set in the present, or perhaps it is one of those plays whose real depth will not be apparent until some years after writing.
I really look forward to seeing what the National Youth Theatre of Great Britain bring out each year. It is always interesting and thought provoking. They rarely disappoint and this show is no exception. This is a triptych of plays with a common theme, aging and how we treat the aged. All three are written by James Fritz, they have funny and intelligent dialogue. Directed by Matt Harrison, the bed in the centre of the stage is the single focal point, it cleverly has different implications in each scene.
The first is the most conforming of the three, the story of a couple of horny teenagers who use an old man’s flat to have sex while he is away. Jesse Bateson and Niyi Akin are both excellent, showing off teenage attitudes to old age, with humour and occasional compassion.
The second is also a two hander. A couple age from teenage to late middle age in the course of twenty minutes, as they cope with looking after their son and an aging parent. Sophie Couch is really good, we are unsure of her actions without ever being unsure of her motives. Troy Richards as her partner does a great job of keeping us guessing as to whether he believes her because he trusts her or because he just chooses to without any real justification.
The third is set in an old peoples’ home, in a future where virtual assistant apps control the looking after and their only company is each other. The only outside human interaction appears to be a liaison officer, played with cool dispassion by Lucy Havard, offering voluntary euthanasia. Jamie Ankrah does a good job of playing the archetypal “Grumpy Old Man”. Jamie Foulkes evokes compassion for his decision and Madeline Charlemagne is great as an octogenarian with a sense of fun. Josie Charles is fantastic as the last old person left, measuring out her days by turning on her room lights. Joshua Williams is excellent as the Nurse, one of the few people in the cast who gets to play his own age, whose job now is doling out death, but at least trying to do it with compassion.
Every year the NYT of GB do a season of shows in both off West End and West End theatres. This is the first time that they have been at the Southwark Playhouse, it is a venue that will work well for them, in that it is both intimate and adaptable. The plays put on by the National Youth Theatre are always innovative, interesting and entertaining and they are very competitively priced. The production values are great and you are sure to see some stars of the future, either in acting, direction or choreography.
This is the second play in Dominic Drumgoole’s Oscar Wilde season in the West End and it is directed by Kathy Burke. I attended this production with some trepidation because, although I really admire Oscar Wilde and find him very witty; his plays are full of arch bon mots, but this can make his characters cool and short on compassion. I often find myself laughing at what they say but I have little empathy for their plight.
However, Kathy Burke really brings out the difference between how the actions of men and the actions of women were perceived, by society, at the turn of the last century. She makes us aware of how sympathetic Oscar Wilde was to that difference. He demonstrates real dexterity in pinpointing this and he mocks it mercilessly. This is a modern take on a play that is ultimately about the empowerment of women. Sam Spiro is excellent as Mrs Erlynne, the unrepentant scarlet woman, she perfected the brittle, sharp exterior protecting her secret and the emotions she did not wish to show.
Jennifer Saunders plays The Duchess of Berwick, in full-on dame mode. She sails into each scene with a new wonderful hat, drops her witty insights, sows the seeds of anarchy, and sails off. A wonderfully written cameo role, beautifully delivered.
It is the men in this play who are shallow. They are the real figures of fun, Joshua James is good as the insecure but supportive Lord Windermere. Kevin Bishop is excellent as Lord Darlington; charming and in love, but likely untrustworthy. The scene with all the male characters, drunk, in the library is well done and very funny. This play is so full of famous lines that occasionally it feels like a litany of Wildean quotations.
The set is cleverly done, all pastels and relatively simple, with echoes of the titular fan throughout – the shape of the windows and even the motif on the stage curtains. This is in contrast to the costumes. The men are formal, I am convinced that Lord Darlington and Jacob Rees-Mogg have the same butler. The ladies are dressed in full rich concoctions designed to demonstrate a time when it was more important to show off ones wealth than ones taste.
Being a play in four acts, there is an entr’acte between the first and second and between the third and fourth. These were not written by Wilde and they felt out of place, the humour was crude by comparison, but they were common at the time of writing and it did give the production a period feel.
This was a very good production of a sparkling play, it made me see Wilde’s writing in a new light and I am looking forward to seeing the others in this promising season.
Six catholic schoolgirls in uniform arrive on stage to sing a hymn, Mendelssohn’s “Lift Thine Eyes”. They have angelic voices, it is beautiful. After the song they begin to talk, the language is sinful and the subjects are carnal. The juxtaposition is funny and moving.
This play is the story of their day trip to Edinburgh to sing in a choir competition. Over the course of this twenty four hours they meet various characters from the places they visit. These characters are played by the girls themselves and this combined with the strong accents and dialect made following the action hard work in places. However, the script is witty and coarse and the singing is fantastic, especially the classical pieces and hymns. Many of the rock songs are Electric Light Orchestra covers.
Our Ladies of Perpetual Succour is a well observed play. It is insightful, in that it makes us aware of the difference between the world that their convent schooling is preparing them for and the actual world that they will inhabit when they leave. This play makes you question how qualified ecclesiastic schools are at preparing children for a life in a secular society.
An entertaining and thought provoking show, with a very talented cast. I am sure we shall hear of many of these actors again.
This is an Irish road movie, set in Cork. It is written and directed by Peter Foott and, if this film is representative of his work, he has a great talent for both dialogue and character development. Conor and Jock are two feckless 15 year olds, Conor works in a fishmongers, because his Mam is the only one who would hire him and Jock seems to support himself by nicking bikes. The film is the story of them taking off to the coast, to find some bags of cocaine that have supposedly been washed ashore from a shipwreck.
Imagine “Bill and Ted” doing “Smokey and the Bandit” in County Cork on stolen bicycles…. well it’s weirder and funnier than that.
One of the many great lines form this film states “There are two things you need for an adventure, a treasure map and someone dumb enough to go with you” Neither of these boys have a clue about anything, but by the end of the film, you are really invested in them and wish them success.
This film has a hard exterior but a soft center. Jock is covered in bruises from his hard drinking Dad, but it is hardly mentioned. Conor and his Mam are verbally abusive to each other but have an almost tender scene in the second half of the film. The acting is naturalistic and there are great performances from Alex Murphy and Chris Wally as Conor and Jock. Hilary Rose is excellent too as the harsh Mam and P.J. Gallagher as “the drug dealer”
I liked the cinematography, Cork looks lovely in the sun and there are some great songs on the soundtrack, including “Where’s me Jumper” by the Sultans of Ping. The incidental parts are clever too, Cork and its environs seem populated with eccentric characters and quirky misfits. What makes this film stand out though, is the amazing script, it is littered with funny lines and mad ideas.
Peter Foott has made an excellent film here and I am already looking forward to his next one.
“Rosencrantz and Guildenstern are Dead” is funny, thought provoking and enjoyable, all in a single package.
The 3 main actors are remarkably good. I was surprised at what a major part the Main Player is, and David Haig is perfect, giving the impression that he knows the meaning or the outcome, unlike anyone else, but is unconcerned about it. Joshua McGuire and Daniel Radcliffe are a wonderful double act, McGuire having a great verbal delivery and Radcliffe conveying so much with looks, gestures and shrugs. They complement each other very well here.
The play itself is also a star. It really does not feel like a revival, it does not matter at all that it is over 50 years old, it is timeless. The light touch direction was just what the piece deserves, to let the writing itself shine through.
This is a very good production of an excellent play with simple direction in a beautiful theatre. What more could anyone want?
Sense and Sensibility is a good film, but I believe that it is almost false advertising to call it by that name. The story is so changed from the book that, although the characters have the same names and the final result is the same, it is totally unrecognisable in places as the same story. Some quite major characters have been killed off. John Middleton is now a widower and their young child no longer in the story. Lucy Steele’s sister, who blabs the whole story if the illicit engagement, is not in the film. Hugh Grant is far too affable in character for the grumpy Edward Ferrars in the book. Alan Rickman too easily wins Marianne over after her disappointment in Willoughby. In fact, in this film, almost the least charming character is Willoughby, who in the book wins over Marianne, and her mother, by his easy false charm.
The acting is good, Hugh Grant and Alan Rickman are very good playing the romantic leads in a costume drama set in the 18th century. Emma Thompson is full of repressed emotion and Kate Winslett is fine as an impulsive teenager falling in love easily and recovering easily. Imelda Staunton and Hugh Laurie are wonderfully funny as Mr and Mrs Palmer.
There are some great moments of humour, the script has some wonderful lines. It is visually very attractive and there is much to admire in the period detail. A great deal of care and attention went into the making of this film and it shows throughout the movie.
It was nominated for seven Oscars. It won the one for best adapted screenplay. It was hugely popular and led to a revival of sales of Jane Austen’s novels and for these reasons it must be celebrated. I would probably have liked it more had I not read the novel itself so recently.
The film itself is most enjoyable but do go to see it as a Hollywood representation of upper class England in the late 1790s and not as a faithful adaptation of Sense and Sensibility, the book.
Spaced is two series worth of London slacker comedy.
It was written by Jessica Hynes and Simon Pegg in 1999 and 2000 and is crammed full of references to popular taste from the time. Hynes and Pegg play two early 20s flat hunters who must pretend to be a couple in order to get the only flat in North London that their meagre incomes can afford.
It is very funny, well written with great dialogue and fantastic characterisation. Not only do you come to love Daisy and Tim, played by Hynes and Pegg, but you also become attached to the bizarre friends and acquaintances that inhabit their lives.
It was brilliant when it was first aired and it is a testimony to their writing that almost 20 years later that it is even better now. All the references and homages to 80s and 90s pop culture, give the series an added dimension of nostalgia.
This is the ultimate British millennial (not) coming of age comedy.