Tag: royal court theatre

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Theatre Reviews

REVIEW: No I.D. ⭐️⭐️⭐️⭐️⭐️📍Royal Court Theatre (Upstairs)

NO I.D. is a play that has transferred to the Royal Court from a short run at VAULT Festival 2023, having also previously played at Theatre Peckham.

In it, Tatenda Shamiso tells the story of his experience as a Black transgender immigrant in the UK. Using the songs he wrote throughout his first year on testosterone alongside letters, signatures and a whole lot of paperwork, he guides us through what it takes to validate Black and queer identities in the eyes of the law. What really drew me to this piece was the sheer honesty with which the viewer is given access to Tatenda’s world. That begins with a clip of him before his transition, and the audience are taken on a journey to meet their authentic self as the piece progresses.

It is so incredibly touching,  funny and offers some really thought-provoking dialogue. As as for Claudia Casino’s set – a simple sofa with a lamp, with card box boxes dotted around – also brings forth the audience well into the action. The space is utilised in a great way, as we begin with Tatenda giving the audience a direct address as he moves from the sofa (changing into clothing the binary standards of society subjects us to), to then approaching the the stacked cardboard boxes which again reveal a further boxing from wider mainstream society. It got me thinking, and allowed me to be taken on my own journey throughout. Further, there is an element of realism which comes by the introduction of the real life videos of Tatenda pre-transition, where the person in front of the audience is quite literally shedding the loss of another identity: ultimately though, one that helped the protagonist to reach their authentic self. One side point, and something of note is the introduction of a (what we presume is an NHS gender helpline) phone that rings, which the audience are given an intense insight to be privy to a call.  The way Tatenda dances to the beeping waiting tone was just sheer genius and added a really hilarious touch to a piece that is often quite serious in tone. The comedic timing, topped with the Tatenda’s facial expressions were really inspiring in order to bring comedy in order to point out the ridiculous nature of how vehemently inept the system is for those who are wanting to transition to the gender of their own choice.

It is, overall, a rather eye-opening and a clever portrayal of the unnecessarily cruel bureaucracy involved with having to register one’s own new gender identity. There is not one moment when I was bored, or feeling like the overarching themes was going into overkill; ultimately, it made me want to further highlight the plight trans people face, as the current system is rather chilling to the bone.

The tight 60-minute piece, performed at the Upstairs space at the Royal Court Theatre, also incorporates music; this is inclusive of a childhood tap routine which pays homage to a Anything Goes (I adored the iteration at the Barbican Centre last year with Sutton Foster) that is recreated, as well as the the overlay of his voice now to music from recordings. That in itself was really powerful, and made me well up as it demonstrated the point of visible (and audible) change so seamlessly authentic.

All in all, No I.D.  is a superb piece of theatre that celebrates marginalised voices; it’s a beaming call to the lay person so offer compassion to those who undergo  gender transitions (or as Munroe Bergdorf states in her book Transitional ‘In One Way or Another, We All Transition’), which is told with a searing honesty, warmth and an energy that will compel you to want to be Tatenda’s best friend.

Listing information:

NO I.D. by Tatenda Shamiso

Writer: Tatenda Shamiso
Director: Sean Ting-Hsuan Wang
Designer: Claudia Casino
Producer: Dylan Verley
Stage Manager: Ting (Yi-Ting) Huang

Cast: Tatenda Shamiso

Tuesday 18 April 2023 –Saturday 6 May 2023

📍Royal Court Jerwood Theatre Upstairs

🎟️: https://royalcourttheatre.com/whats-on/no-i-d/

All photos credit: Marc Brenner

All images feature Tatenda Shamiso

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Theatre Reviews

REVIEW: Hamnet ⭐️⭐️⭐️⭐️📍Swan Theatre (RSC)

Madeleine Mantock and Tom Varey in Hamnet (2023) Photo by Manuel Harlan (c) RSC

“She’s like no one I’ve ever met … She’s like fire and water all at once”

 

I was very pleased to be invited to watch he page-to-stage adaptation of Maggie O’Farrell’s Hamnet, which opened in Stratford-Upon-Avon last week. For someone who hadn’t been to the the Swan Theatre – which did in fact open in 1986 – I’d not have been able to tell you about this intimate space which includes a deep thrust stage across three sides and can hold up to 469 patrons in theatre at full capacity. The space had gone through a major refurbishment since the COVID-19 pandemic (upgrades include bench seating being shelved for individual seats that are more commonly found in most theatres across the UK), and this certainly enhanced my experience.

The place centres around William Shakespeare – more importantly his son Hamnet who *spoiler alert* doesn’t survive past the eleventh year of his life. Often a footnote in history (as noted in the programme), both writers Maggie O’Farrell and Lolita Chakrabarti (Life of Pi, Red Velvet, Hymn) offer a fresh take on this domestic drama set in the sixteenth century.

We’re transported to Warwickshire in 1582, where Agnes Hathaway meets a latin tutor William (Shakespeare). They’re very quickly getting it on, and start to make a family.  Though the stage play is not lifted from the book exactly in its chronological order – for me, the opening scenes of the book packs a real punch – it still very much carries the essence of the book  and possesses a seamless transition from page-to-stage as is evident at all moments of this production. Lolita Chakrabarti dazzles in her re-telling of the  family of the famous ‘latin tutor’. The direction by Erica Whyman is slick, and brings the words uttered by history’s most famous playwright to be performed in such a vivid way; at times, we watch the set’s glorious wooden ladders turn in 45 degrees and they remind us of Agnes’ omnipresent nature. A feature that impressed me was the lighting of this production – designed by Prima Mehta – with heightened moments when lights showed a clever shadow-esque effect through the rungs of the ladder; that was really mesmerising visual that elevated the storytelling.

Ajani Cabey and Alex Jarrett as Hamnet and Judith. Photo by Manuel Harlan (c) RSC

It may be a seemingly simple task, to bring literary works to the stage, but this conversion of the  was a solid attempt at crafting a world that transports you to real-life setting of Stratford-Upon-Avon. At the interval, I spoke to my seat neighbour who happened to be the Mayoress of the city who proclaims how important it is for representation (she herself is one of the only women to have taken on the role since the first woman in 1928 when women received the right to vote) so to have visibly diverse actors was rather refreshing take on this story.

The acting chops of all on stage was rather unanimously impressive, with a special mention for Madeleine Mantock, Obioma Ugoala and Tom Carey. As the story takes creative license on the lives of this messy family, it showcases some deeper moments of how the patriarchy can be distilled throughout the generations. With the inevitable death of Hamnet looming, the supsense built kept me on edge – and I also felt really moved by the more emotional elements to the finally scenes of the play.

Though the play is named after the deceased son of The Bard, we only meet him in the very end of act one for the first time (and then for not much longer within the second act). The twins Hamnet (played by Ajani Casey) and Judith (Alex Jarrett) are portrayed in a really unique way; their storyline and familial love was powerful and emotive taking me back to my own upbringing.
To conclude, the team involved in Hamnet have created a robust family drama that showcases the best of British theatremaking: with its inevitable transfer to the Garrick theatre, one may question how it’ll captivate  West End audiences, but the intimacy of the Swan theatre space whereby this is truly is a stupendous watch. If you’re seeking a play that features grief, but with limited trauma as opposed to what else the West End (yes – I’m looking at you A Little Life) offers, then this may be the ticket for a night of escapism for you.

Until June 17 2023 at Swan Theatre, RSC (Stratford-Upon-Avon). Sold out though returns may be found here: https://www.rsc.org.uk/hamnet/

West End run information:

** Saturday 30 September 2023 – Saturday 6 January 2024 **

 🎟️Tickets: https://ticketing.nimaxtheatres.com/tickets/series/GAHAM01M

Theatre
Garrick Theatre

Tickets From
£25 (Prices include a £1.50 restoration levy)

Show Times
Monday – Saturday, 7.30pm
Thursday & Saturday, 2.30pm

Running Time
2hrs 30mins including a 20 mins interval

Categories
Theatre Reviews

REVIEW: ⭐️⭐️⭐️⭐️ Baghdaddy📍Royal Court Theatre

📍Baghdaddy, Royal Court Theatre.
Philip Arditti & Jasmine Naziha Jones
Photo credit: Helen Murray

Baghdaddy is a play centering the lives of two people: Darlee, aged 8 and her dad who are the main drivers of the action as she accepts her identity as a mixed race person of dual Iraqi-English heritage.

It examines the childhood memories of Jones. It is a refreshing take given its normally people who have fled Iraq or curtains the saviour’s of White Men™️ who are the “heroes”. What was really nuanced pathway was the fact the piece is set into UK, in the home of Darlee’s family; the truth is honest, a searing piece that depicts the experiences of a mixed-race Middle-eastern person from the community of colour.

Ultimately, the use of Clowning compliments the style — the perspective of a child allows Jones’ creativity to superbly demonstrate who she feels she is and where she’s from. It’s the child-like capitalist inclusion of going to the golden-arches restaurant, along with the gorgeous set (designed by) that provides a suitably engaging concept that delivers on the most part.

I preferred the human-side of the conflict and a conversation to the people watching: the involvement of us, and the audience, garnering an inner provocation our very own imagination. I like theatre that challenges but one implemented in an innovative way.

The chorus – made up a great trio of Souad Faress, Hayat Kamille and Noof Oussellam – provided comic relief and a deep spectacle into the minds of the characterises in the absurd format.

The direction by Milli Bhatia (who also directed Chasing Hares) is sublime, with an engaging piece that compels as the action transcends into the second act where we see a tonal shift. The monologues are delivered with such conviction, and it’s a particular type of unease that one encounters with the respective Darlee and her father.

The missing piece – at times – come in the form of the audience wondering what happened to the mother, but overall this is a sparkling debut by Jones of a heart-felt piece that strikes the right notes and shines a light on really important issues: the psychological repercussions (due to the ongoing wars), the American Neo-Imperialism symbolic nature of capitalist consumerism as well as the murderous Saddam Hussein-led regime.

Do not miss this: it’s a perfect blend of a unique theatrical offering, and provides the euro-centric audiences a glimpse into the layers of storytelling that many other members of our society can showcase; for that alone, Jasmine Naziha Jones ought to be proud of really moving and also riveting piece that speaks truth to power regarding endless possibilities for displays within the theatre.

** LISTING INFORMATION **

Until 17 Dec: Jerwood Theatre Downstairs Mon – Sat: 7.30pm (except 24 Nov, 7pm) Thu & Sat matinees: 2.30pm (from 26 Nov) Running time: 2 hours 15 minutes, including an interval Age recommendation: 14+
Book Tickets (via the Royal Court website)