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Posts Tagged ‘Indhu Rubasingham’

This highly original play by American Antoinette Nwandu packs one hell of a punch and gets a thrilling production by Indhu Rubasingham, with a trio of fine performances.

Moses and Kitch live on the streets of an American city. They are bound together by games and rituals that keep them occupied, and sane. They often reference slavery and sometimes god. They have a private language, more personal than street talk, constantly referring to each other using the ‘n’ word. It’s sometimes impenetrable and often uncomfortable, but adds a visceral quality. They live in fear of the police.

They first encounter a naive young man on the way to see his mom, with a picnic, who seems to have lost his way. Though initially reluctant, they take up his offer to eat and drink, suspicious but grateful. Moses is more cautious than Kitch in what is a rather surreal scene. Soon after he has left, a cop pays a call for some routine intimidation; they are immediately on edge as they know full well how this could play out. They descend into more existential thoughts before a second visit from the cop, and another from the young man.

At times it appears to be repeating itself and there is an other-wordiness about the scene with the young man, but I think the comparisons with Waiting for Godot are a bit overdone. It’s very effective in addressing ‘black lives matter’ and drawing parallels with slavery, without being heavy-handed or preachy. Designer Robert Jones has brilliantly transformed the Kiln into an in-the-round space, with just a sidewalk, lamp and some signs, superbly lit by Oliver Fenwick. The production has extraordinary energy and edginess.

Paapa Essiedu has wowed me three times before, not least his Hamlet, and here he extends his range again as Moses. Gershwyn Eustache Jnr has also impressed me in the past and again he excels here as Kitch. These are stunning individual performances, but they are superb sparring with one another, verbally and physically, too. There’s great support from Alexander Eliot in two very different roles, the doubling up making a point in itself.

Don’t miss!

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Samual Adamson’s examination of sexuality and marriage from the late 50’s to the present day uses Ibsen’s play The Dolls House, and its main character Nora, as it’s starting point and it’s both clever and intelligent.

We start in 1959, backstage after a performance of the play when Suzannah, the actress playing Nora, is visited by an acquaintance and her boorish husband Robert. It soon becomes clear that Daisy and Suzannah are much more than acquaintances, but also that Daisy is pregnant. In subsequent scenes we meet a descendent of Daisy & Robert at two points in their life, thirty and sixty years later, with encounters with different Nora’s / Suzannah’s at each point. There’s a nod to the future, but its not particularly well developed.

In effect, we’re moving from marriage as cover story to partial same sex legality (not age or marriage) to the equality we have today. To say more would be to spoil it, but I loved its cleverness and humour. There are great performances from all six actors, who play fourteen roles between them. Richard Kent has kept the design simple to facilitate speedy scene changes within acts and Indhu Rubasingham’s direction seems totally in tune with the material.

The clever structure and humour could have swamped the serious historical examination, but it doesn’t. It added much to making it such a satisfying evening.

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I haven’t read Zadie Smith’s 2000 debut novel and I didn’t see the 2002 TV adaptation, so I come to this stage version fresh. It’s also my first visit to the reopened and renamed Kiln Theatre, appropriately located where the novel is set.

The story takes us from 1945, when Archie Jones and Samad Iqbal meet as the war ends and become lifelong friends, to the present day. We follow Archie, his mixed race marriage to Clara, daughter Irie and granddaughter Rosie and Samad and his wife Alsana and identical twin sons Magid & Millat. The twins’ lives take very different parts, one academic, the other radicalisation. There’s fleeting romance between Irie and the twins, with more than a fleeting outcome, and it looks like history might repeat itself with Rosie. There are significant stops in 1975 and through the eighties to 1992, with references to the music, TV and events of the time, like the fall of the Berlin Wall.

I don’t know whether it was Zadie Smith or playwright Stephen Sharkey who had the ideas of Kilburn bag lady Mad Mary as a narrator, and framing the story in flashback with Rosie a dentist, in a coma after an incident. They are both good ideas, though the latter needs more clarity in staging. The addition of songs by Paul Englishby and the excellent movement by Polly Bennett add a playfulness which I very much liked and seemed to suit the sweep of the story. Indhu Rubasingham’s staging has great energy, pace and humour; I particularly liked the walks back in time and there’s an hysterical scene in a hairdressers.  It’s extremely well performed by a uniformly excellent cast.

There’s a limit to how much story you can tell in a couple of hours and adding a significant amount of music reduces it even more, so those who know the book may struggle with the inevitable filleting, and I’m told it has less bite than the novel, but I thought its ambition paid off and it proved to be populist, entertaining fare, a celebration of multi-cultural Kilburn and a welcome part of the reopening season. I’ve been going here for more than 30 years and I very much like the new theatre, though in truth it’s more Islington than Kilburn. I do hope the name change protestors will move on. I wouldn’t have changed it myself, and it could have been handled better, but what matters now is what’s on the stage, and this fits it well, and the future programme is looking very promising indeed.

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Sometimes the theatre can teach you something about recent history that passed you by, even though you lived through it. So it is with this play by Francis Turnly, the story of a group of Japanese coastal dwellers who disappeared in the late 70’s, seemingly abducted by North Korea.

The story is told through the life of one family, single mother Etsuko and her two daughters, Reiko and Hanako. Hanako disappears and Etsuko spends the rest of her life searching for her daughter, and the truth, with the help of Reiko and her friend Tetsuo. She sends out a message in a bottle, literally, on a daily basis. She finds the relatives of other victims and forms a campaign group, but the government is reluctant to take up the cause and the press hesitant about supporting it.

North Korea’s intentions initially seem to be to brainwash and turn those abducted and return them as spies, but this later changed to using them to teach their language and customs to potential spies. Some, like Hanako, are forced to marry and have children. She even finds happiness with Kum-Choi, the husband of her arranged marriage, and their daughter Hana. When relations between the two countries ease, the government acts at last and Etsuko learns the fate of her daughter. Though it’s a personal story, you learn a lot about the post-war geopolitics of East Asia.

Tom Piper’s set revolves to move us between the countries, with illustrative giant projections by Luke Halls, but otherwise Indhu Rubasingham’s staging is fairly conventional, focusing on the storytelling, without distraction. After last year’s ‘yellow face’ controversy, it’s good to see a complete cast of actors of East Asian heritage, with excellent performances all round.

I’m not sure how this particular piece of history passed me by, but I was glad to be informed at last, and given the profile of North Korea in today’s news, its rather timely.

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A play about the use of virtual reality to relieve severe pain in injured war veterans doesn’t sound particularly promising, but by including the personal stories of one veteran and her family and friends, and given a superb production by Indhu Rubasingham, it becomes rather captivating.

Jess is the protagonist in Lindsey Ferrintino’s play. She returns to her Florida home from Afghanistan with massive injuries, disfiguration and severe disability. The VR therapy she undertakes does reduce the pain significantly, by taking her to a calming mountainscape. She lives with her sister Kacie, a primary school teacher, in their mom’s house – she’s in some sort of home. Kacie has a new boyfriend Kelvin, a bit of a loser, courtesy of her ‘dream board’ it seems. Jess bumps into her ex Stevie and we learn that her third (voluntary) tour of duty causes their break-up. Though Jess’ world and her story is the core of the piece, the other three very different world’s revolve around it and connect with it, with a fourth added towards the end. Significantly, it’s set nearby and at the time of the final shuttle launch.

I loved Es Devlin’s design, with Luke Halls’ brilliant projections. When we’re in the real world, we can also see out to the environment around us. The virtual world is wrapped around the stage, revolving and evolving. Kate Fleetwood as Jess in on stage throughout and it’s a virtuoso performance, with the audience wincing as she feels her pain. Olivia Darnley captures the charming naivity of the almost childlike Kacie. I also very much liked the characterisations of Kelvin and Stevie by Kris Marshall and Ralf Little respectively.

I think the performances and production paper over the cracks in what seemed like an unfinished play, a touch slight to be on a major stage like the Lyttleton, but it’s an original piece, there was much to enjoy, it held me throughout and I was glad I caught it. 

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Snap crackle & pop. Rice crispy theatre (theater)! This US import, with a British creative team and 40% UK casting, oozes NYC from every pore. The expletive count of the naturalistic dialogue is higher than you’ve probably ever heard, but it’s not gratuitous. It remains electrifying and unpredictable throughout.

Jackie is a Hispanic ex-con, small time dealer, ex-addict. We meet his highly-strung girlfriend Veronica, drying-out sponsor Ralph & wife Victoria and cousin Julio as he struggles to stay clean and manage his suspicions and jealousy over Veronica’s faithfulness. The play moves back and forth between three apartments – Jackie & Veronica’s central Manhattan rooming house, Ralph & Victoria’s cool home in gentrified mid-town and Julio’s cosy space in Hispanic Washington Heights. Jackie’s relationships with his girl, his sponsor and his cousin are tested as he navigates an emotional roller-coaster. Playwright Stephen Adly Guirgis is a modern day New York Mamet or Shephard with a very distinctive voice.

Robert Jones’ design sees the apartments glide in from the back, sides and above to a loud soundtrack, with iron fire escapes hanging above, anchoring the play in NYC, making the scene changes watchable in themselves. Director Inhu Rubasingham’s high-energy, fast-moving staging gives the play its own unique rhythm. I was blown away by the five performances. Ricardo Chavira as Jackie is onstage throughout, forever on the go, never still. Flor De Liz Perez as Veronica matches his spikiness, adding another level of emotional energy. Yul Vazquez’ Julio provides some welcome restraint and much gentle humour. It’s hard to believe Alec Newman and Nathalie Armin aren’t also American, both with authentic personalities and accents. Newman’s interaction with Chavira is just as electrifying as Chavira with Perez.

I felt it could have been trimmed a little – there are a few minor longeurs – but it’s a great addition to the NT repertoire as it refreshes under Rufus Norris.

 

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This is a fascinating, multi-layered play from American playwright Marcus Gardley, covering ground I haven’t seen on stage or screen or even in print. It gets a great production by the Tricycle Theatre’s AD Indhu Rubasingham, with a fine cast of British actresses (plus Paul Shelley!).

Gardley’s play is set in New Orleans in 1836, in the period between the Louisiana Purchase, when this chunk of America was sold by the French and soon became one of the United States, and the American Civil War. Under French rule, white men routinely had a second family by a black mistress so a mixed race of ‘free people of colour’ developed. Their lives would soon change when the US became a black or white society and it is during this transition that we meet placee (black concubine) Beatrice and her three daughters mourning the death of their white common law husband / father Lazare (whose body is onstage!).

Beatrice is determined her daughters don’t follow her into placage (concubinage) but Agnes rebels and gets her sister Odette to pose as her mother and sell her into placage. Third daughter Maude tries but fails to prevent this. Somewhat ironically, these women have a house servant who is a slave, but she is a strong woman who has a big influence on them all. Beatrice has two other women in her life – her mentally unstable sister Marie Josephine, who causes a fair bit of havoc, and her friend La Veuve, who she is forever sparring with. We even get Lazare’s ghost for good measure.

Tom Piper opens up the Tricycle stage with a simple but clever white balcony and curved staircase; I’ve never seen it look so big. It’s great to see a cast of Black British women relishing these meaty characters. Tanya Moodie is, as ever, magnificent as the servant Makeda, deeply moving when she is finally free. Martina Laird is strong and defiant as Beatrice and Clare Perkins’ madness as Marie Josephine convinces. Amongst the daughters, Ayesha Antoine is hugely impressive as rebel daughter Agnes, with a combination of cheekiness and determination.

A fascinating piece of social and political history, with a nod to Bernarda Alba and an autobiographical dimension to the characters, and a great piece of family history. The Tricycle’s on a roll.

 

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Lest you think this play about Margaret Thatcher and The Queen and their ‘audiences’ owes anything to Peter Morgan’s The Audience, perhaps I should begin by telling you that it started life as one of the nine plays in Women Power & Politics more than three years ago here at the Tricycle Theatre (https://garethjames.wordpress.com/2010/06/27/women-power-politics). It was one of the highlights of that and now it’s a full length premiere league treat.

It covers Thatcher’s whole period in office and there are two Queen’s and two Thatcher’s – ‘younger’, who are mostly ‘in audience’ and ‘older’, who are mostly looking back, commenting and correcting –  with two men playing all of the male roles (plus Nancy Reagan!), fighting over who plays Neil Kinnock. That’s a lot of events and a lot of audiences. It’s a whistle-stop history of the 80’s told through these weekly meetings and it’s hugely entertaining in Indhu Rubasingham’s excellent fast-paced production. It is, of course, largely speculative, yet it comes to the same conclusions as Morgan did – but by focusing on the Queen’s relationship with this one Prime Minister, it’s able to go into much more depth.

The performances are all superb. Stella Gonet & Fenella Woolgar get the public and private Thatcher to a tee and Marion Bailey & Clare Holman do the same with Elizabeth II. The men – Jeff Rawle & Neet Mohan – play 17 roles between them, from footmen to protesters and Michael Hestletine to Kenneth Kaunda, and are allowed to step out of their characters from time to time, which makes for a lot of fun The existence of an audience is occasionally acknowledged as the fourth wall disappears and we’re addressed directly.

Being in an audience of people old enough to have lived through this period made for a superb atmosphere at the performance I attended. This is an enormous pleasure and if it doesn’t get a West End transfer so that many more people can see it, I will be both surprised and disappointed.

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What a terrific curtain-raiser to Indhu Rubasingham’s tenure as Artistic Director of the Tricycle Theatre. An excellent new play from comparative newcomer Lolita Chakrabarti with one of our greatest young actors, Adrian Lester (her husband!), leading an excellent  company in Rubasingham’s own masterly staging. A play about a man who played Othello 180 years ago performed by a man who will do so next year – delicious!

The play tells the story of black American actor Ira Aldridge’s experiences in London in 1833 as he takes over the lead in Othello due to Edmund Kean’s illness. It’s framed by scenes set in Lodz in Poland 34 years later that show him still working in Europe if not Britain. Slavery had just been abolished, which wasn’t entirely welcome and riots had broken out on the streets – so you can imagine what happened when a black actor took to the country’s greatest stage to play Shakespeare.

The play held me for every second of its running time. It was fascinating, shocking and totally captivating. Lester was simply wonderful (oh I am so excited about the real thing – with Rory Kinnear as Iago no less!) but the whole company was excellent, with Eugene O’Hare overcoming caricature as a passionate French theatre manager and Charlotte Lucas playing Ellen Tree playing Desdemona, both beautifully.

The experience of Aldridge was shocking and we gasped as the real and shamefully racist reviews of his opening night were read. The rest of the cast on either side of the stage watch intensely during the pivotal showdown between the actor and the theatre manager; we can see them but the performers can’t, in an inspired piece of staging. When he whites up for Macbeth at the end we’re shocked again. It’s all impeccably done, with lightness and economy and a lovely use of music. The building’s original proscenium arch has been gilted, distressed and integrated into Tom Piper’s clever design.

I’m sure this will be in my list of Best New Plays of 2012. Another triumph for the Tricycle as it looks back at its ground-breaking past under Nicholas Kent and its exciting future under Indhu Rubasingham. Miss at your peril.

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This is a hugely important play, helping us to understand the ongoing conflict in Congo and those caught in the middle of it, particularly women. It has clearly moved beyond political power (was it ever?) and taken on a life of its own with many self-interested factions fighting over money (and access to it) as much as anything else and prepared to commit appalling crimes including rape and mutilation to achieve their ends.

You may think  ‘what has theatre got to do with this?’ – well, I happen to think it has a role to explain and illuminate what’s going on in our world and this play, by American writer Lynn Nottage, is therefore very welcome…..but seing it is often a disturbing and very harrowing experience.

The first act sets the scene, introduces the characters and puts their situation into context. Mama runs a bar for miners, soldiers and those passing through offering rather more than beer. Her girls are refugees, disowned by their families after having been raped and mutilated for no fault of their own. It is in the second act – a masterpiece of writing, direction and acting – where the full truth emerges as events turn violent. Salima’s story (based on a very real person’s experiences) breaks your heart and the situation seems completely hopeless. However, the play ends with a humanity which lifts you and provides a modicum of hope for you to take away from the theatre.

Indhu Rubasingham’s direction is impeccable. Robert Jones has created an extraordinarily believable bush hut which revolves to provide the bar, porch and bedroom. The ensemble is excellent and at its core there are two truly magnificent performances from Jenny Jules and Lucian Msamati. I’ve never seen a standing ovation in my many visits to the Almeida, and this completely impulsive one was richly deserved.

Not an easy evening, but an absolute must-see experience.

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