Broken Glass

The Tricycle Theatre

19th November 2010


Broken glass is a play about repression. On the surface we are introduced to world where the events of Kristallnacht are playing the protagonist and indeed the catalyst to the dramatic events that affect the lives of all the characters. The frightening destruction of Jewish properties and Synagogues by the Nazi’s, overshadowing and consuming the play. Yet, although it is indeed the events of the Kristallnacht which appear to render Sylvia Gellburg hysterically paralysed (as we learn in the opening of the play), it certainly becomes clear that the real cause of her affliction is masked by these anti-Semitic events. In fact, we discover that it is her husband Philip, his self-repression, and their sexually repressed relationship that resonates so much with Sylvia in the events of the Kristallnacht that she loses the use of her legs. To Sylvia, Philip Gellburg represents a racial fear and hatred, much closer to home than the 3000 mile away events in Germany. Uncomfortable in his own skin, uncomfortable being Jewish, looking Jewish, even having a Jewish name – resolute in his need to be defined by something other than being Jewish, this self-denial of his identity has manifested itself as one who is emotionally and sexually repressed. Not only does Sylvia see the anti-Semitic events of Kristallnacht reflected in her husband’s self-hatred, but in some way, their sexless marriage, which, in Iqbal Khan’s production, has left her feeling humiliated. So in fact – what initially appears as a play based around a historical political event and its effect becomes one which places the magnifying glass firmly on the destructive nature of the personal internal on the external.

There is something of the epic in this production, directed by Khan with an almost Shakespearean quality, Miller’s text has been handled with poetic reverence. This in itself adding to the uneasy atmosphere set up by the solo cello music which open’s each scene, the stark set which draws us to the characters and the terrifying context of anti-Semitism in which the play is set. Khan’s direction absolutely sets up the story of Philip and Sylvia Gellburg as one where the fractures appearing in the relationship between the couple can clearly be introduced to the audience with poignancy and precision, slowly building up to create an explosion of epic proportions like a pane of glass finally shattering in the ending scenes of the play. Antony Sher has completely immersed himself into the role of Philip, and his presentation of a man who is holding in so much internal angst and emotion is truly compelling, and, with so much bubbling beneath the surface throughout the play, Philip’s explosive outburst in the penultimate scene is thrilling to watch and absolutely believable. Likewise Lucy Cohu is brilliant as Sylvia, a woman whose life has slowly eroded away before her, she plays the character with a gentle fragility which has a dangerous edge, always threatening to finally tip her into hysteria, or even madness. Everything simmers below the surface in this production, sexual tensions and unspoken feelings so beautifully pinioned just underneath the action for the audience to really appreciate the feeling of repression so rife within the play. For my part it was wonderful to watch a truly engaging and absorbing theatre that really reflected on the terrifyingly destructive nature of self-loathing, and if nothing else has taught me never to supress a tear or a word without remembering the repercussions of the inability to express one’s feelings.

(p.s I should not like to forget the wonderful performances of Madeleine Potter, Nigel Lindsay, Emily Bruni and Brian Protheroe, a truly captivating and faultless cast, who are all easily worthy of another 600 words)

My Romantic History

Bush Theatre

1st November 2010

Love in a cold climate

Loving ‘My Romantic History’ by D.C.Jackson, is somewhat of a guilty pleasure, or at least it feels that way. Certainly, this play appears with all the markings of a romantic comedy, man, woman, past relationships, stereotypes and cliché’s, and even I know that admitting you’re favourite film is ‘Bridget Jones’ Diary’ or ‘Shakespeare in Love’ is something you only do to yourself, at home, alone, with a large bottle of wine at your fingertips. Yet I have no qualms about admitting how much I loved this play, because, ‘My Romantic History’ is full of insight, comfort and heart.

Tom and Amy are thrown together by circumstance. A late night fumble after dreaded works drinks and before they know it they’re an item, trapped in a relationship neither of them wants. A play of two halves, Tom’s then Amy’s, we career through awkward moments, arguments, game playing, thoughts, feelings, pressures and past relationships from both sides of the story. We witness misconceptions, preconceptions, failed tactics and watch gleefully as each tries and fails to end the relationship. What we don’t see are stereotypes, or cliché’s. Whilst Tom may initially be presented to us as the emotionally stunted, game playing, commitment phobic male and Amy as the over emotional, clingy, whining and suspicious female we discover that, in fact each appears differently in the other’s eyes and moreover – their actions are not prompted so much by their feelings toward each other but in fact mostly by past loves which still shape the decisions they make and affect their hearts fifteen years on.

In many ways this play is a comfort. Both Amy and Tom are haunted by the long lost loves of their youth; Alison Hamilton and Calvin Kennedy. D.C.Jackson suggests that not only can we fall in love when we’re 16 but we can hold onto this love for a long time afterwards and that it’s ok to do that, that the kind of love that, in many ways will never leave you, does exist. Suddenly we don’t feel so terrible about our own love lives, the tragic parts I mean, we see the characters make 3am drunken phone calls, play the bunny boiler, have awkward dates, not know what to say and see that game playing in relationships really does exist. Hoorah, we are not alone. Watching the past Amy and Tom endlessly attempt to rekindle their relationships with Alison and Calvin I wonder whether at the heart of ‘My Romantic History’ is the question of what love really means to us. Does love fulfil us? Can we be fulfilled without it? Or is it the idea of love that fulfils us? Can we feign that fulfilment by making compromises for the sake of appearances, to appease the pressures we feel from family – like Tom and friends – like Amy.

Alison O’Donnell and Ian Robertson perfectly play Amy and Tom, with depth and understanding, D.C.Jacskon’s dialogue delivered with real punch and commitment. Robertson could probably calm down and breathe, while O’Donnell could give her energy a boost, but perhaps it’s about finding the balance between them. Rosalind Sydney, the so far unmentioned, provides just the right counterbalance to Amy and Tom with her array of dynamically different characters, (displaying a formidable talent) formed with subtlety, sincerity, and colour, perhaps the best being the irritating samba drumming Sasha from Amy and Tom’s office. All brought together seamlessly by director Lyndsey Turner, who presents us with a dynamic, humorous and incredibly enjoyable performance, full of light and shade. My Romantic History is witty, insightful, tender and absolutely loveable - I know I spent hours debating love and relationships over coffee with my best friend afterwards. They say that men are from Mars and women are from Venus but after seeing ‘My Romantic History’ aren’t we all just from Earth?

Design for Living

The Old Vic

11^th October 2010

I can’t pretend to know a great deal about Noel Coward. Beyond a presumption that Cowards plays played with the decadence, flamboyance and frivolity of the roaring twenties and thirties I honestly had no idea what to expect sauntering up to the Old Vic on Monday. Yet, despite, this blatant ignorance I found myself braving a tube strike, delving into my incredibly empty bank account and meeting an old friend to watch, what I have now come to discover as one of Cowards most controversial and in my opinion, revolutionary of plays.

Initially the production played right into my preconceptions, or perhaps idealisations of the era, all the drama, glitz, glamour, ostentation and over exuberant arm gestures that I’d imagined so commonplace within that world and I lapped it up with complete eagerness. Gilda, Otto and Leo, all perfectly played with a vivacious and highly charged energy, drew me into a world of emotional and artistic unrest, lows and highs, and never more such dramatic episodes, arguments and revelations than you would expect from those of a creative nature. The combined wit of the playwright and the players, made for a wonderfully ticklish performance, precise, poised and perfectly placed dialogue punctuated by polite giggles and raucous laughter alike from the audience around me. Yet, for all its zeal and captivating vitality I found myself completely enamoured, not by the glamour of the era or the sumptuous and full flavoured characters but by Cowards exploration of the very nature of love, dependency and what it means to be fulfilled by someone else.

By establishing a relationship which can only function in a 3 way part between Gilda, Otto and Leo, Coward condones and perhaps even encourages us to function, live, learn, love, within our own context, inspiring bravery and individuality from his audience. In fact, he firmly sets down the idea that, when it comes to love, there are no rules (something few, but the brave will openly admit to). Naturally, we only come to accept this when we are presented with characters who we truly believe are only able to function in this manage a trois and, like a song in three parts, Gilda, Otto and Leo are presented in the Old Vic’s production as three parts of a whole, each subtly balancing the other, pacifying, exciting, and loving. As Gilda, Lisa Dillon perfectly plays the personal discontent and strife growing from a feeling of something missing within her relationships with Otto and Leo individually. It is the restlessness created by Lisa Dillon as the unfulfilled Gilda, which in this production presents the threeway relationship, not as a raucous, or depraved sexual romp, but as one which is a fully functioning and loving relationship. For my part, Cowards play and The Old Vic’s production, left me questioning the very nature in which love can exist and wondering if, perhaps in the future I shouldn’t be so quick to judge, anyone…but mostly polygamists. Whoever said "two's company, three's a crowd" hadn't seen Design for Living.

Edinburgh Blues

Another year. Another festival. Another month of debauchery, drinking and shows. The Royal Mile is no doubt still littered by thousands of now redundant flyers, my liver hurts and my eyelids are heavy. But it is of - course as ever, entirely necessary to divulge the details of some wonderful theatre from this year’s Fringe. I'll keep it brief, just like shows at Edinburgh, short and sweet is best.

'Blackout' by ThickSkin Theatre

For me, blackout was completely mesmerising to watch, it was wonderful to see such commitment and investment on stage, not only was the piece moving because of its foundation in real life, but because of the truthfulness with which it was presented - everything that happened on stage - movement, word, image was executed and performed with such perfect precision that the piece moved me, both personally and artistically. It was beautiful to watch. A piece of theatre which married movement, word, music, and film together to create a sensory feast. Visually challenging, innovative and engaging theatre, definitely worth getting up early for.

David Leddy's 'Sub Rosa'

It's rare to find theatre which has changed you in some way - changed the way you feel - even if it is only for the next few hours - and that's what I feel Sub Rosa did - it changed my mood, the way I conducted myself afterwards and I continued to replay the story in my head (I'm even doing it now) long after. I thoroughly enjoyed this piece of theatre (and wasn't disappointed after David Leddy's wonderful 'White Tea' from last year) and yet I suppose 'enjoyed' is probably the wrong word to use, for the subject matter was anything but enjoyable. For me, 'Sub Rosa' was engaging, dynamic, dark, witty and grotesque. I found myself utterly drawn into the macabre story of Rosa, completely immersed within the sinister and almost claustrophobic walls of the Masonic Lodge in which the performance took place. Part of me wanted to run away, yet my morbid curiosity kept me completely engaged with the story. The superb acting, and wonderful script painted images so beautifully that I found there was nothing I wasn't able to see happening right in front of me - everything was there for me to witness. This was a piece of theatre that I felt completely suspended all reality; the perfect marriage text, music, lighting, space, and set - establishing an uneasy atmosphere, a sensory feast which plunged me into the world of the characters. I left the Masonic Lodge feeling thoroughly chilled (and not because it was a cold Edinburgh night)

'Bunny' by Jack Thorne. Nabokov Theatre
Despite the fact that the lead (and only) role of Katie was played by my good friend Rosie Wyatt, this was a show I found myself recommending throughout the festival regardless of my prior connection to the wonderful Miss Wyatt. 'Bunny' was incredibly engaging, dynamic and thought provoking - a piece of theatre which not only caught, and held my attention for a full hour (a feat, for any one women show), but which also left me feeling in some way uneasy, aware, not only of the cultural struggles prevalent in an area like Luton (where half my family grew up), but of the struggles of coming of age - the insecurities, questions and changes which I think in some way all young women face - I certainly found myself able to identify and relate on many levels to Katie. The superb writing, acting and direction combined, created a piece of theatre I completely believed in, witty, subtle, political and completely natural.

'The Terrible Infants' by Les Enfants Terribles

This show is already a firm fringe favourite having received rave reviews during its 2005 run at the festival and subsequent shows during the following 5 years. However, it wasn't until this year, when I for once vowed to come to the festival ready and prepared with a list of must see shows (imagine days spent scouring the 1000 or so pages of my Edfringe Guide), that I managed to see it. Luckily the show didn't disappoint, deliciously dark, it surprised, excited and left me feeling uneasy all at the same time. Presented with such sinister commitment I found it was impossible not to be drawn into the macabre little stories presented to me on stage (think Tim Burton's 'The Melancholy Death of the Oyster boy, and other stories'). The inspirational and original use of music, dramatic and aesthetic not only created a wonderful feast for the senses but established an atmosphere which created real depth to the theatre, completely consuming its audience. Unfortunately, in order to accommodate the product of such a successful show the piece was performed in 'The Grand', The Pleasance's largest space, and in my opinion would have flourished far better in a small intimate theatre where the audience would have really been surrounded and immersed into the thrillingly terrifying world of the Terrible Infants. Nevertheless, I still gobbled up the sinister tales performed in the show like a greedy little child. How fitting.

'Speechless'. Shared Experience

Another piece of theatre with friends in, but incredible regardless. Speechless was truly compelling, a dynamic and engaging production which completely drew me into the world of the piece. Mesmerising performances and perfect direction - I was able to completely connect with the internal struggles of each of the characters, giving the production such depth that I felt truly moved by the story. Perhaps because it was based on real events and perhaps not, either way, it was a pleasure to watch. Intensely compelling theatre.

'Hott Mess' by Ella Hickson

Ella Hickson is probably one of my favourite young playwrights. Having seen her play 'Precious Little Talent' last year, I was eager to jump at the chance to see her newest piece, performed site specifically in one of Edinburgh's west - end nightclubs, and I was far from disappointed. In 'Hot Mess', Hickson explored love on a whole new plain, innovative and inspiring, the story and subject matter made for a unique and moving production. The characters of the play were formed and performed with heartbreaking dexterity, absolute truth and wonderful wit, and as a result truly connected with me. It was a pleasure to watch a play which, for me really uncovered the dark nature and form that love can take and explored what it means to love and be loved with complete honesty. Intelligent and truly thought provoking theatre, love can be dangerous, yet another success from Hickson.

The Uber Hate Gang' by Horizon - Arts

I found the entire production, absolutely captivating and completely arresting. It moved me to tears. It was wonderful to see a piece of theatre which really challenged an audience's pre-conceptions and pushed the boundaries artistically. Both the acting and direction was superb, the characters were played with such raw truth that as an audience member you felt absolutely trapped within their world. Frighteningly brilliant breath taking theatre, the kind whic

h provokes a response far beyond mediocrity and embodies everything that new theatre should be trying to do to its audiences I left Underbelly feeling uneasy, angry and dumbstruck.

So there you have it. Just a selection. I should mention 'Operation Greenfield' by Little Bulb theatre company, a beautifully epic, mesmerising piece of theatre, 'Freefall' by Dublin Corn Exchange, boundary pushing, engaging original theatre, and 'Sex Idiot' by Bryonny Kimmings, tantalising, ticklish, original and awkward - another three favourites, which absolutely deserve mentions of the highest order from my fringe review and I should absolutely thank 'Belt up Theatre' for the hours of entertainment they provided me with - nothing compare to 'The House Above'. Special mentions go to 'The Mussel Inn' probably the best thing about Rose Street, 'Hula' probably the best cheese on toast and 'Armstrongs' possibly the easiest vintage shop to spend money in. Whenever you want to feel full GO to the Mosque Kitchen - a genius idea. Now I need to go and wean myself of Kopparberg Pear Cider, nurse my bank balance and contemplate how I'm going to make it through another year until Edinburgh Fringe Festival 2011