Feeds:
Posts
Comments

Posts Tagged ‘Josh Williams’

I clearly remember the moment twelve years ago when I gasped as an army officer raised his gun to shoot a horse. A puppet horse. In the Olivier Theatre. Almost the entire audience gasped with me. In the second half of this play I winced as a man with a broken leg in a makeshift splint crawled across moraine high in the Peruvian Andes, all imaginary. Thats the magic of theatre.

This must be one of the most unlikely stories to make it onto a West End stage, but then again it’s put there by Tom Morris, one of the creators of War Horse, and adapted by one of our finest playwrights, David Greig. You can write about your survival after a near fatal climbing accident, and you can film where it happened and take testimony from those involved in a documentary, but how on earth do you stage it? The answer is imagination, of the survivor as we hear what’s in his head and his dreams, and in the staging where you take the audience on a journey where they suspend disbelief.

Designer Ti Green uses just tables, chairs, pub features and a hanging frame to create both worlds. Movement with lighting, music, and a soundscape add tension and atmosphere. Four hugely talented young actors – Josh Williams as survivor Joe Simpson, Angus Yellowlees as his fellow climber Simon & Fiona Hampton as Joe’s feisty sister Sarah who he talks to in his head, all three in very athletic performances, and Patrick McNamee lightening the tone as backpacker Richard looking after basecamp. Greig’s structure and Tom Morris’ creative staging enables the story to be told like a thriller, even though you know the outcome.

I wasn’t convinced I wanted to see this, it’s not really my genre, but the buzz changed my mind and proved to be true. Great to see the work of three regional theatres working together to create something so good and being rewarded with a West End transfer that broadens the options for theatre-goers. Definitely one to recommend.

Read Full Post »

My knowledge of the US civil rights movement in the 60’s was weak, but is stronger for seeing this excellent play by American Kemp Powers; I love it when I learn something at the theatre.

The night in question is the one when Cassius Clay, as he was then called, beat Sonny Liston to win his world title in 1964. He’s in a hotel room with friends Malcolm X, soul singer Sam Cooke and footballer Jim Brown. Outside the room there are two security guards placed there by The Nation of Islam to protect their spokesman.

It’s a pivotal point for all four. Clay is about to convert to Islam and change his name to Mohammed Ali. Cooke has written his civil rights anthem, A Change Is Gonna Come, but will soon meet his untimely death. Brown has commenced his second career, acting in his first film. Malcolm X is about to quit The Nation of Islam.

They debate the issues of civil rights and their differing attitudes and perspectives. Malcolm X may not be as hard line as they thought and the guards may be as much to control as protect. Is Sam Cooke selling his soul as he sings it? Clay’s conversion may be a touch reluctant. Is Brown ignoring what’s going on around him and just concentrating on having a good time? It’s a fascinating debate, without being preachy or earnest, and packs a lot into a well written, entertaining 90 minutes.

Six fine performances too. Arinze Kene brings Cooke to life, singing superbly. Sope Dirisu’s characterisation of Clay is playful and spot on. Francois Battiste captures Malcolm X at a turning point, still defiant but inwardly doubting. David Akala’s Brown is the good-time guy and there’s fine support from Dwane Walcott and Josh Williams as the two contrasting guards. I’d wondered why we’d not seen or heard from director Kwame Kwei-Armah for so long. It appears he’s been directing and running theatre companies in the US. It’s good to have him back, though I’m not sure how long that’s for.

Another fine evening at the Donmar.

 

Read Full Post »