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Posts Tagged ‘Paul Arditti’

This August Wilson play, based on a real-life character – the so-called mother of blues – was his first big success in 1984, getting its first London production five years later in the Cottesloe Theatre. It became the first of his 10-play cycle covering the black American experience (each in a different decade of the 20th century) to be staged, though two are set before it. This very welcome revival is in the much bigger Lyttelton next door.

The whole play takes place in a Chicago recording studio in the 1920’s. Ma Rainey’s a bit of a diva who turns up an hour late for the recording session insisting that her stuttering nephew sings the intro to the title song using a different arrangement, that songs are changed, that her car (damaged en route) is repaired and returned to the studio and that coca cola is fetched from the deli before she starts. The band attempt to rehearse while they are waiting, but horn player Levee’s heart isn’t in it; he’s more concerned with his ambition and his new shoes.

The rest of the play moves between the band room and the studio, with Ma’s manager and the record producer regularly leaving the elevated control room, usually to argue with or placate Ma. Her daughter, the delightfully named Dussie Mae, flirts with Levee – well, more than flirts! The band banter and fight, and occasionally relate a real experience of horrific racist abuse and violence which is particularly chilling contained within the lighter tone. You’d expect the play to revolve around its title character, but in fact it’s heart is in the band room scenes, with their stories and relationships, which take a dramatic turn at the end.

It’s more of a ‘slice of life’ than a linear plotted play, but it achieves its purpose of taking us to a 20’s black American world. It’s a touch slow and low-energy in the slightly longer first half, but its still in preview so it may tighten. The Lyttelton is a much less intimate space than the Cottesloe, but Dominic Cooke’s production and Ultz design work well, with the long narrow band room rising stage front and the control room like an elevated container, both linked by a metal spiral staircase. 

At first I thought the band’s actors – an unrecognisable Clint Dyer on trombone, Giles Terera on bass, horn player O-T Fagbenle and Lucian Msamati on piano – were playing live, but I came to the conclusion the music was recorded, which is a great compliment to both their miming and Paul Arditti’s sound design. It’s a great cast, led by the incomparable Sharon D Clarke, who commands the stage and everyone on it when she is. Fagbenle is a very edgy and passionate Levee and Msamati is superb as Toledo, a role unlike any I’ve seen him play before.

I have to confess my memories of the 1989 production are feint, but its great to see it again and the audience reception was very positive indeed.

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Just when you thought the verbatim theatre phase might have passed, the Almeida makes its first foray into the genre. They are lucky to have writer Alecky Blythe, who has been a leader in this field. She pioneered the technique of playing the interview subjects’ words into actors ears as they recreate them over 10 years ago. In London Road, she had the interviews set to music. Here, she uses a community chorus (in the Greek sense, rather than the vocal sense) very effectively. Director Joe Hill-Gibbins takes a fresh approach to staging too, avoiding the pitfall of a lot of static talking heads, and designer Ian McNeil has created Almeida-in-the-round, which effectively blurs the line between audience and performers / chorus in another original approach.

The 2011 riots are a big issue and Blythe has chosen to focus on the effect on, and the reaction of, the local community, with the story of how people rallied around shopkeeper Siva at its core. It’s good at presenting the motivations of those involved in this, and another campaign in defence of young people, but that does mean we skirt over the causes, reasons and motivation of others, though the excellent programme helps present the bigger picture. This focus also gives the piece a surprisingly light touch, though I did think it resulted in sending up some of the interviewees, particularly the middle class do-gooders – though in all fairness this included Blythe who plays herself! Though she chose the final interview well, its staging provided too abrupt an ending.

In addition to an excellent ensemble of twelve actors playing multiple roles, the chorus of 31 volunteers from the local community animate the piece and contribute a lot to its effectiveness. They were exceptionally well integrated and it was sometimes hard to differentiate between the professionals and the volunteers. The audience on two levels closely surround a relatively small space, which most of the time represents a meeting space for the community leaders and campaigners. Multi -level platforms and four entrances ensure the whole theatre becomes the playing space; even the main entrance and upstairs windows play their part. Guy Hoare’s lighting moves us between locations and Paul Arditti’s sound design connects us with off-stage events.

There is a limit to what you can achieve in 90 minutes, and the three years that have passed since these events means we lose immediacy, but it’s a fine example of how the verbatim style can tackle things no other style can and there’s a freshness of approach here which makes it stand out. I’m not sure what Sarah and Tony from Clapton Green will think, though…..

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