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/

Dan Gordon to make his Danske Bank Stage debut in co-production of The Shadow of a Gunm

Belfast-born Dan Gordon will next month make his long-awaited debut on the Lyric Theatre’s Danske Bank Stage in the new co-production with the Abbey Theatre of Sean O’Casey’s masterpiece The Shadow of a Gunman.

Best known for his portrayal of Red Hand Luke in the BBC Northern Ireland sitcom Give My Head
Peace, Dan Gordon also starred in Marie Jones’ acclaimed play A Night in November in the old Lyric Theatre in 2002, and directed her sell-out play Mistletoe and Crime at the Lyric in December 2014.

Gordon plays the role of Adolphus Grigson, an Orangeman living in the same Dublin tenement slum
as Donal Davoren - a romantic poet, mistakenly believed to be an IRA gunman in hiding by his
neighbours. Sensing that this assumed identity is winning him the respect and love of those around
him, Davoren does nothing to discourage the deception, but when the city is placed under curfew
his fantasy starts to feel uncomfortably real.  Funny, profound yet ultimately tragic, the play offers a
window onto the horrors of conflict and the allure of appropriating an alter ego when the
admiration of others is at stake.

This new production - the first Gunman at the Lyric for 10 years - is directed by Wayne Jordan and
stars award-winning Mark O’Halloran (Adam and Paul, Calvary), Amy McAllister (Philomena, Ruby Strangelove Young Witch) and David Ganly (Shakespeare in Love, The Weir) in addition to Dan
Gordon.

Executive Producer Jimmy Fay said, “Sean O’Casey is one of the most brilliant Irish writers of the last 100 years, and we’re really excited to be partnering The Abbey to bring this vibrant new production to Belfast and Dublin.  I’m a big admirer of Wayne Jordan’s work, and I’m sure that audiences will be as delighted as I am with the fresh approach to the play that Wayne has taken. This is a fantastic play that manages to be genuinely funny without shirking away from the realities of war, and it feels as contemporary today as it did in 1923”.

Previews will be on May 3, 5 and 6, and the production will run until June 6.

Tickets are priced from £15 - £24.50, and can be booked by calling the Lyric box office on 028 9038 1081 or online at www.lyrictheatre.co.uk

The Pillowman - The Lyric Theatre, Belfast

Oscar-winning Martin McDonagh’s black comedy thriller The Pillowman opens at the Lyric Theatre tonight, in a new production from Decadent Theatre Company.

The play, which has won two Tony Awards, the Olivier Award for Best New Play, and the New York Drama Critics' Circle Award for Best Foreign Play, has received widespread critical acclaim in London, New York and the Irish Republic, and has cemented McDonagh’s reputation as one of the leading playwrights and film writers of his generation.

Decadent’s production stars David McSavage (The Savage Eye) and Gary Lydon (War Horse, The Guard, Calvary) as two brutal policemen operating in a totalitarian state. When the short story writer Katurian K Katurian (Peter Campion – London Irish, 6Degrees, Lawless) is brought in for questioning he can’t understand what he could have done wrong, but he gradually realises that there may be a terrible connection between his stories and a series of bizarre and horrific murders.

The Lyric Theatre’s Executive Producer Jimmy Fay said, “Martin McDonagh’s plays have always been hugely popular in Northern Ireland, and for many people The Pillowman is his finest work. We’re excited to host this incredible production and its all-star cast, and I’d urge anyone with an interest in award-winning theatre, gripping thrillers and the art of comic storytelling to see this show.”

The Pillowman will be performed on the Danske Bank stage from March 24 - April 19. Tickets cost
from £15 - £24.50, with £10 student tickets available on Tuesdays, Wednesdays and matinees.

Contains strong language and adult content.

For more info and to book tickets click here.

Sleeping Beauty at Lyric Belfast

Sleeping Beauty runs on the Danske Bank Stage from 5 December 2014 to 4 January
2015. Tickets are £12.50 for children and £18 for adults or buy a Family Ticket for
just £54 (1 adult and 3 children or 2 adults and 2 children). 
To book contact the Lyric box office on 028 9038 1081 or online at
www.lyrictheatre.co.uk

Sam T McKee as ‘Prince Antoine’

Kathryn Aiken – as the magical fairy ‘Firefly’

 Jo Donnelly as the evil fairy ‘Roselyn’ 

The cast of Sleeping Beauty

Beccy Henderson as ‘Princess Rose’

Tommy Wallace as ‘Fang’ and Richard Ashton as ‘The King’ 

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

The Seafarer at the Lyric Theatre, Belfast

Thursday night saw the opening of The Seafarer at the Lyric Theatre, Belfast.  Of the whole season brochure, this was the production I had picked out as the one I most wanted to see.  Co-produced by Perth Theatre and Lyric Belfast, the production is directed by Rachel O'Riordan and is both a Scottish and Northern Irish Premiere.

Gary McCann's set is beautifully intricate, every shabby detail carefully placed to give the overall effect of a deteriorated, ramshackle hovel.  The setting reflects the characters' own battered lives, filled with difficult memories, troublesome relationships, gambling and alcoholism.  The actors all portray very different characters, which both compliment and repel each other. Richard, the older brother played by Ciaran McIntyre, is a domineering old man, easily aggravated and wily.  His younger brother Sharky, played by Louis Dempsey is trying to dry out, and while staying with Richard has become his skivvy.  The dynamic between these characters is both tender and tense with Richard and Sharky highly frustrated with each other at various points.  Ivan is an old friend of the brothers, a seemingly simple man, with a friendly nature, despite his alcoholism.  In a particularly strong cast, it is Sean O'Callaghan as Ivan who shines as this endearing rogue.

Tony Flynn's Nicky is a comic character, the Del Boy of the piece.  He is invited for a game of cards by Ivan, much to Sharky's disgust.  Given that Nicky has seemingly stolen Sharky's wife, kids and car, the dynamic between these two characters is unsurprisingly tense. Nicky brings along Mr Lockhart played by Benny Young, whose devilish scheme to bring Sharky to a terrible fate is the night's main event.  As Mr Lockhart's Mephistophelian plan becomes clear, the four men Richard and Sharky, Ivan and Nicky fall back on their friendships despite the stories, hard lessons and violence which have come to light during the card game.

Kevin Treacey's lighting is perfectly rendered as the bright daylight fades naturally and night comes in.  When Lockhart's intentions become obvious, his threatening behaviour towards Sharky is highlighted by the ominous, shadowy and forbidding lighting.  It makes for a subtle lighting design, with a big part to play in the audience perception that something very very bad has come to this particular Christmas card game.

Despite a story which deals with supremely difficult themes, there are many laughs to be had.  From Ivan's spectacular fall in the kitchen, to Nicky's sunglasses and Richard's treatment of Sharky, this story is optimistic and life affirming rather than hopeless and despairing.  Much credit to director Rachel O'Riordan who has coaxed out of these five gifted actors fine performances which are instinctively natural.  She ensures Conor McPherson's script is brought to lustrous life in all it's understated but dramatic splendor.

The Seafarer continues at the Lyric Theatre until 23rd March.  Click to book here.      
  
  

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.

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. 

   

    

Macbeth at the Lyric Theatre

Everyone knows elements of Macbeth, whether it's Macbeth's famous words "Is this a dagger which I see before me?" or the weird sisters' mantra "Double, double toil and trouble". 


Any production team on Macbeth must feel the weight of theatre history on their shoulders. With so many different productions there is a need to be distinct, to add something to the Reception of the Macbeth story. 

The first thing that struck me when I entered the theatre is the magnificent set for this story. Diana Ennis has captured the mood perfectly.  The set is steeped in suffocating darkness, the weight of pebbles on the upper layer crushing the signs of normality below.  It is dramatic, epic and courageous, a portent of the production to follow.

I loved Lynne Parker's take on the weird sisters.  They are completely integrated into the society around them, having domestic lives as well as going mysteriously about their supernatural lives.  Their furtive glances and artful ability to slip into the shadows is creepy.  The witches are all powerful, always around Macbeth, whether in his mind, putting words into his mouth, within the domestic characters surrounding him or as apparitions.        

Stuart Graham as Macbeth is strong, and he is adept at removing his ties to reality bit by bit.  His descent into madness is realised with true fear and incomprehension.  His partnership with Lady Macbeth never seems quite passionate enough.  "Look like the innocent flower, but be the serpent under it." says Lady Macbeth.  I was a little disappointed in this portrayal which was too subtle a depiction of what I see as a tenacious and manipulative character.  Even before her descent into guilt, I never quite believed that she was the powerful woman of ambition that she is written to be.   
 
Paul Mallon makes an interesting McDuff.  At first I couldn't understand his seemingly underwhelming response to the news of the massacre of  his family.  But the stiff way he holds his body and the hang of his head was not unemotional but rather his body was filled with restrained anger.  The power and emotion he mustered into in a yell of pure revenge when he killed Macbeth ensured I felt his pain and then some.
 
Banquo is especially brilliant as a particularly devilish apparition, challenging Macbeth without saying a word, a testament to Michael Condron's skill as an actor.  
 
Two moments jarred with my overall experience.  The apparation which appears from a trapdoor on the stage adds misplaced humour which does not fit with the overall sense of hysteria Macbeth is feeling. The modern costumes and use of torches fits well with the production but I felt that the addition of army style radios was a step too far into modernity.

All round I thought this was a fantastic and interesting production and one that adds to the reception of the myth of Macbeth.  The production felt particularly rooted in Ireland, and indeed in Northern Ireland.  The blackness of the set, crunching of pebbles and strategically distributed haze would not feel out of place on Belfast's Black Mountain.  It's not too fantastic to believe that you could meet one of the weird sisters walking through our streets.  The retention of the actors' Belfast accents and the simpleness of their dress gives more than just a nod to their Belfast birthplace.

Macbeth runs until 24th November at the Lyric Belfast.

BOOK HERE

Oedipus the King at the Lyric Theatre

Two weeks ago, I went to see Oedipus at the Lyric Theatre. As noted in a previous post, the show was produced by 17-19 year olds working with the Lyric team.  As we went into the studio, which looked amazing set up in traverse style, I noted the modern sofas which made my heart sink.

But I shouldn't have worried, these kids pulled it off.  The actors were all in formal suits, at first looking like they were in the Apprentice, but when Oedipus arrives complete with secret service guards, his own sharp suit and long speech, it's clear that this Oedipus has been based on the US President. The style works surprisingly well.

There were some brilliant performances throughout the play, particularly by Creon, the Messenger and Oedipus, but the actors were all good. The chorus sometimes on stage, sometimes on screen were strong. I particularly liked how the people heard the news of Oedipus' sins on a TV screen, just as the world heard the news of Bill Clinton's incident with Monica Lewinsky.  The lighting design really complemented the projection concept, the lights muted in shades of black and white until the news of Jocasta's death when slashes of red appeared on the screen. This reminded me of black, white and red film posters such as Sin City or the Godfather or TV advertising for True Blood.  This dramatic design only accented the tragedy of the awful events and underlined Oedipus' fate in blood for all to see.

It was great to see a sold out audience filled with friends and family of the young cast. I love that all these people have been introduced to Greek mythology in such an accessible way.  I love that a play written  2,500 years ago can have such resonance now. I was not the only person in the audience holding back tears. The childrens' pain at losing their father ensures that the tragedy of Oedipus is felt by all. If you don't know Sophocles' story of Oedipus the King you can download it here http://classics.mit.edu/Sophocles/oedipus.html

Director Philip Crawford is a man of many talents, and I hope the Lyric realise how lucky they are to have him.  Clearly an amazing Director drawing the best out in young actors, he also brought the RSC Open Stages project to NI, allowing amateur companies the opportunity to compete to perform in Stratford.  I know first-hand what an amazing teacher he is, as he taught me GCSE Biology in school quite a few years ago, and he alone is the reason I kept it on at A level.  He also directed one of Northern Ireland's 5 star shows just finished at the Edinburgh Fringe, Happenstance's the Boat Factory starting Dan Gordon and Michael Condron.

I'd love to see a performance of Sophocles' Elektra, Aristophanes' Lysistrata or Aeschylus' The Persians in the Lyric. (Hint Hint)  


Karen

www.twitter.com/classygenes

Oedipus the King

I am really looking forward to seeing Oedipus at the Lyric Theatre on Friday night.  It is being produced by a company of young actors aged 17-19, supported by the Lyric's Creative and Technical teams.

I have always found it a particularly desolate tale. Oedipus is a seemingly wise man who can solve the riddle of the Sphinx when no-one else can.  His realisation that he is completely powerless against the passage of destiny is one that is repeated throughout Ancient myth.  

He never stands a chance.  Once the oracle has given its prophecy, there's no way out.

The tale teases us with hope though. We see Oedipus saved by a servant after being abandoned with his legs pinned together, we see him grow up in the court of a King, we see him beat the Sphinx, marry a Queen and have children.  But when disaster strikes in Greek myth and destiny catches up with you, you can be sure your fate will be extreme. 
And so it is for Oedipus.

I'm looking forward to seeing this translation of Sophocles' classic given a modern twist.  I do think it rather funny that the person directing the piece is my old Biology teacher, the classics consultant is my old University tutor and my husband is the Lighting Designer.  

I'm not sure what the Oracle would read in to all these coincidences but it certainly feels like I am destined to attend...

Karen

www.twitter.com/classygenes