Online theatre roundup 2

Skip to: Dirty Laundry, In Plain Sight, Nonsense and Sensibility, and Jesus Christ Superstar

Ho hum, my last online theatre roundup was supposed to be my only article about online theatre. I was intending to get back to proper theatre by now. But with the lurgi refusing to make an exist without being as big of a pain in the arse as possible on its exit, I’m still on this.

A small list this time, and I’ve already caught up with most of the things I wanted to catch up on, but I have four things for you before we get back to normal service.

Dirty Laundry

This one, I confess, should have been reviewed last time round, but I forgot. Better late than never, I hope.

Two years ago, Conrad Nelson and Deborah McAndrew pulled one of theatre’s bigger surprises.* They had risen through the ranks of Northern Broadsides to produce their own plays in their own style to huge acclaim, and when long-standing Artistic Director Barrie Rutter left, Conrad Nelson became his interim replacement. I assumed he had the permanent post in the bag, but not only did he step down, he and his wife decided it was time for a change and left the company completely. Instead, they decided to put all their energy into what started off as their side-project: Claybody Theatre. Unlike the Broadsiders, this was a very local company producing plays of interest to Stoke-on-Trent. As a result, they have very much dropped out of the national spotlight. But not my spotlight, because I happen to have a sister who lives there.

*: At least surprising by pre-2020 standards of surprise.

With one of their first Claybody plays, Dirty Laundry, now made available as an audio play, I took the chance to see what they were up to. And if you’re a fan of their Broadsides work, the first thing than strikes you is what a different direction they’re going in; the second thing that may strike you is how much more specialist the appeal is. The target audience here is Stokies through and through, and more specifically, Stokies who know about the Six Towns’ long history with pottery. I’ve only recently learnt about it myself – and it’s fair to say that if you know nothing about Stoke or Pottery this story may not grab your attention – but I have learnt enough to appreciate how well McAndrew has done her homework here.

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Why it’s right to stop covering SSD Concerts

Note: I wrote this article on the 3rd April, after Narc magazine published its editorial about not covering SSD events but before the manager announced his resignation – that happened between writing the first draft and linking the sources. However, I am posting this anyway, as what I said still applies.

COMMENT: It is too soon to pass judgement on the sexual harassment allegations on Glassdoor. But as long as SSD continue to respond to the allegations the way they are, NARC Magazine is correct to stop covering their events.

When I wound up my coverage of the Tyneside Cinema scandal, I finished by saying I did not want to come back in a few years’ time when the next scandal breaks and ask why nothing was done. Well, never mind years – it is barely six months since the damning report and the resignation of the CEO and Chair of Trustees and we’ve got another case on our hands. This time, it’s in the music scene, specifically in relation to SSD Concerts, regarded by many as the leading music promoter in the north-east from big events to the grass roots. On this occasion, however, we do not have to wait for pressure from a major funder before action is taken; numerous bands and venues have cut ties in protest.

Normally, when an organisation is implicated in serious allegations, I open my coverage with an examination of the evidence available. And that is indeed what I tried to do here; it was slow business, with events continually moving as was I writing. However, one event has taken place that has spurred me into action: NARC magazine has announced it is ceasing its coverage of SSD events. (See also this page for numerous links to background info.) It is fair to note that – unlike Tyneside Cinema, where it was possible to sit on the fence – NARC, as a magazine dominated by music coverage, had to pick a side this time. But it is my understanding (based on an off-the-record source that I trust) that this editorial decision was not made out of obligation, but was taken proactively and wholeheartedly. Having criticised the local arts media for inaction during previous scandals, I shall now back them up for doing the right thing.

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The Gorilla play: a bitter disappointment

After a decade of performances from the greatest cultural icon ever to grace The Fringe, the outdoor immersive version of A Young Man Dressed as a Gorilla Dressed as an Old Man Sits Rocking on a Rocking Chair for Fifty-Six Minutes Then Leaves produced for lockdown is such a let-down.

Edinburgh Fringe punters like to boast about which up-and-coming act they saw before they made it big, but even those who saw the breakthrough performances of Steve Coogan, Graham Norton and Phoebe Waller-Bridge turn green with envy when hearing from someone who’s seen the legendary play A Young Man Dressed as a Gorilla Dressed as an Old Man Sits Rocking on a Rocking Chair for Fifty-Six Minutes Then Leaves. Ever since artistic genius Liam El Groog’s seminal performance in 2009 with the elegance of Shakespeare, wit of Wilde and adrenalin rush of Tarantino, tickets have been like gold dust; and with just one performance per fringe, they are snapped up within minutes of release. It is rumoured that Kate Copstick was turned away one year after being caught handing over a four-figure sum on the black market, and the less said about the punch-up between Lyn Gardner and Brian Logan over the only press ticket, the better.

But whilst few have been lucky enough to see it in person, illicit footage smuggled out of the venue reveals it’s everything it’s cracked up to be, and more. The beauty of A Young Man Dressed as a Gorilla Dressed as an Old Man Sits Rocking on a Rocking Chair for Fifty-Six Minutes Then Leaves is that is it does exactly what it says. El Goog, clad in his outfit of a Gorilla – who in turn purports to be a male senior citizen by use of flat cap and pipe – takes his seat in a rocking chair. But does not just sit in a rocking chair, but instead he sits rocking in a rocking chair. Until, after almost an hour, he just leaves. What does it mean? David Attenborough describes it as a hard-hitting account of the humiliations we inflict on our primate cousins; Lucy Worsley interprets the sequence as an ingenious juxtaposition of evolution with craftsmanship; whilst Brian Cox lauds the variety of chair-rocking techniques employed as a fascinating exploration of rotational dynamics, up there with Gallileo’s model of the solar system. Or maybe it is combination of all of these. One thing is certain: no two people amongst the spellbound audience interpret the play in the same way.

And so, when the pandemic hit, and artists were forced to explore new ways of connecting audiences, there was much excitement over what this man would do (if Liam El Goog is indeed a young man – the way that undercuts the veracity of our perceptions being one of the most underrated achievements of the story). Would he find a new and innovative way to reach out to a new audience beyond the cramped confines of a studio space? Finally, a chance for the thousands, maybe millions, of people unable to get a coveted live performance, to experience for themselves the sight of a young man dressed as a gorilla dressed as an old man sitting rocking in a rocking chair for fifty-six minute then leaving. But sadly, a series of ill-judged decisions on how to present this masterpiece through cyberspace has squandered this golden opportunity, and – I’m afraid to say – left his reputation in tatters.

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