Here it goes. I have lost count of the number of plays I’ve seen this year, but excluding the ones I am connected to (and giving an award to yourself is of course a big no-no) it’s about ninety. As always, the great thing about end-of-year awards is that you can no longer hide behind “Didn’t they all do well?” – you have to pick a winner. What I will say is that this year it’s been very fiercely contested. Even with twenty categories up for grabs, most with a first and second place, some damned good plays didn’t make it in.
But you don’t want a lengthy preamble, do you? You want to get straight to it. Very well, happy to oblige.
Best new writing:
Second place for this award came down to a steward’s enquiry. I saw a play at the Vault Festival that I loved, but having run since 2013 does it still qualify as new writing? After careful consideration, I’ve chosen to allow it, on the grounds that allowed similar leniency last year with The Red Lion. So the runner-up for best new(ish) writing is Matt Tedford for Margaret Thatcher, Queen of Soho, of the true* story of how, on the eve of the vote on Section 28, the Prime Minister everyone loves to hate quit her job and became a gay nightclub hostess. With the show running for five years I was expecting it to be good, and I was of course expecting political commentary. But what surprised me was how intelligent it was, and instead of easy political point-scoring it looks deeper at why this happened. To camp disco tunes with a backing of hunky gay miners. As you do.
In first place, a play that is far more serious, but again one that looks past easy soundbites and asks why something happened. It’s Monica Bauer with Vivian’s Music, 1969, set in the lead-up to the North Omaha race riots, imagining a story of Vivian Strong, the 14-year-old-girl shot dead by the police that set everything off. On one level, like Queen of Soho, this is a play that asks why things were this way, very convincingly recreating a world of segregation and distrust, in a world of “us” and “them”, except it’s more complicated than that, with both racial communities subdivided into further tribes who distrust one another. And on the other level, the play never once loses the humanity of the story, with Vivian an innocent who just wants to enjoy life and her music and doesn’t care a bout race, and Luigi, an estranged father who gets by in life through a silver tongue and bullshitting, more through necessity than choice. Most surprisingly, this play came out of nowhere. Most of the time I see something this successful at the Edinburgh Fringe, I’ve already seen what they can do, or know their reputation. This play, however, was just an obscure entry in the Sweet Venues programme, at first attracting single-figure audiences – until word got round and it started selling out solidly. It is rare for anyone but the established players to have a smash hit these days – this is one of the exceptions, and there’s few plays I could wish this on more. Continue reading