Another day, yet another atrocity hurled from the maelstrom of conflict in the Middle East, the turmoil which has also resulted in over half of Syria’s people being killed or forced to flee their homes to become refugees. In the evening I attend a performance at the Liverpool Everyman of Queens of Syria, a remarkable touring production, performed by Syrian women from a refugee camp in Amman, which weaves the women’s own stories of exile and war into passages from the ancient Greek play The Trojan Women, theatre’s earliest dramatisation of the plight of women in war.
Earlier this week I watched the BBC documentary trilogy, Exodus: Our Journey to Europe, which told the stories of some of the refugees in last year’s huge movement of people fleeing disaster – on dinghies crossing from Turkey to Greece, along the migrant trail through the Balkans, and in the Jungle at Calais – filmed along the way by those same people on mobile phones.
After a referendum campaign which seemed to establish the expression of racist or anti-immigrant sentiment as respectable once more, these three films gave voice to those who have truly lost their homeland, in stark contrast to those in this country who, having ‘wanted to get their country back’, now truly believe that’s what they have achieved. Continue reading “Stories of exile: Queens of Syria, Exodus and the Very Quiet Foreign Girls’ Poetry Group”
We’re not making a sacrifice. Jesus, you’ve seen this war. We are the sacrifice.
On 1 July 1916, 2,069 men of the 36th Ulster Division were among the among the 19,000 British soldiers killed on the first day of the Battle of the Somme. That day was also the anniversary of the Battle of the Boyne, and some of the men of the 36th went over the top wearing orange sashes.
With the centenary of the Somme less than two weeks away, it was apt to have the chance of seeing a revival of Frank McGuinness’s great war play Observe The Sons Of Ulster Marching Towards The Somme at the Playhouse in Liverpool – especially as this was a co-production of Headlong, Dublin’s Abbey Theatre, and the Everyman. Continue reading “Observe the Sons of Ulster Marching Towards the Somme”
Finally, after inordinate delays, the Chilcot report on the Iraq War is close to publication. Myself, I’m not holding my breath. After years of lies and obfuscation, why expect it to provide a genuine critique of the process that led us into an illegal war? Nevertheless, I went along to the Lowry Studio in Salford to see Chilcot, Richard Norton-Taylor’s dramatisation of some of the exchanges during the Iraq Inquiry hearings. Continue reading “Chilcot at the Lowry Studio: secrecy and deceit”
Filter Theatre’s Twelfth Night, seen on Saturday at Theatre Clwyd, is like no other production of Shakespeare’s much-loved comedy you have ever seen. Purists might hate it, but Filter’s radically-cut, fast-paced version of the play is hugely enjoyable, and every word is the Bard’s. At little more than 90 minutes this is a distilled essence of Twelfth Night. The audience in Mold loved it. Continue reading “Filter Theatre’s riotous Twelfth Night“
Conrad Nelson’s production of The Winter’s Tale for Northern Broadsides is the most stripped-back production I’ve seen. We saw it performed in the round at the New Victoria Theatre in Stoke where the stage was bare, but for an occasional bench or something similar.
The result is to focus attention on Shakespeare’s words and symbolism – and on the quality of the acting which, as always with Northern Broadsides, was very high indeed with notable performances by Conrad Nelson himself in the role of Leontes, Ruth Alexander as Paulina, Mike Hugo as Autolycus, and Jessica Dyas and Lauryn Redding as the sparring peasant girls Mopsa and Dorcas. Continue reading “A stripped-back Winter’s Tale from Northern Broadsides”
The production at Liverpool Playhouse of Tennessee Williams’ The Glass Menagerie that my daughter took me to see on Saturday was slated in the Observer. In her review Clare Brennan wrote that ‘Ellen McDougall’s direction constrains 3D actors in a 2D concept’. She went on:
Context matters. In this new co-production by Headlong, Liverpool Everyman and Playhouse, and West Yorkshire Playhouse, it has been eradicated. We are left with a tight focus on individuals separated from the indicators of the circumstances that mould them.
I could not disagree more. Continue reading “Headlong’s The Glass Menagerie: ‘how beautiful, and how easily broken’”
‘This will never stop,’ writes playwright Anders Lustgarten in the introduction to his critically-acclaimed drama Lampedusa which, unflinchingly and without a trace of sentimentality, deals with the refugee crisis in the Mediterranean. I saw it last night at Liverpool’s Unity Theatre, co-producer of the play with the Soho Theatre, where it was first performed. Continue reading “Lampedusa: ‘Fucking hell. Why are people kind?’”