Me, Myself and Miss Gibbs at Camden People's Theatre

Francesca Millican-Slater is an inadvertent detective. The discovery in a Totnes junk shop of a postcard bearing an enigmatic message which was sent in 1910 to a Miss L Gibbs of Southwark kick-started a process of investigation that was to last a number of years. During this time Millican-Slater combed through census data and various archives until she gradually narrowed the gap between herself and Miss Gibbs.

The resulting show is as much, if not more, concerned with the directions in which her research takes her than with the mystery of the postcard itself. Millican-Slater attacks her project in a manner that borders on the obsessive, interspersing her telling of the story with video recordings of her younger self responding to each small new discovery. She starts to think of Miss Gibbs as, in some ways, her own, forming an emotional connection between herself and this young woman who lived a century ago, a bond which becomes increasingly evident in her voice as she describes the process of historical digging, particularly in the tender, caring way she talks about Miss Gibbs and her family.

The stage is scattered with the debris of Millican-Slater’s investigation – a quilting of train tickets, maps, and photographs – and, as she speaks, she lays each newly unearthed document and certificate in a line on the floor at her feet, a visual representation of the trail of discovery, the piecing together of the past. She has a chatty, open and engaging performance style, which is reflected in the way the audience’s discussions about her discoveries continue long after the piece has come to an end.

Though Millican-Slater was only able to discover the bare bones of Miss Gibbs’ existence – the births, marriages and deaths – this is enough for a loose-lined portrait of the person, and the world in which she lived, to start to take shape. The obvious point of reference for an exercise like this is the BBC’s Who Do You Think You Are? and the resultant mania for genealogy, though what makes the piece all the more interesting is Millican-Slater’s decision not to delve around in her own family’s past. There is a sense of serendipity in the way the postcard first spoke to her and demanded that its story be told, but she’s also careful to interrogate her own motivations in making this show; she remains both aware and wary of turning Miss Gibbs’ life into “her own personal soap opera.”

There’s also a thread of nostalgia running through the show about the way our relationship with the past is changing; the internet is making raw data more accessible but it is also making the process of research less personal, less hands-on, and dulling the joy of the chance discovery, the beautiful coincidence.

In the end Miss Gibbs and her postcard are just the seeds in a piece about what it is to be remembered and to be missed, about the need to leave our own particular print on this world and on the people in it while we are able. By this reckoning, though long dead, Miss Gibbs still exists in the context of Millican-Slater’s show and her story will now be spread further still, contained in the memories of those who have seen it.

Reviewed for Exeunt

When Did You Last See My Mother? at Trafalgar Studios

Ian is eighteen years old but conducts himself with the air of one who’s lived longer and experienced more of the world. He’s all talk, an adolescent raconteur, a verbal volcano in a herringbone tank top and National Health spectacles. But beneath the precocity, the intellectual self-confidence, he’s manipulative and emotionally frozen, incapable of gauging the consequences of his behaviour on others.

Christopher Hampton’s debut play was written in 1964 when he was also just eighteen. The play was picked up by the agent Peggy Ramsey and ended up being staged by the Royal Court when Hampton was still only twenty. Hampton’s writing is very astute about what it is to be young and arrogant and confident of your own charisma but also utterly wrapped up in your own wants. Yet, for all its assurance, the play also shares some of the characteristics of its young lead: it has a tendency to show off and displays a taste for melodrama.

The character of Ian, the public school educated orphan lusting after his flatmate Jimmy, is a particularly difficult one to pull off. His behaviour at times is vile and brattish; he becomes particularly waspish when faced with the girl Jimmy has a bit of a thing for, his attitude tipping towards the misogynistic, and he seems to really relish pushing people’s buttons until they lose their tempers. But Harry Melling nails it. While he’s convincingly obnoxious and hateful, he’s also something of a charmer, a man of calculated attack. He’s always ‘on’, always playing to an audience, and even when a frustrated Jimmy leaves him to his own devices, he can’t help but provide a running commentary as he pootles round his empty bedsit. At times you want to slap his face, hard and repeatedly, at times you marvel at his chutzpah; he’s like a teenage version of Butley (a play it predates), Simon Gray’s self-sabotaging academic who takes great pains to push away the people foolish enough to care about him. Melling can be over-mannered as an actor – he was the shrillest thing on stage in Deborah Warner’s production of The School for Scandal, no easy task – but under Blanche McIntyre’s direction this is not the case. As Ian, he is, as McIntyre admits, an “utter fucker” at times, but he’s also completely compelling.

McIntyre nimbly negotiates the play’s line between humour and pathos. Her production is rooted very much in a particular time with Nicky Bunch’s detailed set recreating the boys’ 1960s bedsit, complete with Formica foldaway table, a buckled mustard-coloured sofa and a floral curtain concealing the kitchenette. While Ian’s rather too rapid seduction of Jimmy’s elegant mother isn’t entirely convincing, the openness of his feelings for Jimmy and the seeming easiness of his sexuality still feels exciting, especially given the era in which it’s set.

The final scene doesn’t quite deliver the emotional kick for which it seems designed; it feels far too neat and predictable a way to tie things up, the result of a young writer looking for a convenient escape route. But this doesn’t overshadow the production’s many strengths and the pleasing complexity of the central character, a role to which Melling brings the intensity it deserves. Sam Swainsbury, as Jimmy, the object of Ian’s attentions, provides a cool, easy-going and necessary counterpoint to Melling’s energy. And, as Jimmy’s mother, Mrs Evans, Abigail Cruttendan gracefully conveys a deep reservoir of suburban sadness and longing under her smartly-tailored coat and white gloves.

Reviewed for Exeunt

A Dish of Tea with Dr Johnson at the Arts Theatre

The last time this Out of Joint production was performed in London it was in Dr Johnson’s house in Gough Square, in the garret where he worked on his dictionary propped in his three-legged chair. In terms of intimacy and atmosphere it was always going to be difficult venue to equal, and it’s certainly not matched by the bland, boxy basement space of the Arts Theatre, which has a stale, sap-sucking quality all of its own.

Cribbed from Boswell’s Life of Johnson with a smattering from his London journals as well as from A Journal of a Tour to the Hebrides, this is potted Johnson, hopping between the key events in the life of the Lichfield-born lexicographer, essayist, clubman and failed dramatist. Johnson describes how he was taken to be touched by Queen Anne as a child to cure his scrofula; he talks about his curious marriage to Tetty, some twenty years his senior and the object of ridicule of many of Johnson’s friends, including his one-time student David Garrick; he dances around the various controversies surrounding his pension and bemoans the lack of trees in Scotland.

A familiar picture comes together of a man who was both hugely sociable, who found company and human connection absolutely fundamental to his life, but was also prone to melancholy, perennially black-dogged; a man of appetite, tics and habits, he could show great restraint but could not be moderate (he was known to drink 14 cups of tea in one sitting); he was also, of course, a man of great wit and learning, and Johnson’s aphorisms and definitions provide the largest laughs, with critics “a species of dung beetle” and the Scottish coming in for a particular kicking, and all the best known lines duly trotted out.

Boswell does his (inevitable) bit, acting as friend, antagonist, interrogator, as well as taking some predictable pleasure in recounting his amorous activities “in armour” on Westminster Bridge and his resultant bouts of venereal disease. The role of Boswell, along with the majority of the minor characters – King George III, a preening Sir Joshua Reynolds – were originally played by co-adaptor Russell Barr, but illness has forced him to pull out of the London run and so these parts are played – ably despite having to step in at such short notice – by Luke Griffin. Barr’s Jack Russell, Katie, who represented Johnson’s ageing, finicky cat, Hodge, in the original run is also no longer present.

The piece consists mainly of the two men either bickering or each relating their own strand of the story, speaking in turns. As Johnson, Ian Redford both looks and sounds the part; in his fizzy white wig, he closely resembles portraits of the man and he injects a measure of pathos into his recollections, a sense of emotional isolation, without over-egging things. A puzzling decision has been made to cast Trudie Styler as Hester Thrale, brewer’s wife, society hostess and the object of Johnson’s affections. Her eventual marriage to an Italian music master is presented as one of the major upsets of his life, but while Styler’s performance is fine, her appearance in the last twenty minutes does rather disrupt the dynamic of what has up until then been an engaging, if overly talky and rather flatly staged, two-hander.

Reviewed for Exeunt

TeZuKa at Sadler's Wells

There are moments of astonishing intricacy and beauty sunk within this cluttered homage to the work of manga master Osamu Tezuka. Sidi Larbi Cherkaoui’s multi-disciplinary piece is at times gloriously inventive but it also feels over-seasoned and tangled, squid-limbed.

Cherkaoui’s choreography merges animated sequences and live performance in a manner that brings to mind 1927′s The Animals and Children Took to the Streets, his dancers interacting with images created by Japanese video artist Taiki Ueda projected on the screen behind them. Scrolls spill from the ceiling and kanji are formed and then dissolve into rivers of ink. A group of musicians sit on a platform on one side performing Nitin Sawhney’s atmospheric score while a table sits at the very front of the stage on which artists materials are strewn.

The dancers adopt the personas of Tezuka’s characters: one jitters, shimmies and fizzes like Astro Boy in his tiny shorts and bright red boots, another dons the flowing jacket and silver mane of Black Jack, the mercenary surgeon. A semi-naked man grapples in a pseudo-sexual way with a priest, in an overt reminder that Tezuka’s work was not just cutesy stuff for kids, far from it; he was willing to engage with taboo subjects, like sexuality, in ways that are decidedly more Robert Crumb than Walt Disney.

There are echoes of Cherkaoui’s earlier work, Sutra, in the piece too, both in the figure of the fanboy, the cultural outsider looking in, and in the figure of director – or the artist in this case – actively controlling the performers’ movements from the side-lines: at one point a piece of paper becomes like a voodoo doll, with a dancer flapping and folding as the paper is wafted in the air beside him. Two of the Shaolin Monks from Sutra also reappear and engage in a striking martial arts sequence as a series of cartoon ‘pows’ fly across the screen behind them, eventually merging like microbes to form a placid, floating Buddha.

The piece at times gets mired in the need to explain itself; there are long spoken sequences in French with the surtitles awkwardly placed on monitors at the sides of the room. The audience ends up being tugged three ways – in the act of reading, listening and watching – and this proves frustrating after a while. Some of what we’re told, about bacterial communication, ‘quorom sensing’ and Japan’s capacity for renewal after nuclear and natural disaster, is fascinating, but there’s too much of it. Even if the piece eventually archly acknowledges this excess of exposition, it still doesn’t quite excuse it.

There is also a sense of the material being over-stretched; the majority of the memorable images come in the tauter first half. The pictographic roots of Japanese kanji and their natural evolution into manga are fluidly evoked: lines, becoming words becoming whole worlds. Calligraphy is a recurring theme, ink on white paper, the elegance and precision each brush stroke; yet by the end. the performers’ limbs are smeared with ink and the delicate scrolls have become roads on which to walk. The philosophy of Buddhism which permeated Tezuka’s work – the connectedness of all living things - is also explored through Cherkaoui’s choreography.

It’s the interlacing of animation with live performance that leaves the deepest impression. Witty, playful and impeccably timed, these sequences are the things the audience are most likely to remember. But as it stretches onwards the piece loses this playful quality and becomes more sombre in tone as columns of ink are shown collapsing in the wake of a great wave.

Reviewed for Exeunt

truth and reconciliation at the royal court

The floor is blanketed in black. This fine covering, like volcanic sand, scorched earth, becomes increasingly mottled as it is disturbed by pacing feet, the white wood underneath shows through as the earth is churned.

The new play by debbie tucker green interlaces stories from some of the most brutal conflicts of recent years. These stories are set not during the conflicts themselves but in the aftermath, years blurred by uncertainty and unanswered questions. The play explores the search for resolution and the agony of not knowing what happened to your wife, your husband, your child: the absence of an ending, any ending.

Designer Lisa Marie Hall has laid out the space like a courtroom, with the audience circled around the edges on hard, wooden seats onto which names have been scratched, marks made. Dates and locations have also been etched in the wood of the walls, like make-shift tombstones. The play begins with a scene from South Africa’s Truth and Reconciliation Commission. A family are made to wait – more waiting to add to all the years they’ve already waited. The mother refuses to sit; she will remain standing until she is acknowledged, until she is given something tangible.

The South African strand bookends the play but green also visits Zimbabwe Rwanda, Northern Ireland and Bosnia; the characters are, for the most part, nameless while the language is economical, elliptical, to the point of being repetitious. A recurring motif sees people discussing where to sit, when to sit, picking over the little details as their loss floods into the spaces between, in acknowledgement of the fact that there is only so much words can achieve.

The stories echo one another, emotional tension co-existing with the mundane. This repetition, this constant circling, is – by necessity – at times frustrating: the play is constantly shifting, pulling back, holding back, disinclined to settle. Yet occasionally it sharpens its focus, and everything becomes tauter, clearer. The South African mother, powerfully played by Pamela Nomvete, articulates the pain of waiting for so many long years to end up here, facing an empty chair. A volatile Northern Irish woman bristles at having to defend the actions of her son. A dead Rwandan man confronts the man who killed him, left his wife a widow, forces him to remember.

The images that persist are those of doggedness and determination in the face of silence, the need to keep going even if to find the truth – or a version of it – will mean encountering fresh pain. Two Serbian men appear to barter over who will admit to a war crime, as if the thing that matters most is that someone – anyone – accepts blame, someone holds up their hands (which felt particularly pertinent with Mladic and Hadzic now awaiting trial in The Hague).

Some of the threads are more developed than others, but this helps establish the universal nature of the situation in which these characters find themselves: one story blends into the next, and while some come close to resolution, others are left hanging, incomplete. Throughout the play, the spare language pulses and flutters, with a kind of insectile delicacy, but when it hits, it hits hard.

Reviewed for Exeunt

Edinburgh: The Adventures of Wound Man and Shirley at the Pleasance Courtyard

Chris Goode’s solo show takes a familiar shape. It’s a comforting, coming-of-age narrative in which a young boy meets an outsider who helps him find his way in the world; it’s Stig of the Dump with jokes about Radiohead; it’s just lovely on very many levels.

Fourteen year old Shirley carries around a lot of baggage. For one thing, his parents’ have seen fit to give him a girl’s name – that doesn’t help; he’s besotted with the captain of his school’s cross-country running team, the stick-on plastic stars on his bedroom ceiling have never deigned to glow in the dark, and then there’s the case he keeps under his bed: a boxed promise, dwindling despite his best efforts to look after it, to keep it safe.

Things begin to look up for Shirley when he meets Wound Man, a ‘freelance social interventionist’ or, to put it more succinctly, a super hero. Wound Man is a walking version of one of those medical illustrations from the Middle Ages showing the various damages a body can receive in battle. Weaponry of all forms sprouts from his limbs: spears, maces, arrowheads, clubs; one hand dangles by a sinewy thread and he has a tendency to clank when he walks. He’s a human Swiss army knife in snazzy silver pants. His pain is external, overt, and people find they start to feel better merely by being in his presence.

Wound Man shows Shirley how to be brave, to grow, to cope with his grief and his sexuality but also to be open to the possibility of happiness and love in his life. It is an incredibly warm piece of storytelling, gentle in delivery, and surprisingly funny in places.

This is a smaller scale version of a show originally commissioned for the 2009 Queer Up North festival. The animation sequences described in previous outings are absent but the simple set still evokes the world of an adolescent boy via an apt fanning of X-Men comics, a Rubik’s cube, a handful of Asimov novels and some discarded socks.

Goode delivers the piece in true Jackanory fashion. He deepens his voice slightly when delivering Wound Man’s lines, but otherwise he tells his audience who said what rather than acting out the narrative. He’s an affable and engaging performer who manages to convey the story’s emotional shifts in an elegant, economical way, so that when he does let loose, when his delivery quickens, the audience are picked up and swept along with him. A central fantasy sequence which tells of a vast menagerie spilling through suburban streets is a prime an example of this. Goode becomes more excitable as the music picks up and the descriptions of the animals become sillier and surreal.

The piece, as a whole, is incredibly disarming and the manner of delivery is at times deceptive. Goode doesn’t appear to be doing all that much and yet the story exerts a considerable emotional hold: as a piece of writing it’s full of subtlety and unforced pathos, never straying into overt sentiment; as a piece of theatre, it’s also very effective, the kind of thing that makes people who don’t know each other exchange little smiles of wet-eyed delight as they collect their bags and jackets at the end.

Reviewed for Exeunt

Edinburgh: Opposition at Zoo Southside

“Are you happy being Ed Milliband?” This is not a question with which I ever anticipated having to grapple; fortunately the process of ‘being Ed Milliband’, for the purposes of this show by the spoken word artist Hannah Silva, involved nothing more traumatic than the wearing of a name badge and the reading of a slogan at a chosen moment.

Silva’s ‘Little Political Speech Opera’ takes the form of a collage, a collection of slogans, stock phrases and spin. Through a process of cutting and splicing, looping and repetition, any residual meaning these words may have held soon seeps away, creating a semantic vacuum where everything is better, bigger, and bolder.

Silva, grey-suited and neck-tied, is already spouting words as we sit, a steady drip-drip of sound delivered with a forced smile: “spend, borrow, spend, borrow, tax, tax.” This act of deconstruction and morpheme-extraction ends up creating a Dadaist stream of banalities and absurdities – something akin to verbal bird-song – which Silva then takes one step further via the use of a loop pedal. Through a process of sonic layering, this lexical minestrone forms a backdrop over which she then recites poetry or plays the flute.

The piece fuses the words of Thatcher, Obama, Reagan, Churchill and Cameron with a dash of the BBC weather report. Any distinction between them, any dividing line, is soon blotted and lost. At one point she leads her audience in an extended episode of call-and-response. We bat slogans back and forth, again and again, until they are just noise, a vapida cappella chorus.

It’s all part of an increasingly dense thicket of words in which it seems that the more people speak, the less they have to say: the chirp and babble of Twitter, with its constant prompt of: ‘what’s happening?; the streaming of status updates; the stern remonstrations of the Sat-Nav: “U-turn, you-turn”. Silva’s not the first to pick and chip at political speechifying, the hollowness of spin, but rarely has it been done with such vigour. Her performance is also physically intricate: she jerks and twitches, grins and grimaces; at times it’s like watching a kind of Tourettian body-popper at work.

Though there’s a – perhaps inevitable, given the nature of the piece – slack patch in the middle of things, Silva succeeds in both creating an inventive and arresting piece of performance and in making the audience actively think about language, its uses and misuses, the potency of words.

Reviewed for Exeunt

Edinburgh: Watch Me Fall at Summerhall

Chuck Yeager, the test pilot and American aviation legend who first broke the sound barrier, is encapsulated in the final pages of Tom Wolfe’s The Right Stuff as a flaming figure dropping from the sky, a human comet with a tail of silk, suckered by gravity. Ejected from a jet travelling at twice the speed of sound, his parachute became entangled in his ejector seat and his face started to melt as he fell. Wolfe’s ‘master of the sky’ had been brought down to earth, but he survived to fly again and one of the book’s abiding images is of this molten man striding across the sand, unvanquished.

Men like Yeager, and daredevil stuntman Evel Knieval, provide the inspiration behind Action Hero’s Watch Me Fall. The company are interested in what it is to strive, to rise, to fail, to fall; to launch oneself into the unknown, come through the other side, broken, bloody, scarred, and then do it all over again. A black track has been etched in the floor of the Summerhall Dissecting Room and on this track James Stenhouse and Gemma Paintin prepare to recreate Knievel’s Caesar Palace fountain jump with just a child’s bike, a crash helmet and a plentiful supply of Coca-Cola. The stunt itself is almost an afterthought; the piece exists in the hype, the build, the whoop and roar of the crowd. She wears a star-spangled dress, he’s clad in a red T-shirt and jeans; together they work the audience, charging them up, stoking the sense of anticipation, that we are about to witness An Event.

A number of audience members have already been given disposable cameras by this point, with which to record proceedings and the room is filled with the intermittent click and flare of their bulbs, paparazzi starbursts, pin-pricks of white light. Stenhouse begins by setting his helmet on fire before batting the air with his hands to whip up the crowd. He holds aloft two bottles of Coca-Cola, like plastic trophies, or a pair of liquid dumbbells, his arm muscles taught in a show of strength. He then proceeds to pour the contents down Paintin’s throat, the wet stuff spilling down her front, staining her dress, gagging her, stinging her eyes. It rapidly ceases to be funny, becomes sickly and unsettling, a reminder that where there is an almost foolhardy level of courage and bravado there is also often a corresponding selfishness and disregard; in this way the piece chimes with that other memorable scene from Wolfe’s book, the opening tableau of waiting wives, flinching at every phone-call, every knock at the door; these are the women left to lip-bite on the sidelines as their husbands hurl themselves into the sky, again and again and again.

It’s this impulse, this compulsion, to keep taking leaps that Action Hero is exploring. That and the messy edges of spectacle, the hollow echo beneath the buzz of the crowd; if the whole thing fizzles slightly before its 50 minutes is up, it’s kind of apt.

Finally Stenhouse takes up his tiny bike and rides, hits the ramp, tips, tumbles, sprawls. It’s abrupt, clumsy: over. And while he doesn’t soar, nor does he melt.

Reviewed for Exeunt

Edinburgh: Skittles at the Pleasance Courtyard

Richard Marsh’s solo show is a very funny falling-in-and-out-of-love-story that’s more sweet than it is bitter, though it’s a fair bit of both. Marsh tells the story of ‘Richard’, a man who looks a lot like him, and who falls hopelessly in love and want and need with a girl called Siobhan, who has the two vital attributes he looks for in a woman, being someone who is both beautiful and who also finds him funny.

The piece charts the path of their relationship; they begin by sharing first Silk Cuts then Skittles on the chilly steps outside the office where they both work. Eventually he builds up the confidence to make a move and very soon they are moving in together, camping out on the floor of a cramped unfurnished flat. They dash towards marriage with almost unseemly haste and all too quickly find themselves in the midst of a cinematic American honeymoon, facing the open road together with a second-hand car rainbow-armoured with the titular sweet. But as they light out for the Grand Canyon, Thelma-and-Louising across vast American plains, reality intrudes on their Hollywood moment.

It turns out the US is a pretty big place and that long hours in a hot car will test any relationship, especially one where the couple have yet to fully discover each other’s faults and kinks and tickles. No vibrating roadside motel bed can halt the fall. The way Marsh evokes the gradual erosion of their bliss is deftly handled, the subtle shifts, the slow hardening. The piece becomes a break up story, a verbal essay in the unfolding of hope. Love does not find a way, it ebbs away, evaporates into the hot desert night.

Marsh’s story is told in a poetic stream, his rhymes are rapid and punchy though often economical; he doesn’t luxuriate in lexical possibility, rather the rhythm is the thing, the zing of the delivery, the ding-ding-ding that drives the piece along. The writing is witty – you find yourself laughing both at and with ‘Richard’ – but it’s also often touching and raw, increasingly so as the piece progresses and the Skittles start to moulder and rot.

The ending is an exercise in understated poignancy, a gentle act of looking forward and an acknowledgement that most hurt fades with time. Marsh is a genial performer, comfortable with an audience and confident in his delivery, but the writing is at times lacking in textural variety, the quick, snippy rhythm could stand to be broken up. But his grasp of narrative compensates for this, the story holds tightly onto its audience at the end. And there are free sweets. Free sweets salve all.

Reviewed for Exeunt

Edinburgh: The Wind-Up Bird Chronicle

In Haruki Murikami’s fiction a sense of menace often pervades the mundane and the most familiar things have the capacity to disturb and unsettle, to scratch like a cat. In The Wind-Up Bird Chronicle, Toru Okada is searching. Both his wife and his moggy have vanished from his life; his days are spent hazily, folding laundry in his flat, waiting.

Many of Murikami’s novels contain a detective element, a puzzle to be solved. But just as in the work of Raymond Chandler, the thing being searched for is often secondary, and the process of investigation and exploration takes precedence. Toru is a reluctant protagonist in the classic Chandleresque tradition, stumbling through his own story, encountering sinister figures and truanting schoolgirls, malevolent dream police, half-seen shadows, and a trace of the woman he thought his wife was.

Film producer Stephen Earnhart’s adaptation has taken seven years to bring to the stage; he even spent time living in Japan, but still it struggles – perhaps unavoidably – to condense this hefty, 600+ page novel, to evoke its many layers. The production is foggy and tangled with an episodic choppiness, and it feels too obviously like a thing abridged, reduced. That is not to say it is without beauty or power but the piece is permeated by a sense of disconnect. In some ways this is fitting – syncing with the often dream-like, distant quality of the novel – but it’s too pervasive; the constant shifting in tone becomes tiring and the technical elements of the production never seem entirely integrated.

Performed both in English and Japanese, with surtitles on screens at the side of the stage, this should be the very essence of this year’s EIF, an exercise in cross-cultural conversation and exploration, and yet it contrives to strand itself in between two worlds. The production at times feels like a grab-bag of Japanese cultural markers – bunraku puppetry, butoh-inspired modes of movement, shrill, garish television shows in which people are humiliated, an unsubtle nod to the Ringu films – everything heaped in together.

The tentative friendship between Toru and May Kasahara, the smart schoolgirl with a sly, witty tongue, suffers most. In Earnhart’s version she is brattish and stroppy and it’s hard to fathom why James Yaegashi’s amiable Toru puts up with her. There’s no obligation for a stage adaptation to be slavish to its source, but this curtailed version of the text doesn’t fully satisfy on theatrical terms either. There are individual moments that dazzle, flashes of Lynchian nightmare and unexpected sparks of comedy, but they stand apart from one another. Despite the stacking of scenes, signs, silhouettes, the piece as a whole is often lacking in atmosphere; all the technical elements are in place, but everything remains rather flat and I was left wondering what you’d make of it if you had no prior knowledge of the novel.

The one aspect of the production that does penetrate, that does pierce, is the music, performed live by Bora Yoon in a striking black-feathered headdress. She creates a hypnotic soundscape, all lapping waves and metallic clangs, the filigree drip of water being poured into a bowl, and it is this music that provides the pulse that rest of the production so often sadly lacks.

Reviewed for Exeunt

Edinburgh: Whistle at Zoo

This solo show by poet Martin Figura is astonishing. It’s astonishing not because of its staging, which is very still and simple, but by virtue of the story Figura tells – when he was just nine years old, his father killed his mother – and the way he chooses to tell it.

Whistle is a collection of poems, performed in a matter-of-fact style, about Figura’s family and childhood. This awful shadow of his mother’s death is the heart of the piece and yet at the same time it is part of a broader story. Figura’s father came from Silesia to the UK following the Second World War, having served for a short time in the German army. In this country he met and married Figura’s mother, young and besotted, always immaculately dresses, a wearer of white gloves. They were happy for some time but his father became increasingly ill and paranoid, suspicious of everything and everyone.

The piece is full of details, picked out by a poet’s eye: the marble-barrelled pens bought to fill school pencil-cases, the Cliff Richard quiffs of his boyhood, the smell of pickled cabbage and Polish sausage, the women in black who flocked round him like birds on a visit to his father’s homeland. The writing also marks itself out by the things omitted. Figura steers purposefully away from extremes of emotion; he shares his story but leaves things unsaid, untold. The poems are left to do their work, a boy’s world vanishes. We glimpse Figura and his sister floating ‘equidistant, not just from the walls, but the floor and ceiling too’, orbited by relatives and the inevitable priest. We glimpse a car pulling, peeling away from the pavement, a childhood being left behind.

An old Box Brownie camera sits on a table one side of the stage and a series of still images are projected on the other: toothy, gleaming family photographs, a Man from UNCLE membership card and, of course, the newspaper headlines, his father’s face stark in black and white. All that is left of the smiling time is celluloid, sepia, coiled in a film canister: the fireplace his father built, the easy chair, a gloved hand on a shoulder.

Figura would later be abandoned once more by relatives and brought up within the care system. But this is not a piece about blame, nor is it one conceived in anger – though there are inevitable traces of pain. It’s an elegant account of a family’s history, the stories behind the snapshots, the shadows that shape a life, painted in words and frozen images, memory given voice.

Reviewed for Exeunt

Edinburgh: Translunar Paradise at the Pleasance Dome

Theatre Ad Infinitum’s incredibly touching piece of mime theatre is an exercise in delicacy. It wordlessly journeys through the lives of two people, through all the stages of their marriage, from young love to loss in old age.

The piece is beautifully executed, full of precise and well-judged visual detail. There’s elegance in the piece’s economy, in the way it uses gesture and repeated motifs to convey the story of a whole life lived. The performers hold masks to their faces when playing the older versions of their characters; they waltz with these masks, putting them on and removing them again, as if in a tangle of memories, the past bleeding into the present – the poignancy of one man looking back.

The wordless nature of the piece means that only extremes of emotion are easily conveyed, the highs and the lows, while the muddy middle ground of marriage tends to get ignored. Instead they present a collage of moments of great joy mixed with moments of anguish and trauma: the loss of a child, the departure of the husband to war. The performances are wonderful to watch, full of subtly and warmth. George Mann (who also directs) and Deborah Pugh are both superb, both in the precise, slightly stylised nature of their movements and in the way they convey real affection and connection between the couple. The look of the piece, with the masks and the minimal colour palette, is one of European animation – it has a stop motion quality. Kim Heron’s music, making uses of both vocals and accordion, give the play its pulse, a drifting, time shifting grace.

The production is at times a little too obvious, tugging on the heart-strings with more force than is perhaps necessary, but it’s also full of genuinely moving moments: the old man frozen in mourning, facing life alone after all these years. The production has an elegant, dream-like quality that is almost hypnotic; the repetitions of the piece, the recurring steps, become soothing, familiar – it’s as if you are entering a half-way world where this couple are forever engaged in the act of parting. Needless to say there was quite a lot of quiet sobbing in the audience by the time the piece came to an end.

Reviewed for Exeunt

Edinburgh: 2401 Objects at the Pleasance Courtyard

Analogue’s latest production invites its audience to think about memory, about how and what we remember, the complex process of sifting and retrieval that takes places, and what happens when the brain fails to function as it should. 2401 Objects tells the story of Patient HM, one of the most famous case studies in neurology. HM’s brain has been sliced ad preserved for research purposes; it survives as a series of slices and has furthered the understanding of the relationship between the physical structure of the brain and the way we store memories.

Just as Rebecca Skloot’s recent book, The Immortal Life of Henrietta Lacks, told the human story behind the HeLa cell line, Analogue tell the story of Henry Molaison, a young American man whose epilepsy led him to undergo experimental brain surgery. The production begins with the recorded voice of Dr Jacopo Annese, a neuroscientist at the Brain Observatory. Following this brief introduction, we are introduced to two Molaisons. Firstly we see him as an old man, institutionalised, capable of completing crosswords, but completely unable to recall a conversation he had five minutes earlier; later we see him as a younger man, shyly engaging in conversation with his neighbour’s daughter.

The young Molaison suffered from several severe seizures a day and his debilitating epilepsy prevented him from holding down a job or moving out of the family home. In 1953 he underwent radical brain surgery, with an ambitious surgeon removing his hippocampi (which are strikingly described as resembling two sea horses). While the surgery did succeed in ridding him of his epilepsy, it also prevented him from forming new memories – and though it didn’t affect his procedural memory, it meant he was essentially trapped in the past. The reality of his situation is poignantly evoked through scenes in which the elderly Molaison, engagingly played by Pieter Lawman, interacts with his patient young nurse. He repeatedly recalls an event from his youth and she listens, each time responding as if hearing it afresh. Molaison does not think of himself as old, and is baffled by his reflection; he also has no recollection of his mother’s death and each time he realises his loss, he is distressed.

Analogue’s use of multimedia techniques, merging video and live performance, is more successful here than in their previous show, Beachy Head. Images are projected on a raised transparent screen and the cast are able to stand both behind and in front of these projections; there is also a fabric strip at the bottom of this screen, under which the performers frequently duck and tumble, vanishing into the black. The piece is nicely played, particularly by Lawman but also by Sebastien Lawson as both Dr Annese and the young Henry, and Melody Grove as both Molaison’s nurse and mother. While it ends a little abruptly, the production succeeds in making its audience pause to consider their internal workings, the mechanics of memory, and to appreciate Molaison’s unique contribution to medical research.

Reviewed for Exeunt

Edinburgh: Kalagora at Zoo Roxy

Kalagora is a hymn to cities, to their richness, their colour, their noise, sprawl and energy, and to the process of cultural merging, mixing and melting that categorises the urban experience.

Poet Siddhartha Bose has lived in three of the biggest, most distinctive cities in the world. Born in Mumbai, he spent several years in New York before moving to London. His show is a jazz-inflected poetic monologue exploring this journey, his words fused with music and images. In the city of that size you can lose yourself, find yourself, be someone else if you so wish. Bose’s show captures that heady urban experience, the taxi drivers and the rough sleepers, the shifting skies and the glitter of glass.

Kalagora is a Hindi word meaning black man/white man and Bose (or, at least, his onstage persona) explores how his urban existence has shaped him, how his identity is defined as much by the places in which he’s lived as by his race or religion. His story takes in charged encounters with airport officials, a boisterous millennium eve party in Manhattan, and what it means to be an illegal immigrant, paperless and under suspicion.

The audio-visual elements of the production enrich what could otherwise be a static experience. Pankaj Awasthi’s music is paired with filmed images of all three metropolises, a striking string of faces and places, the cinema of the city life, the traffic, the neon, the hum. Nor is Bose a stiff, still performer, a reciter, instead he makes the words come alive. His voice is resonant and versatile, switching between accents with ease; he’s also an engaging performer, confident and capable of conveying subtle shifts in emotion.

He has also published a book of poems on the same theme under the same title but this is not a straight-forward reading of those lines. Thought has been given to bringing out the theatrical aspect of the material, to make it work in a performance context: as Bose describes the chaos and clamour of Bombay, he draws a circle in vermilion sand on the floor; later, having landed in Manhattan, he inks a similar circle around his eye. Striking as the language often is there is a sense that still more could be done with this material, to lift and link these words, to sync the visual with the verbal, to condense the modern megapolis into a black box.

Reviewed for Exeunt

Edinburgh: Mission Drift at the Traverse

This is the fourth time that TEAM (the Theatre of the Emerging American Moment) have appeared on the Fringe. Their last show, Architecting, was a gloriously layered piece of theatre which stretched in many directions; ostensibly about the process of social repair following Hurricane Katrina, it used Margaret Mitchell’s Gone with the Wind as a window through which to explore American identity in the south, post-Civil War reconstruction and the emotional significance people attached to the built world.

This new piece sees them switch their gaze to the American west. Inspired by the story of Catalina and Joris Rapalje, a pair of Dutch teenage newly-weds who travelled on one of the first ship to take workers to what was then New Netherland. The real Joris became a successful Brooklyn magistrate and the father of eleven children; their descendants are now estimated at around a million and they have been labelled the Dutch American Adam and Eve – which is apt as here they become characters in a myth of origins, the parents of American capitalism. In TEAM’s version of their story the couple head out west, occasionally changing their names, but never aging, remaining eternal teenagers. Finally they end up in the desert, in the arid outlands of America, where they help raise a city from the sand.

The epic sweep of the piece is counter-balanced with a more intimate narrative. Joan is a cocktail waitress whose family have lived in Vegas for three generations. She loves the city; she is tied to it materially and emotionally and volunteers at the Neon Boneyard, the place where old Vegas signs are taken when they are no longer needed, a three acre collection of dead bulbs: ten-foot lettering, garish wedding chapel signage and a Cinderella slipper the size of a small house. But things are changing. The city, this “desert experiment” was, until recently, the fastest growing in the US, but this growth has tailed off in the current economic climate and Joan has just been laid off. She needs to get to grips with this new Vegas, toxic city, a place she wants to “kill in the face”; she needs to confront Catalina and Joris and make them face up to what they have made.

Music forms a huge part of the piece. Heather Christian’s Miss Atomic acts, as compere and narrator; she has an astonishingly rich voice, sometimes throaty and Joplin-esque, sometimes honey-coated and heavenly. Her songs drive the production; they stud it like mushroom clouds: “We’ll make millions here,” she drawls. Nick Vaughan’s scrappy set is a Douglas Coupland-esque landscape of lawn chairs, cocktails, fairy lights, tinsel-fringed trees and atomic glare – all that’s missing is the drained swimming pool. The band sits at the back of the stage besides Christian’s white baby grand.

The TEAM did on-the-ground research in Las Vegas and their collaborative process involved “bartering and argument”. The resulting production is tangled and thick with Vegas lore: Elvis, Frank, Sammy and The Sands (though there are some odd omissions; the Mafia don’t rate a mention). It’s more than a little chaotic in places, hyperactive and fidgety, but always compelling. At two hours without a break this is a long ride, but it’s one worth taking.

Reviewed for Exeunt

A Woman Killed With Kindness at the National Theatre

Two households. Two women. Katie Mitchell’s new production of Thomas Heywood’s 1603 play splits the stage down the middle: on one side, there is an ancient family manor house and, on the other, an elegant early twentieth century home. This division allows for a process of mirroring, for moments of both harmony and discordance between the play’s two plot strands.

Heywood’s play begins on a joyous note, on the day of the wedding of John Frankford. But the celebratory spirit of these opening moments is soon diluted when his wife Anne embarks on an affair with Wendoll, a friend of her husband who has been invited to stay at their home and treat it - and its contents - as his own. The idea of women as property is made explicit in the secondary but more potent account of Sir Charles, the wealthy landowner imprisoned for his shooting a servant, who in order to free himself from mounting debts, offers up his sister, Susan, to a man she can’t abide.

Mitchell’s production continually contrasts these two women and their predicaments. The events have been transplanted from the early seventeenth century to 1919, in the immediate aftermath of the First World War, when social structures were shifting. The Representation of the People Act had recently granted women over 30 the right to vote, but both of these women remain trapped by entrenched social codes, the need for female purity most pressing among them. Whiteness. The wedding gown takes on a toxic symbolism as Susan stands shrouded in lace awaiting the man Charles would have her give herself to and, on the night of her wedding, Anne’s white nightdress is tainted by her own blood, so it seems apt that, later, when her husband interrupts her in bed with Wendoll, she emerges from the room clad in turquoise silk. Heywood’s play offers little in the way of insight into why Anne gives herself so quickly to Wendoll but the walls of the Frankford home are pointedly hung with butterflies under glass. On the other side of the divide, the walls of the Mountford home are methodically stripped of their finery, of the oil paintings and the chandeliers, as their once grand family seat becomes little more than a decaying, chilly prison.

The stage space is actually split into four rather than two since both sides of Lizzie Clachan and Vicki Mortimer’s set are spread across two levels, each connected by a staircase, while Mitchell’s production plays with the vertical as much as the horizontal. Servants are forever flurrying up and down the stairs or gently ascending to the bedrooms above; in one striking moment, Susan, amid a blizzard of activity, walks slowly backwards up the stairs as if tugged by a cord. Visual paralleling also occurs between the upstairs and downstairs worlds: when Anne is in labour both Frankford and Wendoll rattle back and forth across the stage like fingers being impatiently run up and down the keys of a piano.

For all this visual intricacy, Mitchell sometimes seems to be sparring with Heywood’s play rather than dancing with it; a constant process of negotiation with the text seems to be at work. There’s wit here - when Frankford faces his wife over card table and they debate whether to play Hearts and Cheat – but the play is often merely functional, shoving its characters from point A to point B without giving much thought to the journey. It’s full of emotional lurches and leaps in plausibility and neither play nor production ever fully gets under Anne’s skin as a character, neither makes the audience grasp quite why this woman is so quick to hop into bed with Wendoll (Mitchell suggests that sex with Frankford is a brusque, abrupt affair but this feels like a tacked on explanation).

The production is better at painting the fall-out of Anne’s adultery, the pain Frankford inflicts through his stoic determination to drive his wife from her home and her children and the awful punishment she inflicts on them both as a result. There’s a continuing resonance to Anne’s decision to starve herself; a woman of appetite remains a suspect figure and self-denial is a kind of power, a means of taking control. Yet at times the production seems to be pushing too hard to make its point: the final hospital scene – which finally unites the two women’s stories – is as clinical as the space in which it is set, and an earlier scene in which Susan clutches a noose and contemplates escape, are blunt in execution and out of step with the production’s particular rhythms.

Of the performances, Paul Ready’s decent, bemused and ultimately shattered Frankford stands out, as does Sandy McDade, a still, drifting presence as Susan. But this is very much an ensemble piece, elegantly and intricately choreographed. Mitchell seems particularly interested in the relationship between servant and master, the bonds of dependence and affection, and there are always large numbers of bodies on stage, clearing dishes, serving drinks. Gawn Grainger’s turn as Frankford’s paternal, no-nonsense butler, Nicholas, provides a necessary note of warmth.

Amid the near-constant motion and the dramatic use of the domestic interior it’s the moments of connection that mark themselves out. The most memorable image, the one you are left with long after, is of these two women on either side of the wall picking out notes on the piano, briefly connecting with one another, before life spirals away from them.

Reviewed for Exeunt

Rattigan's Nijinsky at Chichester Festival Theatre

There’s a process of weaving at work here. Nicholas Wright’s new play is inspired by a never-produced Terence Rattigan screenplay about the life – and loves – of Vaslav Nijinsky. Wright takes this unfilmed script – written in 1974 for the BBC but withdrawn by the playwright – and threads it with scenes from the Rattigan’s own life.

As the ageing playwright self-medicates in his suite at Claridge’s and considers his creative legacy, episodes from the Njinsky script invade his room. At one point the suite becomes a ballet class, flooded by young boys in white, while later on performers from the Ballet Russes glide and leap behind him. Reclining on his sofa while elegantly clutching a Sobranie, Rattigan also has a number of earnest, soul-searching conversations with Diaghilev in which the Russian impresario advises him on matters of the heart.

Rattigan’s screenplay explores the intense relationship between Diaghilev and Nijinsky without tiptoeing around their sexuality. But he seems most concerned with what prompts the enigmatic young dancer’s sudden marriage to Romola, a determined admirer with whom he didn’t even share a common langue, and the impact this has both on his relationship with Diaghilev and eventually on his own sanity. Though it’s not always clear how much of the play has come from Wright and how much from Rattigan, it’s not always easy to see where that line falls, the screenplay seems more caught up in Romola’s evolution as a woman than with Nijinsky himself, who remains an unknowable, tortured figure throughout.

Fittingly it is Romola, now old, who halts the production of the film by threatening to expose Rattigan’s ‘bestial’ urges. Perturbed by the rise of a new wave of playwrights who “couldn’t write bum on a wall”, Rattigan is already concerned with the way in which his work will be remembered, and he worries about being tagged as queer, of his work being labelled and boxed, its impact narrowed.

This encounter is one of the more gripping in what is a rather bitty production. Wright’s dialogue is too often weighted with exposition and some of the lines he puts in the playwright’s mouth feel cribbed from research notes, such as when Rattigan argues that he could and did write women as women, not just men masquerading as women.

Malcolm Sinclair gives a warm and understated performance as Rattigan. The production often requires him to be a passive figure, to silently watch on as things unfold in front of him, but he always gives the impression he is contemplating his situation. He is active in his stillness. This is in marked contrast to some of the other performances; there is little shading in Jonathan Hyde’s flamboyant Diaghilev, with his Pepé Le Pew hair-do; Hyde is however much more convincing in his brief turn as a big-shot television producer.

This use of doubling enhances the dreamlike quality of the production. Rattigan, already stricken with the cancer that would kill him, frequently swigs from a medicine bottle or tops up his glass with J&B. The play seems intended to have the texture of memory and Philip Franks’ production is able to evoke the sense of a man nearing the end of his life and still wrestling with who he is and how he wants to be remembered.

But some unhappy compromises seem to have been reached in translating material intended for the screen to the stage; the play has a choppy quality and the dialogue is often functional. While the curiosity value of the piece is clear and one can see what excited Wright about it, he never really makes it feel like a great loss that the screenplay was shelved. Franks’ production also seems to neglect the visual potential of the script; Nijinsky’s creative daring is discussed without being shown and the play’s relationship with dance is somewhat half-hearted throughout. There’s a leap here, a turn here but no one really moves like a dancer

The exception to this is the scene where Romola and Nijinsky first glimpse each other. She is wearing a tuxedo, as she has been informed that this will appeal to him (It does, but not in the obvious way; he believes that art has no gender). With no common tongue, they attempt to speak, first in Russian, then Hungarian and then in halting French, before doing away with words altogether and allowing their bodies to move together, to connect through dance.

Reviewed for Exeunt

Interview: Frisky and Mannish

Last week, after their last performance at the Udderbelly - the big purple cow on the South Bank - I had the pleasure of speaking to Laura Corcoran and Matthew Jones about intimate venues vs. larger spaces, the shortcomings of Edinburgh dressing room facilities and the demands of staging their biggest show to date on this year's Fringe.You can read the full interview on Exeunt

Eden End at Richmond Theatre

It may be less structurally playful than some of his other plays but J.B Priestley’s Eden End is still very much concerned with time, its passing and the things it wrings from people over the years.

When prodigal daughter Stella Kirby returns to the family home after an absence of eight years, she finds that may things have altered since she left: her mother has passed away, her father’s health is failing, her sister has hardened with the strain while her younger brother, still a boy when she set out, has simply grown up. Stella left the nest to pursue a career on the stage but the world of the Edwardian theatre has not been kind to her; despite travelling widely, she has never achieved fame, just drifted from one draughty dressing room to the next.

Perhaps because it is more straightforwardly constructed than some of his other work, Eden End has been comparatively neglected. Written in 1934, in the turbulent period between the wars, the play is set in 1912 and duly loaded with ironic foreshadowing. There are recurring conversations about their hopes for the future; more than once characters pass comment on how four years down the line  life will surely be looking up for everyone.

Stella does not anticipate how disruptive her return will be for her family, particularly for her sister, Lilian who feels angry that she has been obliged to stay behind and take care of things while Stella has been out in the world. This idea, of roads not taken, runs through the play; the girls’ softly spoken father, a rural GP, speaks of his regret at not having taken his chances in London when a younger man and Lillian’s conception of herself is shaped by the things she hasn’t done, even if there’s a sense that she has come to cling to the role of the devoted, stay-at-home daughter, that she alone has held herself back. In places the tone, it has been pointed out, is decidedly Chekhovian: this family in their rain-lashed out-of-the-way abode dreaming of what might have been.

Lilian’s bitterness becomes increasingly venomous when the dashing local farmer - for whom she has held a candle for years - finds his dormant feelings for Stella reignited by her return. Lilian retaliates by looking up Stella’s estranged husband Charles and inviting him to stay. Priestley’s characterisation of this caddish interloper, however, is surprisingly affectionate; in fact the playwright’s sympathies seem very much skewed towards the two actors and their itinerant tempest-tossed existence, with the result that Lilian comes off as chilly and malicious in comparison.

Charlotte Emmerson’s delicate yet worldly performance as Stella is the highlight of Laurie Sansom’s slow-burner of a production though Nick Hendrix makes an endearing stage debut as baby brother, Wilfred; home on leave from his job in Nigeria, he seems to have regressed to adolescence, pouting sulkily at the maid and dashing around the stage with boyish energy before getting spectacularly squiffy with Charles in a somewhat over-extended scene of drunkenness.

While Sansom successfully conjures an air of poignancy and wistfulness, a world and a way of life about to be obliterated, he seems to wish the play were a little more formally experimental than it actually is. Some of the directorial choices are jarring: a music hall interlude feels like too aggressive an insert, puncturing the atmosphere of the piece, and the decision to place the set on a raised stage upon the stage itself seems only to constrict the performers’ negotiation of the space. Other aspects of Sara Perks’s design are more successful and her backdrop of light bulbs and glistening strings is appropriately reminiscent of both a theatre curtain and the trickle of raindrops on a window pane.

Reviewed for Exeunt

Interview: Lou Ramsden

"I like going to the theatre and feeling my heart beat."

Last week I spoke to Lou Ramsden about her new play Hundreds and Thousands which opened yesterday at Soho Theatre. You can read the full interview on Exeunt