Preview: Not I, Footfalls and Rockaby @ The Lowry, 23/09/14 - 27/09/14

Lisa Dwan’s critically-acclaimed star performances at the Royal Court Theatre in London were successfully sold-out, and now we have the privilege of watching her in this Beckett trilogy at the Lowry in September in Not I, Footfalls and Rockaby under the direction of Walter Asmus.

Asmus knows Beckett better than anyone in the profession as he actually worked with Beckett in theatre and television, as his assistant, and later they collaborated on many productions until his death in 1989. Thus, we can look forward to these pieces showing us intense insight into how Beckett would have wanted his writings to be presented to us, as well as how Lisa Dwan undertakes the great challenge as Mouth in Not I.

Not I was originally performed by Jessica Tandy in 1970s New York and Billie Whitelaw in 1970s London. According to Professor James Knowlson, a friend and biographer of Beckett, Not I should work at speed on the nerves of the audience, rather than their intellect. Billie Whitelaw has also coached Lisa Dwan in how to perform Beckett’s characters, adding a further direct connection to Beckett.

Footfalls, which also originally starred Billie Whitelaw (as did Rockaby), focuses on the middle-aged May’s conversation with her sick mother. Rockaby, one of Beckett’s last works, explores the theme of loneliness and finality through the character of a prematurely old woman with unkempt grey hair sitting on a rocking chair.

The tour is visiting the Lowry Theatre in Salford from 23 to 27 September and will go onto tour internationally.

Words: Sadia Habib

Images: Courtesy of The Lowry

Much Ado About Nothing @ Royal Exchange, 07.04.14

Shakespeare’s well-known romantic comedy Much Ado About Nothing comes to Manchester in this new production directed by Maria Aberg. There is much merriment and mirth to welcome Don Pedro (Jason Baughan) and his company to town and Leonata (Marty Cruickshank), the Governor of Messina, is a very accommodating and gracious host. The guests have much to celebrate as they have recently won a great war, so there is dancing and laughter at the masked ball party thrown by Leonata. One of the guests in Don Pedro’s party, the esteemed Claudio (Gerard Kearns of Shameless fame), falls in love with Leonata’s daughter Hero (Becci Gemmell).

This production does well to surprise us and subvert the original male role of Governor Leonato with an impressive female Governor Leonata, as well as appeal to us with a new setting and a new time period. This is post World War Two Italy where the stars of the show are Benedick (a noble soldier in the company of Don Pedro, played by Paul Ready) and Beatrice (Leonata’s niece, played by Ellie Piercy), both of whom are stubborn and strong-minded, and thus the audience revel in the quick-witted retorts between these two charming characters. To the glee of Don Pedro and his company as well as the ladies in the household of Leonata, Benedick and Beatrice indulge in a “skirmish of wit”. Benedick and Beatrice amuse us with the air of nonchalance they attempt to profess, and yet they are so easily tricked. Also to be applauded for their fantastic humorous skits, which lighten the atmosphere, are constable Dogberry (Sandy Foster) and her deputy Verges (Beverly Rudd), for the two policemen are hilarious as they attend to their duties with great sincerity and comedy.

Typical of Shakespeare there is villainy in the form of Don John (Mild Twomey), the recently reconciled brother of Don Pedro who is extremely jealous of “the young start-up” Claudio and will go to lengths to plot the ruin of his chance of happiness. Will Claudio fall for Don Pedro’s vicious traps? Will Benedick and Beatrice fall in love? Will we get a happy Shakespearean ending? You’ll have to go along and find out.

Words: Sadia Habib

Photos: Jonathan Keenan

This May Hurt A Bit @ Bolton Octagon, 01.04.14

The National Health Service, a subject close to many people’s hearts, is explored incisively in Stella Feehily’s powerful polemic play This May Hurt A Bit. From 1948 until the current day coalition-led “re-organisation” of the NHS, we are taken on a rollercoaster of a socio-historical journey, unexpectedly meeting significant political players who argue the case for the necessity of the NHS along the way.

The play, directed by Max Stafford-Clark, is deeply political, but at the same time highly entertaining with witty and sharp dialogue. The packed house roared with laughter at brilliantly realised patients, relatives and the NHS staff. We met doctors, paramedics, nursing staff and patients who are all trying to make sense of governmental policies, whilst making do with limited resources because of cuts and closures. Comparisons are made with the healthcare system of the United States, making us aware that this might be the way we are headed.
Iris (Stephanie Cole) is intelligent and humorous in dealing with Mariel, her oblivious Tory daughter, and Mariel’s obnoxious husband Hank (William Hope). The overworked struggling nurse Gina (Natalie Klamar) had dreamed all her life of working for the NHS, but the reality is a nightmare. Yet she does her best to tend to the sick patients, keep up their good spirits (as well as her own) and adhere to hospital protocol, rules and regulations.

The social conscience play is especially moving when we think on the state of the NHS today, and the ruthless management by the current and previous governments with their diabolical decisions to use Private Finance Initiative (PFI) that has created crippling debt. Arguments about austerity do not hold up when we think on how when the NHS was first established; the country was financially challenged, yet the welfare of the sick was given priority. We witness scathing criticism of the reforms and re-organisation that begin every time a new government arrives, yet there is no positive narrative behind their botched plans. Reorganisation is a diversion, not a solution.

Surreal and humorous moments in the play, with the unexpected appearance of famous figures, as well as personification of the NHS, are juxtaposed with the serious message we must all take home: The NHS has lost its way, and young and old must challenge the callous government to save it.

If you don’t catch it at Bolton Octagon, the play is touring, so go see it. Tour dates can be found on their website: www.outofjoint.co.uk/prods/this-may-hurt-a-bit-dates-booking.html

Words: Sadia Habib

Images: John Haynes