Tag Archives: Drama

London Road – At the Cottesloe, National Theatre until 27th August

Original, moving and funny – London Road brings together testimonies about the effect of the Ipswich murders, showing how shoots of a new community sprang from the remnants of the tragedies.

Even at its most basic, this is an unusual subject matter – murders are often explored in drama, but rarely do we hear from neither the victim or the perpetrator, and rarely are the true stories that make it to the stage so recent.

Alecky Blythe has used a technique of creating the book and lyrics from original recordings of the local community. Taking the accounts, cutting and selecting pieces to weave together a tapestry of events, comments and opinions from those who lived on the same road as the murderer, the end result shows how they were affected by the events of that winter in 2006.

Whilst all of the words are taken verbatim -no ‘ums’ or ‘ahs’, awkward pauses or mis-spoken phrases are omitted – there is undoubtedly still an art to creating this dialogue. Individual phrases are repeated, sometimes by several actors, and even as they are repeated different tones, speeds and inferences are given, showing just how much licence can still be used within the confines of this technique. The end result is both surprising and perplexing, forcing some questions from the audience as they inevitably begin to ask where reality ends and fiction begins.

This is not only an interesting concept, but a great piece of entertainment. In taking a collection of really open and honest points, it becomes not a story about murders but about humanity and community – whilst the cameras are focussing on the site of the latest front-page filler, what is happening to the people who live next door, in that house just out of shot? What happens when the cameras leave? Does life carry on, everyone getting on as normal, or are the effects deeper? Could you ever sell your house if it turned out that a serial killer had lived next door?

The broken speech and lack of a PR-veil over events is what helps to make this play so refreshing. It’s interesting, and at times genuinely funny to hear the real reactions of real people caught up in the chaos. For all of the horrors of what had occurred and all of the temptation to remain remarkably PC about the whole thing, it’s great to be able to see the human side – the kids who think that all of the commotion is exciting, the guy down the pub who turns out to be a causal expert on serial killers, and the residents who admit to being happier since it happened, as now that there’s no more soliciting on their street.

This production attracted the usual ill-informed outrage at its opening, but its quick subsidence and the enduring appeal of the play (it’s run was recently extended) are testimony to the fact that it is executed sensitively, not ignoring the violent and abhorrent crimes, but simply throwing light on the other side of the reported news. There was even an audience collection at the end for a charity that helps prostitutes in the Ipswich area, which not only brought the real issues to the forefront, but managed to further blur the line between fact and fiction.

It’s wonderfully put together, fantastically acted, innovatively staged and only on until the 27th August. You won’t see anything else like this for a while. Get your skates on and head to the Cottesloe, you won’t regret it.

Tickets for London Road are on sale at the National Theatre’s website – we managed to get some slightly restricted view returns in person on the day for only £12. Bargain.

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War Horse – New London Theatre

Image from theatretime.co.uk

Believe the hype – this is a delight. Moving and visually spectacular, with simple, effective comedy, the recent accolades at the Tony’s must have been well deserved. Time doesn’t appear to have tempered this gem of modern British theatre.

It was difficult to know what to expect coming to War Horse as a rookie. Of course the horse puppets were going to be amazing – we’ve all seen them on the telly and heard them unreservedly praised for donkey’s years (excuse the pun). I also had a sneaking suspicion that an equine may become involved in combat… Yet, for a show with an instantly recognisable image, that sends a huge range of those who have seen it into fits of expressive admiration, very little extra information had seeped its way out to me. Which left me with a great new discovery – it’s nothing but a tale of a friendship between man and beast amongst the dual chaos of World War One and family life, yet all the cliches apply here, namely: “the simple ones are the best”, and “it’s how you tell’em”. Wonderful.

There was huge scope for me to nit-pick here. I’m a history graduate and spent most of my teenage summers working at a stables in the Welsh mountains. I was almost certain that a WWI drama couldn’t help but bring out the hackneyed, over-told stories of the Christmas football match between the Brits and the Germans in 1914,or that the horses just wouldn’t ‘feel’ right. Not to mention that I expected a predictable ending (I’m studying for exams at the moment, which is making me rather cynical) – yet War Horse was impressive on every level. It remained entirely focussed on the central storyline, showcased an entirely convincing set of horses and even managed to incorporate some comedy – partly via a push-along goose on wheels. I kid you not.

Overall, I can’t be controversial and disagree with public opinion on this one. If you haven’t yet, hurry on down to the New London Theatre – and if anyone would like to invite me to see the new production at the Lincoln Centre, I would be more than happy to oblige. Great theatre.

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