Yer Granny by National Theatre of Scotland

National Theatre Of Scotland’s new comedy Yer Granny, is set in Glasgow, in a flat above an obsolete chip-shop, pushed out of business by its competitors across the road.  Set in a hyper realistic but hideous 1970's living room, decorated alarmingly in mismatched patterns and beige, the Bay City Rollers blast out from the radio, and the clothing is the cream of seventies fashion.

The occupants are the Russo family. A 100 year old Granny, played by Gregor Fisher, who is greedily eating the family out of house and home, the audience wondering just how much food she can get through.  Diligent hard-working grandson Cammy and his wife Marie try to keep things going but are obstructed by their hapless family members. Cammy's brother Charlie is a 'musician' who has written a few bars of 'Requiem for Accordian' and not much else. Unwilling to work, he impedes Marie's plan for him to get a real job, at every opportunity. Innocent and romantic Aunt Angela wants to help out, and her spiral into drug dealing is perhaps the most humorous aspect of the play. Nice but dim Daddy's girl Marissa completes the family set up.  

The broad comedy of the first act darkens in the second.  Granny's insatiable appetite drives the family to desperate measures. There is a sense of impending doom and the morality of the family dissolves under the strain. Marie leaves her husband, they sell the furniture piece by piece, Marissa becomes a prostitute, Aunt Angela deals drugs. Charlie perhaps has the most outrageous approach to the problem, trying to lose Granny at the fair, attempting to murder her and inventing an elaborate scheme to marry her off to the much younger octogenarian Donnie Francisco.

The play appears to have many layers of meaning.  Granny could represent our global consumption of the world's resources, threatening ecological catastrophe. She could represent the parasitic matriarch in some European societies, controlling the lives of her children and grandchildren. She could represent capitalism, the welfare state or communism devouring it's government, its economy and its society.

It asks "What is your breaking point?" "At what point do you sell out your moral values?"

Based on Roberto Cossa’s Argentinian classic farce La Nona, written in 1977, a time of great difficulty for playwrights in Argentina, when artistic censorship was in place and Cossa asked "Do we Argentine playwrights even exist?"

Soon after Cossa’s condemnation of artistic censorship, he and other Argentine playwrights launched ‘Teatro Abierto’ (Open Theatre), a movement that would become one of the most important artistic resistances during the dictatorship. In a massive festival that generated over 25,000 spectators, artists came together to stage one-act plays that directly or indirectly spoke out against the dictatorship and proved that yes, Argentine playwrights do exist.

During the dictatorship, there was no censorship for plays before they were staged. After the premiere, some plays, like Eduardo Pavlovsky’s intense family drama ‘Telarañas’, were banned. However, many plays with decidedly political undercurrents premiered to great public and critical success, one of which was La Nona in which our ravenous Granny ends up killing her children.

I'm not sure that the depth of meaning was clear to the Gregor Fisher fans in the Lyric, who laughed and cheered at every move he made.  The audience laughter at the comedy of the first act lessened considerably as the surreal plot and dark humour took over and people realised that there was no way out from the ferociously gluttonous Granny who at the end threatened to eat the audience as well.

Yer Granny is at the Lyric until Saturday. Click here to find out more.

Read more about Teatro Abierto here: http://www.argentinaindependent.com/top-story/thirty-years-after-teatro-abierto/

The Bard at Belmont Open audition call

Tom Doughty at the Black Box 30 October at 8pm

Fresh from gigs at the Royal Festival Hall, Southbank and the Liverpool Music Festival, Tom Doughty is performing a one off gig in Belfast to raise money for Arts Care, before playing the International Guitar Festival of Great Britain. 

In a world where music and musicians are rigorously categorised for marketing purposes, Tom Doughty presents a challenge... 

How do you pigeonhole someone who has played, studied and shared stages with US blues guitar master Woody Mann; Australian classical guitar maestro Craig Ogden; Indian slide guitar genius Debashish Bhattacharya; and UK pedal steel King BJ Cole?

A solo artist, half a duo, with a band or indeed as 2014 saw in Qatar Opera House, a soloist in a unique orchestra, Tom ignores boundaries.

A performance by Tom Doughty seamlessly blends all these influences with his own improvisational style to create a unique experience for the listener. A 1920s blues classic might be followed by a new take on a Marvin Gaye number; a hauntingly evocative original instrumental gives way to Cole Porter, the Beatles, or Randy Newman. An instantly recognisable slide guitar style, passionate vocals and a relaxed, wryly humorous line in stage patter take the audience on a unique musical journey, echoing the diversity of the family record collection that made such an impression on the young Doughty.

“Just the right amount of laidbackness” – John Renbourn

A self taught guitarist from the age of seven, Tom Doughty had literally to reinvent a way to play guitar after a serious injury in 1974 left him with limited use of his hands. Frustrated at hearing music in his mind which he could not physically produce on his instrument, Tom’s tenacity and creativity helped him discover a route back to being a musician. His sensitivity of touch allows him to pull every ounce of emotion from the instrument, as if he has somehow become one with the guitar.

“Tom Doughty is possessed of a deep musical soul” – Bob Brozman

With numerous radio and TV appearances and four critically acclaimed CDs to his name, Tom’s reputation as a musician, singer, songwriter, teacher, writer and workshop leader is international. He performs regularly in the UK and Europe at clubs, concert halls and festivals, and has toured the USA and Canada and the middle East.

“Possesses a level of communication with his audience that is by no means limited to his guitar playing... it feels like a large collection of friends have called round to Tom’s place for a chat and some songs” – Review, Acoustic magazine

So forget preconceptions and put labels and marketing hype aside; Tom Doughty plays and sings real, organic music that comes from the soul.

30th October at 8pm, Black Box Belfast
Tickets for the event can be purchased online by clicking HERE.

All proceeds to Arts Care. Please consider making a small contribution to this worthwhile charity.
To make a donation and for more information, please see:
https://www.justgiving.com/slideguitarworkshop

A Historic Screening at Belfast City Hall 8th August

At times like these men were wishing they were all kinds of insects - The MAC Belfast

The starting point for Graham Gingles WW1 commemorative project was the simple act of the MAC gifting a decorative brass box to the artist, the same brass box sent by Princess Mary to members of the British, Colonial and Indian Armed Forces at Christmas in 1914.

Graham has dramatically scaled up his intimate and enigmatic wall-hanging sculptures, usually enclosed in meticulously crafted wood and glass boxes, in order to occupy the entirety of the Sunken Gallery at the MAC, where the walls of the gallery become the form of enclosure. The work deals with themes of memory and loss and is both theatrical and sculptural, presenting the viewer with a totally immersive experience. Dark and compelling, this piece invites the viewer to come close and examine the intricacies of the various compartments and corridors within this room.

The title of the work is taken from the War Diaries of Robert McGookin from Larne, Northern Ireland who spoke of the men’s wish whilst under shell fire to become like insects like a worm burrowing into the trenches.

For more information on this commission, and other related projects in the UK, please see 14-18 NOW.

The exhibition runs at the MAC Belfast until 17 August 2014

Culture Babies launched

Young at Art is have announced the launch of CULTURE BABIES, a new creative playgroup for under 4's this Summer.

Based in CastleCourt shopping centre this event is FREE for parents of children and groups from 0-4 years to attend. It will be jam-packed with fun activities changing every week, and led by experienced artists to specially cater to very young children.

Sessions include; baby yoga, dance, drama, messy play, music and much, much more. The range of interactive and creative experiences of Culture Babies supports young children’s creative expression, enabling them to try new things, and giving them the freedom to get as messy and as creative as they want, in a safe, fun and welcoming environment.

The activities behind Culture Babies will help to build very young children’s self-confidence, interpersonal and technical skills as well as offering and a wonderful way to bond with your child.

The group are planning to meet every Thursday morning between 10am - 12 noon from 10th July until provisionally September.

Schedule:

10th July: Make Your Own Fort

17th July: Make an Aquarium

24th July: Playing with Plasticine

31st July: Baby Yoga

7th August: Make Your Own Musical Instrument

14th August: Messy Painting

21st August: Wall Collage

28th August: Baby Dance Session

11th September: Baby Drama Session

This is a FREE, drop-in group with no booking necessary.

Giro d'Italia Fever from East Belfast

The company behind 'The Boat Factory' and 'Not About Heroes', Happenstance Theatre Company have brought us another fine piece of drama especially for the Giro d'Italia, Pink Lycra starring Michael Condron.

Coming Up: Flesh & Blood Women at the Grand Opera House

In what is believed to be the first-ever all-female, home-produced theatre production in the history of Northern Irish theatre, Flesh & Blood Women is about to set the Grand Opera House alight in early May, running from Wednesday 7th – Saturday 24th May.

Green Shoot promise an exhilarating night at the theatre with the production consisting of three hard hitting short plays written by Dawn Purvis, Brenda Murphy and Jo Egan.

Writing for the theatre for the first time, in her play Picking Up Worms, former Progressive Unionist Party leader Dawn Purvis tells a story from the 1970s about a child’s reflection of events on a street in Belfast during the Ulster Worker’s Strike in 1974.

Ballymurphy playwright and writer of the award-winning A Night With George, Brenda Murphy, tells the extraordinary true story of her mother having 11 children, six to a married man who lived around the corner with his own family.  In Two Sore Legs the former Republican prisoner uses her trademark Belfast humour to tell this very personal story, told from her mother’s perspective.

After last year's success as the writer/ director of Crimea Square, voted winner of the Audience Awards at the Ulster Bank Belfast Festival at Queen's, Jo Egan’s play Sweeties will tell the stunning story of two sisters with conflicting memories about a life-changing incident from their childhood. Sweeties is based on Jo’s original oral research with Belfast women.

Flesh & Blood Women is unique in that it is the first production in the history of Northern Irish theatre where everyone involved is a woman. From writers to designers, from producer to director and stage management to marketers – believe it or not – it’s never happened before. In total, nineteen women will be involved at all levels of production.

The company are especially thrilled to have acquired the services of Coronation Street actress and director, Noreen Kershaw. Noreen won a BAFTA for directing the controversial Coronation Street storyline about the rape of Carla Connor. She has also directed episodes of Shameless and Emmerdale.

The all female cast includes Kerri Quinn, Maria Connolly, Rosie McClelland and Kat Regan.

For more information and to book tickets please click here.

@classygenes

Coming Up: Brassneck's Man In The Moon at the Belfast Waterfront

Man in the Moon brings captivating local theatre to Belfast Waterfront’s Studio from Wednesday 19 to Saturday 29 March.  (No performance on Sunday 23 March).

“A brave and stirring piece of theatre… marvellously engaging.”

(Irish Theatre Magazine)

Written by acclaimed playwright Pearse Elliott and starring Ciaran Nolan - one of Ireland’s most gifted young actors - this one man show is brought to you by Belfast's Brassneck Theatre Company, the producers of smash-hit shows The Sweety Bottle and A Night With George.

“Funny, fast-paced and unexpectedly poignant.”  

(Culture NI)

Powerful, poignant and funny, this darkly comedic roller-coaster is the tender story of one man’s resolve to overcome the worst that life has to throw at him.  Sean Doran has recently been fired from his dead-end job. To make matters worse, his girlfriend has left him, taking their child, and the bank has just repossessed his house.

And so, we find Sean alone by the Half Moon Lake, a natural lagoon in the middle of Lenadoon Housing Estate in West Belfast, which although beautiful is known as a place of tragedy.

“Belly laughs, scene after scene.”  

(Irish News)

Over the course of one moonlit evening he takes us on a soul-searching journey through life, love and death, via his past, present and future.  He takes us on a ghost hunt of some of the funny people he has known and hilarious situations he has experienced in his life, whilst trying to fashion sense of his recent run of bad luck.

“Brassneck have pushed their creative boundaries with this play, which although comedic in many senses, deals with deeply serious and relevant subject matters.”

Writer, Pearse Elliott

“I have drawn parallels with the classic movie, ‘It’s a Wonderful Life’. Sean is our George Bailey and throughout Man In The Moon he talks and tries to make sense of his life and all the bad events that have come his way.  Reflecting on the people he has lost to suicide, Sean looks for a way to deal with everything and troop on. This is a story of survival, choices and how we can make a difference in this world.”

Director Tony Devlin

Man in the Moon is recommended for ages 15+ and contains strong language.

Tickets for Man in the Moon are available at www.waterfront.co.uk

Verdi's Macbeth by NI Opera

Given how much I loved The Flying Dutchman I was expecting great things from NI Opera's Macbeth.

It had many virtues which I absolutely loved.

The American Horror Story style witches straight out of a Victorian lunatic asylum were excellent and their movement was suitably creepy to ensure some audience members visibly recoiled when they first came on stage.

A stunning backdrop with a striking image by Alan McMahon which nodded to the iconic visual of Cosette from Les Miserables and which I would quite like on my bedroom wall.

The set was beautiful and though stark and cold for the scenes with the witches, was soon warmed up with banqueting tables, banners and flaming torches for the scenes in Macbeth's castle.  The raked stage worked well to ensure a feeling of claustrophobia, though I felt that this effect was lost a little by the performances.

Lady Macbeth's shelves of shoes made lots of the female audience members jealous but was a well placed reference to her determination to rise to the top and look good doing it. A press photographer taking photos at important moments in the Macbeth's lives pointed to the modern day cult of celebrity and I thought this was a nice touch.

A large curtain with images of the village people who had gone missing was poignant and sad and very much reminded me of the notice boards of missing people which spring up during a natural disaster or civil war.

I loved the gang of hoods with their covered faces and hard man stances. They very much reminded me of Belfast's own spides or indeed Tartans.  

While all these elements by themselves worked well and were striking, I felt that perhaps there were too many styles for the audience to take in.  The darkness of the story and the sense of foreboding which should have been present was not visible as the audience tried to keep up with the varying themes.

I felt that the performers lacked any real belief in the story they were telling and I made little connection with most of the characters with the exception of MacDuff. Andrew Rees has an engaging personal acting style and I really felt his words as he sang about his children being killed by the tyrant Macbeth.  It seemed that Lady Macbeth was played for laughs rather than being the conniving and reckless bitch I wanted her to be.

 
If I'm being honest a few simple things really annoyed me about the production which should have been easily fixed.  A screen provided on the stage to show the horrors that Macbeth had committed was much too small for anyone to see and given the amount of room on the stage, could have been better used.  Having a stage crew member carry said screen off mid-scene in full light completely broke my sense of disbelief and it seemed like this had been thrown in at the last minute.  While having crew on stage is acceptable for small theatre shows, I feel for a production which is so focussed on slick scenes and expensive sets, this was an oversight which should not have happened.  

Overall, I did enjoy the show.  The Ulster Orchestra as always, were amazing and I always enjoy the visual spectacle of opera but I wanted to be shocked and angry at the Macbeth's behaviour, instead I was amused.

That's not so bad, is it?

@Classygenes

Image credit: Patrick Redmond

Noel Coward's Brief Encounter - Wireless Mystery Theatre: Review

One doesn't really know what to expect when attending a Wireless Mystery Theatre performance. From War of the Worlds during Belfast Children's Festival, Scream Tea in White's Tavern or A Christmas Carol in the Ulster Hall, their work is always varied and sometimes unexpected.

Last night I went to the preview of Noel Coward's Brief Encounter.  A classic of cinema, Brief Encounter is repeatedly voted the most-loved romance on screen, a tale of two lovers whose love can never be expressed.  An innocent meeting of a married man (Stephen Beggs) and a married woman (Mary Lindsay) turns into a love affair which threatens to destroy their marriages, friendships and lives.  The story starts at the end, so to speak, as Laura feels faint in the bustling train station and wishes her friend is dead because she won't stop talking.  As the jigsaw is put back together, we find out why Laura feels the way she does, just who the mystery Doctor is she was saying goodbye to and why it was all so overwhelming.

Wireless Mystery Theatre use sound to great effect in this show.   Using surround sound technology, trains rattle through the theatre, making the audience feel very much like they're right in the middle of the action. The effect of this is that we have to listen all the more intently to what is happening between the characters. For me, this just enhanced the secretive nature of the affair, feeling like I was eavesdropping on a couple and hearing their deepest desires.

Mary Lindsay is particularly suited to playing Laura Jesson.  Her face spoke a thousand words as the guilt tore her apart and she fought with her inner, barely acknowledged desires. Stephen Beggs' Dr Harvey is dashing and handsome in his suit and hat and at times a little insistent.  We never see Dr Harvey's wife and so all our thoughts are with Laura and her turmoil.

Despite some first night technical hitches, the performances induced a few tears from a couple of unnamed audience members, overwrought by the emotional difficulty of the unplanned romantic interlude and it's final goodbye. Indeed it was heard to be said how easy it would be for something like this to happen, a testament to Coward's writing engaging even the most restrained audience members with Laura's predicament.

For me, by far the most poignant part of the play is when Laura's husband Fred (Mark Claney) says 'You've been a long way away... Thank you for coming back to me'. Despite his blandness and apparent disinterest, he has noticed the whole time that Laura's mind was on something else.

Brief Encounter runs until Saturday 15th February in the Baby Grand.
Click here to book tickets.


        

Castleton Lanterns Exhibition Launch Red Barn Gallery Thursday 3 October

The launch of the Castleton Lanterns exhibition in Red Barn Gallery will take place on Thursday 3rd October 2013 at 6pm. The exhibition includes lantern slide images of men of Castleton Church, York Road who served in the Great War, and will run across Remembrance Day until Wednesday 13th November 2013.

Thomas Robinson

In April, a box of old lantern slides was found in the organ loft of Alexandra Presbyterian Church. The images were of soldiers and sailors in First World War uniforms and were made by the famous Belfast photographer Mr Alex. R. Hogg. The committee minutes of Castleton Church state that in 1918 Mr Hogg was asked to put together a lantern slide exhibition ‘of our men at the front’ which was to be shown on 16th December 1918. Tickets for the lantern slide show were sent to the families of serving men.

Unfortunately the slides were not named and Alexandra Presbyterian Church have been attempting to identify the men in the slides. To date, over 20 men have been identified but there are many more faces to put names to. Red Barn Gallery have stepped in to help the project attract a wider audience, to enable the families to see their ancestors’ images and to ask the people of Belfast to visit to aid in the identification of the men.

Francis Ernest McCann

The importance of finding the families of the men is demonstrated by some of the stories being told. One such story is of Francis Ernest McCann and James McCann. Francis served in the Royal Army Medical Corps and James served in the Royal Inniskilling Fusiliers. On 1st July 1916 (known as The Somme), Lance Corporal James McCann was killed. James is commemorated at Thiepval Memorial and his photo was listed in the Belfast Telegraph when he died. This enabled the identification of James as Slide Number 58.

David Morrow, a reader of the Castleton Lanterns blog got in touch to tell us that these men were his relatives and was able to identify Francis Ernest McCann as Slide Number 5 and provide a photo to confirm. Francis was married in 1916 to Sarah Baird Crossan, survived the war and went on to have children. He died in 1937 of cardiac failure having suffered from bronchial problems as a result of being gassed in the trenches. During the Belfast Blitz of April 1941, Francis’ wife Sarah and two of their daughters were sadly killed in Glasgow Street. One daughter survives today. David was also able to confirm that Slide Number 58 was James McCann as suggested, evidenced by his treasured family photos.

James McCann

David supplied a letter written by James’ friend James Magill who wrote to his mother Mary to tell her how her son had died and how he had received a proper burial. Another Royal Inniskilling Fusilier, the letter writer James Magill had been wounded in France and the Belfast Telegraph had printed his photograph. We were then able to identify the man who wrote the letter James Magill, as Slide Number 73. James Magill survived the war.

James Magill

Karen O’Rawe, Project Manager of Castleton Lanterns said

“The example of James Magill, Francis Ernest McCann and James McCann demonstrate just how closely connected all the Castleton Lanterns men were. They were brothers, best friends, pals and colleagues. It’s important to find their stories and tell them, to understand their lives and remember them, coming up to the anniversary of the start of the Great War. It is sad to hear the stories of those who were lost or wounded beside those who lived and flourished and I’m sure the families who gathered to watch the lantern slide show in 1918 must have felt something similar.

“We are asking everyone who had relatives around the York Road at the time to visit the exhibition, and to log on to our website at castletonlanterns.co.uk. We have a list of all the men on the Roll of Honour for Castleton (click here to see Eddie’s Extracts Roll) listed and you may find that your family member is pictured. We’d love to hear your stories and see your family photos.

Alfred Brown

It is easy to forget how much these families gave up, how a whole generation of young men was lost and how much the community needs to remember not only the sacrifice of those who died, but also the sacrifice of those who lived. The attempt to identify the men, their stories and their families is a way of shining a light on their lives. With no remaining veterans of the Great War, it is especially important that these faces do not become numbers or statistics. These men have names, families, memories and experiences that with research and your help, we will be able to record for generations to come.”

Frankie Quinn, Director, Red Barn Gallery said “The Red Barn Gallery is delighted to be involved in this important historical project. This project compliments our aim to inspire and educate through exhibitions, projects and workshops with the objective of encouraging the appreciation of photography in Belfast.

Thomas Scott Freebairn

We have a particular interest in “Shoebox Archives”, photographs of people, places and events which have sat unseen for years. This recently unearthed treasure is an important part of our shared history and a must see for anyone with an interest in the history of our city.”

The exhibition launches on Thursday 3rd October 6pm – 9pm, and runs until Wednesday 13th November, at Red Barn Gallery, 43b Rosemary Street, Belfast.

Everyone Welcome

Further information from: Karen O’Rawe / karen@castletonlanterns.co.uk

Love, Billy at the Lyric Belfast Review

Love, Billy is part of the Lyric Theatre's Belfast season, Graham Reid bringing back Belfast’s most famous family for a fifth installment in the now legendary series of Billy plays.

"Love, Billy sees Billy Martin returning to Belfast after 25 years away. He left without warning or informing anyone and now all of the Martin family are awaiting Billy’s arrival to celebrate their father Norman’s 74th birthday. They haven’t seen Billy in all that time and still have no inkling of why he left. There are family grudges to be resolved and Billy’s story to be revealed, at the heart of which is a man struggling to adapt to a family and city he knew so well but hardly recognises any more."

There are some fine performances, especially from Joe McGann and George Shane who inhibit their characters with confidence.  It was great to hear mention of a relation of mine, Buck Alec and his toothless lion (also mentioned in Brassneck's latest production The Sweety Bottle).  I thought there were some really nice moments of wit, particularly from Ciarán Nolan as Ernie Greer, and from George Shane as Norman Martin, Billy's father.

But in the end, I have to be honest, I found this show difficult to enjoy.  While it did have some nice moments, overall the production is bland.  Some of the words seem unnatural in the characters' mouths, the script could be edited into an hour long show without losing anything and nothing of importance or interest happens.  While the set looked nice, it's angle made it very difficult to hear, as at times the actor's voices were not projected out into the auditorium (I was six rows from the front).  Cutting out the pointless set changes and paring down the repetitive script may have allowed the actors to build up a bit more energy.

At curtain call the actors were clearly expecting a standing ovation when the audience applauded politely instead.  It seems it was a night of disappointment for both them and me.

Love, Billy runs till 25th May at the Lyric Belfast.  Click here to book tickets. I'd love to know what your thoughts are.



Karen

http://twitter.com/classygenes




          

Our Country's Good at the Lyric Belfast Review

This year is the 25th anniversary of the premiere of Our Country's Good, the contemporary classic by Timberlake Wertenbaker. Adapted from the novel The Playmaker, which is based on historical fact, the drama tells the story of how convicts in the penal colony of Australia were allowed to produce their first play, The Recruiting Officer.

Our Country's Good makes a case for the revolutionary and redemptive power of theatre. The governor suggests that the convicts put on a play which, he believes will be beneficial to both them and their jailers.  The officers keep the convicts in their place with humiliation and punishment and are not convinced that the production will be useful. The prisoners are understandably suspicious. Second Lieutenant Ralph Clark agrees to direct the play and his journey towards opening night is difficult one, with the company losing cast members throughout rehearsals to disagreements, punishments and artistic differences. The reality of penal life, highlighting lashings and hangings creates a harsh canvas for Wertenbaker to build an often witty tale of discovery and understanding.

The Lyric Drama Studio under Philip Crawford's direction have yet again produced another excellent, thought provoking show.  The strength of this production is the raw talent on the stage.  The actors are well cast and their potential is obvious, with Rosie Barry in particular shining in her role as Dabby Bryant.  Carla Bryson portrayed Duckling with great ability and her strength as an actress is highlighted as she despairs over Harry's death.  I particularly enjoyed the convicts' treatment of Ketch Freeman, the hangman, as they spat on him everytime he spoke. Luke Bannon played this role with just the right amount of nervousness, the character's hesitant disposition underlying his determination and humanity.      

If the value of theatre is to confront, teach and captivate, then Our Country's Good succeeds. This is a great production with many stars of the future getting their first credit on stage.

Click here to watch Philip Crawford discuss the play.


Karen

http://twitter.com/classygenes

The Man Jesus at the Lyric Theatre Review

Wednesday night saw the world premiere of  The Man Jesus at the Lyric Theatre, Belfast.  A one man show written by Matthew Hurt and starring Simon Callow, the show tells the story of Jesus, from the point of view of various characters we know from the Bible.

Matthew Hurt's programme note says that the play is 'an attempt to peel away the the layers of assumption and the residue of mythology so that we can look into the face of a man'. Given the religious mythology that has been layered on the historical Jesus over hundreds of years, this is a tall order.

The stage is completely stripped back, the brick walls and fire evacuation sign giving a sense of stark bareness, of barrenness, almost of bleakness.  This allows the audience to focus only on the actor on stage and gives the feeling of the story being told in any space or time.

Each character portrayed is given their name in Aramaic, Jesus as Yeshua, Judas as Yehuda, Mary as Miryam.  While I understand the concept behind this decision was to remove the preconceptions an audience member may have, I found this confusing to follow and spent a lot of time as each character was introduced trying to figure out who the biblical character was.  Every character had their own accent, perhaps to enable the audience to differentiate between each.  I found this very distracting and would have liked to see each character presented with more physicality, removing the strong accents completely, and providing a completely stripped back portrayal.

Simon Callow himself is an amazing actor and handled the show well despite being ill.  His passionate portrayals and understanding of the stage is excellent.

The Man Jesus is a brave play which absolutely does present Jesus as a charismatic man, an important human being and as a radical of his day.  The play does not attempt to dismiss the mythology which has sprung up from his story, but looks at how his charisma, strangeness and different opinions affected those around him and describes how his magnetism encouraged people to follow him.

Of course, it should be noted that while Matthew Hurt attempts to strip the story back and remove the years of legend and layers of mythology, he uses as his source, the Gospels, which cannot be dated accurately and are anonymous.  Other Gospels were not included in the Bible at all. The Gospels are themselves a mythology and thus we can never truly know The Man Jesus.

The Man Jesus is playing at the Lyric Theatre, Belfast until 20th April.
Click here to find out more.            


Karen

http://twitter.com/classygenes

Otello at the Grand Opera House

Opera North ran three operas this week at the Grand Opera House. 2013 is Giuseppe Verde's anniversary year and Opera North are celebrating with their production of Otello.  For the first time, I actually had company for the opera, and it was lovely. 

The opera is based on Shakespeare's great tragedy Othello, a story of malice, jealousy, torment and madness. The tragedy of the story is breathtaking and this production certainly broke a few hearts.  With half price tickets available as part of the Backin Belfast campaign,  the theatre was full of people who had not attended an opera before, the cheaper seats providing a less risky night out.  This did mean though that there was quite a bit of annoying whispering and people eating popcorn. 

I enjoyed the performances immensely, the lead playing his part with just enough frantic jealousy.  The scenes of violence within the piece were well choreographed and I truly feared that Elena Kelessidi as Desdemona would get hurt as Otello pushed her around.   Otello's entrance to the bedroom in Act 4 was terrifying and the tension was built up beautifully by some very good acting though it seemed at times that Ronald Swann was having to push his voice.

Kelessidi's voice grated a little at the start but the vulnerability with which she played the part was palpable.  Her pleading innocence in the prayer scene in particular brought a tear to the eye.

As for evil Iago, his manipulation of events was played by David Kempster with callous intent, the performer clearly enjoying his dual personality.  

Despite lacking a bit of energy in the opening scene, the chorus was generally very strong, and passionate.   As always the orchestra, conducted by Richard Farnes, blew me away.

Depicted in a garrison, the set was cold and menacing reflecting perhaps Otello's descent into mad jealousy and was put to good use.  There were plenty of places for Otello to hide and listen to conversations without being seen.  Lighting wise, I thought it a bit predictable and would have liked to have seen the lighting used more creatively. 

The surtitle screens were a bit low down to be read from the Upper Circle, I but found that I barely needed them.  Despite being sung in Italian, my knowledge of the story and the performers' expression kept me on course the whole way through.

Overall, a great night out.  I only wish the Backin Belfast discount was available all the time, to allow more people to see such amazing productions.

My love affair with opera continues...

Thanks

Karen

http://twitter.com/classygenes

Mixed Marriage at the Lyric Theatre

Ok, so I'll admit it, I wasn't convinced at all that this show was the right thing to be shown in Belfast at this time.  I thought it was just too close to the current situation in Belfast.  We have moved on I told myself.  Why would this play be shown now?  Where is the progression in Northern Ireland if this play still resonates 100 years on?

While we all think we have moved on and we chuckle at flag protesters and laugh in wonder at those politicians' views that seem completely at odds with our own, this play did have resonance with the audience in the auditorium tonight. From the rioters at the door, the police being overrun by violent mobs, guns on the streets and families being destroyed by the problems inherent in mixed marriages, it's all too real.

Marty Maguire's character Mr Rainey still exists today.  I know many people who think like him, and given what has happened over the past couple of months, I think everyone has become aware that his views are still prevalent.  I was disappointed though that the audience was never really given any indication why he thought the way he did. It meant that this character came across as unreasonable rather than having a valid opinion. The perception of Orangeism as being anti-Catholic is still the case today, even though it is not necessarily true. Despite the stereotypical bigoted character, Marty's restrained performance was refreshing.  His aggression and hard views bubbled under the surface until his mistrust pushed him over the edge of reason.

I loved Mrs Rainey and I thought that Katie Tumelty was outstanding in the role.  Her strength of character and 'live and let live' views really helped to show that despite her husband and her background, she was willing to move forward.  I enjoyed the moments of gentleness between Mr and Mrs Rainey, and thought that they really served to accent her ability to accept people for what they were.  She was, for me, where the optimism is in the play. She was the character who would enable Ireland to move forward.  I thought that the change from the original script made at the end of the play in relation to this character was misplaced.

Karen Hassan as Nora is great, particularly towards the end of the play as she wrestles with her feelings of guilt.  Her assertion that she will marry who she wants, no matter what the cost, is quickly rendered unimportant when she realises her part in what happens.  Her chemistry with Brian Markey is clear and added a perfect note of passion to the proceedings.

Brian Markey, is a talented young actor but I felt that his performance was missing some integrity.  I never quite believed his character and doubted that Hugh would have the strength to stand up to his father. His relationship with Nora was lovely though and the chemistry between the lovers was palpable. Their passionate embrace ensured that the audience was left in no doubt that this play was going to end in tears.

Gerard Jordan is strong as Mickey O'Hara. His deep understanding of the character's place in the play is obvious.  O'Hara keeps the play within its historical context of the Dock Strike.  Gerard is always believable as the brave man on the street working to bring the Dockers together, no matter what their religion. While O'Hara may not agree wholeheartedly with mixed marriage, he is willing to forgo his personal opinions for the good of Ireland.    

I have seen Darren Franklin in a few things now and I find him a very versatile young actor.  His character of the younger brother Tom highlights how Hugh was treated by his father when he was younger.  He isn't given a lot to do, but his development through the play from boy to man was excellent.  I thought that Darren established a real connection with his character - his internal terror while making his brave stand against his father was clear on his face.

All the characters have differing opinions on religion and mixed marriage.  Nora and Hugh are willing to look ahead, to make a new future for themselves without their families if they have to. They put their love for each other above their religion.  Despite his traditionalist views, Mr Rainey tentatively attempts to move forward but his mistrust of the 'other side' will never go away.  His clear love for his wife is shown in small private moments, but when push comes to shove, his opinion that he is right will always be more important.  His belief in a 'Popish plot' is shown in a dream sequence which I thought worked really well to show just how ingrained his paranoia is.

Mixed Marriage goes to show how vulnerable our so called peace is in Northern Ireland.  While people have different degrees of friendship with the 'other side', our peace is volatile and it does not take much for peoples' mistrust to return.  I think the flaw in the production is the change at the end, which removed the optimism and led the play to a different conclusion than the writer intended. That said, this is a production worth seeing.  With a stellar cast of actors, and lovely directorial touches, there was a lot I liked about this play.

Mixed Marriage is on until 23rd February at the Lyric Theatre.  You can book online here.

The Gloaming at the Empire

Another new experience for me this week, courtesy of Moving On Music

The Gloaming is described as a "newly minted collective of five remarkable musicians poised to become a vital force in Irish music. Navigating between the contemporary and traditional genres, their creativity trumps predictability – with music that is haunting and beautiful in equal measure".

I can count on one hand the amount of times I have heard live traditional Irish music. Twice after a funeral, once in Madden's where I was drinking not listening and once in a theatre show.  Other experiences include Riverdance on Eurovision and the token working class Irish dance in Titanic with Kate Winslett.  I'm not a big fan of uilleann pipes (they sound like stylophones) and my experience of tin whistles is kids murdering Greensleeves. As you can probably tell, I'm not the best person to review the event in any intelligent or knowledgeable way.

However unlikely it may seem, I'm delighted to say I enjoyed the gig.  Not only did I enjoy it but I am going to buy The Gloaming's CD when it is released in a couple of months. I won't say I'm now a fan of Irish music because that would not be true, but there was enough in the Gloaming's music to redefine my perceptions of what Irish music is.  No tin whistles, but a Grand piano, guitar, 2 fiddles and a shruti box. The music sounded ancient and enduring but Thomas Bartlett's piano, in particular added a contemporary edge.      

The ebb and flow of the music is something I really liked.  I guess I'm used to one tune finishing before another is played, but the seamless transition from songs focusing on Ó Lionáird's haunting vocals to the catchy rhythm of Martin Hayes' fiddle playing ensured a depth I never knew existed in Irish music.
From beautiful melancholy songs sang in Irish to fiddle-dee-dee reels, the colour of the music energised the room and provided real interest even to new attenders like me.

I particularly enjoyed the effect the music had on the audience. One older man standing in front of me swayed and bounced to every single beat the band played. His bobbing about like the floor was on fire seemed funny, but in this context it was my not bobbing about that was unusual.  The foot tapping on the floor started out very quietly until eventually the whole room was vibrating to the beat of hundreds of feet.

It was how the music made me feel that I didn't expect.  This was not a room full of people listening to a band play music, this was a community of friends joined in listening to the the history of the music, the stories being told and feeling the emotions being played.

Next time, I might just join in with the bobbing about...

Karen

http://twitter.com/classygenes

Penny Arcade at Outburst Arts Festival

Described by Outburst Queer Arts Festival as a 'one woman queer revolution' and a 'bona fide cultural icon', Penny Arcade had a lot to live up to. As a specially devised show for Outburst, 'The Woman who Knew Too Much' samples work from Arcade's past performances.

After a glowing introduction by Cian Smyth, Arcade bounded into the room through the audience, her personality shining as she danced her way to the stage. She proceeded what was to be a whirlwind introduction to her world. Her crazy existence was replicated on the Black Box stage, her performance chaotic from the outset. Despite the disarray, which made me nervous at times, she settled into what would become a beautiful and charming performance.

She told stories of her own life, interspersed with monologues of people such as her aunt in Soho, a homeless girl suffering from Aids and drag queen Dame Margo Howard Howard. These characters were at times amusing, at times heartbreaking and acted as an illustration of the times Arcade lived through; times of gay liberation, the cultural Renaissance of the sixties and the NEA Culture Wars of the nineties. Associations with cultural icons such as Quentin Crisp and Andy Warhol are discussed in the rundown of her rollercoaster life, as are her dealings with prostitution, rape and drugs.

Peppered with references to Northern Ireland, Arcade grounded herself well to the locality. In particular a reference to veteran gay rights campaigner P.A. Mag Lochlainn who died last week was met with a loud cheer from the audience. She thanked all the barmen and technicans by name which was a lovely touch. 

Penny Arcade was courageous, honest and enlightening, nostalgic and enchanting. She believes that if you tell the truth in Ireland and are funny then it's hard to go wrong. And she was right.

Karen

http://twitter.com/classygenes

Minsk 2011 at the Lyric Belfast

Minsk 2011, a reply to Kathy Acker by Belarus Free Theatre almost wasn't part of the Belfast Festival. As this article explains, the Belarusian authorities attempted to derange the company's production in Northern Ireland.  I, for one, am pleased that the event was able to continue as planned.

I don't purport to be a political animal and I know next to nothing about Belarusian politics.  It was interesting to discover then that Belarus is Europe's last dictatorship and that Belarus Free Theatre is banned within it's own country, and has been forced underground.     

The show begins with people stepping forward to a microphone, but before they are able to speak, they are pulled away by a group of thugs.  Eventually they don't even go to the microphone, just look at it.  One is accosted for simply looking at his watch, another for clapping.  These episodes, representing Belarusian censorship, set the scene for the stories which are to follow, highlighting the distrustful secretive atmosphere which exists for the people living in Minsk.    

We are thrown into a variety of scenes which focus on attitudes to sexuality in Minsk.  The show itself is frantic and filled with important messages, themes of violence, repression, despair and abuse sitting alongside messages of hope, a sense of home, family and the need for freedom.  
The audience is assaulted by the frankness of the language, spat out with such force that at times you don't actually need to read the English subtitles to understand what the actors meant. The audience is shocked by the treatment of women, of gay men, of people meeting in groups of more than 3 people.  The audience is saddened at the scene of a bomb in a station where blood is soaked up by sugar, and by the cheap alcohol which neuters the public against the regime.  

The production ends positively, with a Belarusian song and stories of how much each actor loves their home, how they have children and parents there, how they are still attached to their homeland. We are reminded that it is not the country that is at fault, but it's dictator.

This play has sharp teeth, it's anger is palpable.  It fights to be understood and deserves a place to be heard.  I'm glad that the company made it to the Lyric Theatre as part of Belfast Festival.  On reading about the harassment and arrests these young actors have gone through just to be part of Belarus Free Theatre, we're lucky to have had them here at all.