And it’s another slow news month. In theatre, that is. Not such a slow news month elsewhere. But we don’t talk about that.
Here’s what’s been happening back and forth in theatre land.
Stuff that happened in November
Goodbye Empty Shop HQ
So it’s confirmed. Empty Shop really are letting Empty Shop HQ go, for a number of reasons given in their own blog post. It’s not clear how much the redevelopment of the Milburngate Centre has to do with the decision, but Empty Shop’s scope is now a lot wider than one venue: the recent addition of TESTT space above the bus station and their work bringing in Miners’ Hall in as a venue are things that were unimaginable when HQ first opened. This doesn’t come as too much of a surprise – I’d heard nothing about plans for what to do about HQ, and no news suggested no plans. Empty Shop is now being run from TESTT Space – which, somewhat paradoxically, means that TESTT Space is now Empty Shop HQ instead of Empty HQ.
This announcement does rule out on theory I had – I’d idly speculated that The Assembly Rooms would temporarily take over the space to help with the current overspill of student productions necessitated by the year-long closure of their theatre. (As far as I can tell, the student productions are managing by using the remaining performance-friendly spaces in the university more intensively.) However, this does leave a question mark hanging over the future of inclusive performance spaces in Durham. TESTT, at the moment, is heavily focusing on visual arts rather than performance arts. I can’t begin to say how valuable Empty Shop HQ was to me when I was starting off, and I don’t believe I’m the only one here. Continue reading
When you have a set of plays to review, it is often tempting to look for common themes between plays. In early autumn, as it happens, two plays came along with not only shared the theme of pubs, but were also very heavily themed around the number two. More by accident than by design, the two plays have a lot more in common besides. So let’s get right to it.
SKIP TO: Two, Two Pints, Talking Heads
The Gala Theatre are continuing their in-house productions with another classic, Jim Cartwright’s famous story of a night in a working-class pub. This is a safe bet for any theatre to choose (more on this in a moment), but Two is a safe bet for a good reason. It’s lots of little stories of snippets of people’s lives, all played by the same two actors. Some are funny, some are tragic, and one or two where the bar staff really ought to intervene. But it’s a busy Saturday night, and besides, the husband and wife who run the bar have their own problems to keep them busy, and it’s not their constant bickering and put-downs throughout the evening. That is just their way of distracting themselves from something in their past they can’t ignore, however much they might want to.
All you really need for Two to be a success are two capable actors who can play all fourteen characters convincingly (although I did once see a student production who played it with fourteen different actors, somewhat missing the point of the title). Luckily, the Gala can call upon Christopher Price and Jessica Johnson, who were both naturals for this. But this isn’t quite a paint-by-numbers production. Two was originally intended as a small studio piece and it’s not a straightforward play to scale up to a bigger stage. In a fringe-scale venue it’s treated as normal that there’s no set and virtually all interaction with props are mimed, but in bigger theatres expectations are different – but a fully naturalistic production with two actors is impossible. Continue reading