Theatreland Treats
Politically tinged to absurdist Shakespeare, there is a play for all tastes out there
Preview by Geoffrey Ledwell
Over at the Soho Theatre, the poet Luke Wright performs in his own show, What I Learned From Johnny Bevan. This show was a huge success in Edinburgh last summer, taking home a Fringe First for writing and a Stage Award for acting - as well as garnering very starry reviews. On a micro level it tells the story of Nick, whose friend Johnny ’fir[es] him up about politics, music and literature’ during their time together at university. On a wider level, this play examines the hollow core at the centre of the New Labour dream. Directed by Joe Murphy, and showing until March 12.
At the National Theatre, the excellent Dominic Cooke directs the revival of August Wilson’s Ma Rainey’s Black Bottom. Wilson dramatises the story of Ma Rainey, one of the earliest blues singers, to record her song, Black Bottom, in her own way. Rainey is played here by the great Sharon D Clarke, who has a string of West End shows under her belt, as well as a three year spell on Holby City. Infused with music, this production has received exceptional reviews and offers a chance to see this great play from this Pulitzer winning writer.
The Orange Tree theatre in Richmond is hosting another revival, Robert Holman’s 1977 play German Skerries. This play examines the crossovers of four intertwined lives meeting at a popular birdwatching spot overlooking the mouth of the Tees. It won Holman the George Devine award when it was first produced at the Bush theatre and Holman went on to become the resident dramatist at the RSC and the National Theatre. This production is directed by Alice Hamilton, fresh of the back of the success of Eventide at the Arcola, which was nominated for five OffWestEnd awards last year.
At the Royal Court, 27-year old Alistair McDowell’s new play X premiers on March 30th. A sci-fi story set aboard ‘the lone research base on Pluto’, the play promises to be a worthy follow up to his terrifying hit Pomona, which premiered at the Orangetree and transferred to the National Theatre Shed last year. Directed by Artistic Director Vicki Featherstone.
Finally, over at the Barbican, and for six days only, Forced Entertainment bring back their Tabletop Shakespeare - the entire works reduced and performed on a table top using household objects to signify the parts. Macbeth, for example, is a cheese grater. This approach means we focus on the narrative of the story and are forced to use our imagination to picture the scenes. Each of the 36 works is given its own short show (about 50 minutes). A unique and bewildering event that although undoubtedly not to everyone’s taste is brilliant in its simplicity. 