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Posts Tagged ‘Laura Dos Santos’

I love it when theatre tackles the issues of the day. I particularly liked Nicholas Kent’s ‘tribunal plays’ at the then Tricycle Theatre – Bloody Sunday, Stephen Lawrence, Arms to Iraq and others……and last year the Grenfell Inquiry, all verbatim from transcripts / presence at the inquiry, but edited. This is in the same vein, though a libel trial, less depth and less forensic, but very entertaining.

As an avid theatre-goer, when I walked into Wyndhams Theatre I knew I was not with ‘my people’. This show, originally scheduled as a one-off but now at least seven, has attracted the twitterati and the media. There were whoops, cheers and gasps, but then again we were witnessing a distilled version of one of the most preposterous cases even to be heard in a British court. Whatever possessed Rebecca Vardy to bring her libel action I don’t know, but it misfired even more than could have been predicted. The winners, as always, were the lawyers, with total costs of something like £3m, all paid by a very rich Vardy to very rich legal eagles. Just think how many hospice beds or food banks that would fund. Obscene.

Liv Hennessy’s editing and adaptation seems to have captured the key points and essence of the case, confirming the limited amount I’d read. Lisa Spurling’s staging is very clever, employing two football pundits to act as narrators / commentators. The stage floor is even laid out in green with pitch markings. Lucy May Barker as Vardy and Laura Dos Santos as Rooney are both terrific. The pundits double up to play smaller parts, notably Nathan McMullen as Wayne Rooney. They have small tablets which double up as character tools and actor scripts. For something put together quickly for what was meant to be tonight only, it’s very well done.

I will be amazed if seven doesn’t become a much bigger number. You move from disbelief (mostly at Vardy’s lost documentation) to admiration (of Rooney’s detection strategy) to anger (at the waste of time and money and the damage both the gutter press and social media do daily) to the guilty pleasure it brings. Vardy and The Sun come out of it badly – nothing new with regard to the latter, but the former was just foolhardy and / or badly advised & single-minded in her quest for fame. Yet I left the theatre feeling sorry for both of them.

Go see for yourself. You’re unlikely to regret it.

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Northern Ireland playwright David Ireland has delivered two of the most surreal and controversial new plays of the last five years – Cyprus Avenue at the Royal Court, where a unionist was obsessed by his baby granddaughter’s likeness to Gerry Adams, and Ulster American at the Traverse in Edinburgh, where an Ulster Protestant playwright is outraged by Hollywood’s rewriting of Irish history. This 2011 play, now getting its British premiere, pre-dates them both, but is just as surreal and an even more controversial black comedy, a metaphor for the unionist view of Northern Ireland after the peace process.

Alan is bothered by his neighbour’s barking dog so he visits the doctor who diagnoses depression. Not satisfied, he goes the the BBC to seek mediation from Eamonn Holmes. He confronts his neighbour who claims he has no dog. Is it all in his head? What follows is a bestial attack on the dog, a visit from the paramilitary to exact punishment for it and ‘eye for an eye’ revenge for the attack. Ireland’s coruscating humour is aimed at the solution to ‘the troubles’ through the peace process, from a unionist perspective.

It’s superbly acted, with Daragh O’Malley commanding the stage as Alan, and Kevin Trainor doubling up brilliantly as doctor and dog! There’s excellent support in two roles each by Laura Dos Santos and Kevin Murphy and by Owen O’Neill and Declan Rodgers in individual roles. Director Max Elton and designer Ceci Calf use the tiny Finborough space brilliantly. Ireland really is a one off, a very distinctive playwright and a lone voice in reflecting on the unionist perspective of recent history and the political situation today.

The Finborough proving indispensable again.

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If you visit the old prison in Freemantle, Australia, you can look at the records of those transported across the world for their crimes. One boy from South Wales had stolen a loaf of bread; he could have been an ancestor of mine. Still, I suppose their descendants in Australia today aren’t exactly unhappy!

Timberlake Wertenbaker’s 1988 play, based on Thomas Keneally’s book The Playmaker, tells the story of the first penal colony ‘down under’. Their crimes were petty but their punishment far from it. The military men who accompanied them were as merciless as the legal system which sent them, but one officer, with the senior officer’s support, attempts rehabilitation by staging a play – George Farquhar’s The Recruiting Officer.

We start on the voyage and end on ‘opening night’ and between the two we peep into the lives of both the convicts and the enforcers and see their relationships evolve as they rehearse the play. Theatre proves to be divisive but ultimately redemptive. Anyone who has seen a performance in a prison today will attest to this. My visits to Wormwood Scrubs, Brixton, Wandsworth & Send have been amongst the most moving of my theatre-going life.

The play has now become a classic and a set text (cue schoolgirls with enough rustling sweet packets to open a shop, something which marred the first half until I escaped to a far away seat) and this revival resonates as much as the Royal Court original, perhaps more so given we have 50% more prisoners 25 years on.

It’s performed very well by a cast of 10 playing multiple roles. I was impressed by the earnest passion of Dominic Thorburn as Second Lieutenant Ralph Clark, who directs the play within the play, and how Laura dos Santos conveyed the extraordinary journey of convict Mary Brennan. John Hollingworth doubles up as the senior officer Captain Arthur Phillip and Jewish convict John Wisehammer most effectively. Max Stafford-Clark’s staging moves swiftly and seamlessly between scenes on Tim Shorthall’s simple versatile set.

Great to see this multi-layered play still packs a punch and still makes its points so effectively after all these years, though I would have liked to have seen it ‘in rep’ with The Recruiting Officer as it originally was.

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Though not as successful as the same playwright’s Shirley Valentine, also in rep at the Menier, Willy Russell’s 1980 play gets a very welcome revival.

It occupies similar territory to SV – a young hairdresser seeking to break out of her entrapment, but this time through education. Each short scene constitutes a meeting with her Open University tutor at various stages of her journey. She falls for her new life and her new friends and he falls for her.

Laura Dos Santos is terrific as Rita, more believable than Julie Walters in the film because she is / seems younger and more impressionable. Larry Lamb seemed distracted on the night I went, which affected his performance, particularly in the first half.

The are too many short scenes, which leads in an episodic structure so that the play doesn’t flow as well as SV. Still, much to enjoy, again timeless, and well worth another trip to the Menier.

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