The Lieutenant of Inishmore is a knockabout farce set during the Troubles. Like Monty Python’s dead parrot sketch it uses the expiry of a pet to examine human obsessiveness and self-delusion. But it takes two hours rather than three minutes to make its point. We meet a handsome terrorist, Padraic (Aidan Turner), whose adoration of
Listen to the crowd. I often delay passing judgment on a show until the audience delivers its verdict. This is especially true of plays that appeal primarily to women. Genesis Inc. by Jemma Kennedy presents us with two infertile mums. Serena is a clingy worrier whose aloof boyfriend, Jeff, resents forking out thousands for IVF.
Intriguing word, ‘octoroon’. Does it mean an eight-sided almond-flavoured cakelet? No, it’s a person whose ancestry is one eighth black. New Yorker Branden Jacobs-Jenkins wants to explore this factoid in his farce An Octoroon, which opens with an angry African-American playwright delivering a comic monologue. He tells us a story about ‘my shrink’. Then he
Polly Stenham starts her overhaul of Strindberg’s Miss Julie with the title. She gives the ‘Miss’ a miss and calls it Julie. The wonder of Strindberg is that his characters speak to us with such force, knowingness and candour that they seem to belong to our own era. Modernising the setting destroys the wonder. This
Oh, what a beautiful morning! In Jo Davies’s production of Oklahoma! the audience spends the overture staring at the side of a barn. Then, as birdsong rises from the orchestra, corrugated-iron doors slide open on a dustbowl farm of the 1930s. Aunt Eller (Claire Moore) is fixing a tractor, and a wind pump spins slowly
The National has made its largest stage available to one of the nation’s smallest talents. If Brian Friel had been born in Dorset rather than in Co. Tyrone he’d have enjoyed an unremarkable career writing episodes of The Archers with the odd stint on Emmer-dale. He’s a champion witterer whose plays lack suspense, pace, depth
Tracy Letts begins his trailer-trash comedy Killer Joe with the corniest of platitudes. A runaway druggie named Chris Smith needs $6,000 to stop ‘some guys’ from killing him. He asks his dad who declares himself skint but together they plot to bump off Mrs Smith, Chris’s mum, and collect her life insurance. Interesting idea. Luckily
Regime change at the Globe. The new boss, Michelle Terry, wants a 50/50 ratio of males to females in each production. Rather eccentric. Why cast a drama to reflect the distribution of sexual organs across the general populace? Imagine hiring an orchestra to represent the ratio of citizens who can play an instrument. And didn’t
The Bridge’s big summer show is Nightfall by prize-winning newcomer Barney Norris. Widowed Jenny wants her grown-up kids, Lou and Ryan, to help her run their farm in Hampshire following their dad’s death. But Lou’s boyfriend, Pete, has been offered work abroad. That’s the only major snag in this low-wattage rustic melodrama. The back story
Describe the Night opens in Poland in 1920 where two Russian soldiers, Isaac and Nikolai, discuss truth and falsehood. Next we’re in Smolensk, 2010, where some strangers scream at each other about a hire car. Next Moscow, 1931 (or 1937 — the surtitles are illegible), where Nikolai, now a top soldier, asks Isaac, now a
Nine Night refers to a Jamaican custom that obliges bereaved families to party non-stop for more than a week following the death of a parent. When Gloria expires her relatives arrive from all parts of London and the Caribbean to indulge in a boozy blow-out. Gloria’s daughter Lorraine tussles with her businessman brother, Robert, who
Ella Hickson’s last play at the Almeida was a sketch show about oil. Her new effort uses the same episodic format ornamented with ‘meta-textual experimentation’ (i.e. plotless confusion). The central character is a brilliant young female writer who finds that all male theatre directors are boorish cynical greedy philistine racist sex pests. In Sketch One
‘Hunt the Flop’, the Royal Court’s bizarre quest for dud plays, has found a candidate for this year’s overall prize. Instructions for Correct Assembly by Thomas Eccleshare is a family satire set in the near future. Plot: suburban parents replace their missing son with a computerised cyborg which malfunctions. That’s it. Were this a pitch
Quiz by James Graham looks at the failed attempt in 2001 to swindle a million quid from an ITV game show. Jackpot winner Major Charles Ingram was thought to have been helped by strategic coughs emanating from Tecwen Whittock, a fellow contestant on Who Wants to Be a Millionaire? Graham, best known for his gripping
David Haig’s play Pressure looks at the Scottish meteorologist, James Stagg, who advised Eisenhower about the weather in the week before D-Day. The play works by detaching us from our foreknowledge of events. We’re aware that the landings went off smoothly on 6 June in fine conditions. However, D-Day was originally scheduled for 5 June,
Ruthless! The Musical is a camp extravaganza about ambitious actors stranded in small-town America. Sylvia St Croix, a pushy agent, visits a super-talented 10-year-old, Tina, and persuades her to audition for Pippi Longstocking in a school play. Tina’s mother fears that stardom may spoil her little girl but Tina is finished with childhood. ‘Time to
The Plough and the Stars by Sean O’Casey looks at the Irish nationalist movement during the events of Easter 1916. The setting is a Dublin tenement where the residents exchange gossip and insults and sometimes punches. What begins as an elevated soap opera develops into a tragedy of vast and harrowing proportions. Sean Holmes’s production
Summer and Smoke by Tennessee Williams dates from the late 1940s. He hadn’t quite reached the peaks of sentimental delicacy he found in his golden period but he was getting there. As a lesser-known curiosity, the script deserves a production that explains itself openly and plainly. Rebecca Frecknall has directed a beautiful and sometimes bizarre-looking
The Best Man by Gore Vidal is set during a fictional American election in 1960. Two gifted candidates seek their party’s nomination. Secretary Russell is a chilly but experienced political hack whose marriage is a sham. Senator Cantwell, a more attractive character, is an impulsive charmer married to a blonde bombshell who adores him. The
Fanny & Alexander opens like a Chekhov comedy and turns into an Ibsen tragedy. Ingmar Bergman’s movie script, adapted by Stephen Beresford, has been directed for the stage by Max Webster. The children, Fanny and Alexander, belong to the famous Ekdahl acting dynasty who live in Bohemian chaos. Their home is full of jokes and
