And here it is. 2020. And a disappointing lack of flying cars and three-course meal pills that we were promised. So instead let’s look at what’s coming up locally.
Usual rules, you can find them here. Beginning with safe choices, these are plays that I’ve either seen before or have heard enough about to be sure that if you like the sound of this play, you’ll like this one – and all of these also have wide appeal. This time, we have three high-profile productions in the same month, and one very different thing.
Blackeyed Theatre have been touring the country for years with consistently high standards, and their current tour is no exception. Jane Eyre is the third play written by Nick Lane, Blackeyed’s latest creative collaborator, and it continues their high standard: well-written adaptations that use small ensemble casts that – with one exception – stay faithful to the original books, and yet maintain a consistent style throughout their work that is unmistakeably theirs. Jane Eyre is halfway through its tour and I’ve already seen it, and, as expected it lived up to expectations, with the added bonus of a nice throwback to the acoustic sound plots that Blackeyed Theatre does so well.
The most exciting Blackeyed Theatre event this year is yet to come. The one story where Nick Lane made a major change – the addition of Elenor Laynon in The Strange Case of Jekyll and Hyde – was superb. That is returning later this year. But in the meantime, the return of Jane Eyre is well worth catching if you missed it last time round. The tour takes in Middlesbrough Theatre on the 6th – 7th May.
I rarely send adaptations straight to safe choice solely on the strength of the source material, especially when I don’t know anyone involved in the adaptation, but having seen how effective A Thousand Splendid Suns was on the stage last year I’m sending this straight to the top of the list.There’s a few differences between the two stories though. Loosely mirroring Hosseini‘s own life, Amir’s family succeeded where Laila’s failed: getting out of the country before it was too late. As a result, Amir is spared the horrors of Soviet rule then Taleban rule, but the people he leaves behind aren’t so fortunate. As a result, survivor’s guilt plays a large part of the story.
One curiosity is that The Kite Runner was the target of a minor censorship campaign, from people outraged that over the book giving such an unfairly negative portrayal of, er, the Taleban. On the whole, however, if you liked A Thousand Splendid Suns you will like this one too. The two stories complement each other well to give rounded and nuanced perspective of a dark period of Afghan history that looks beyond the simplistic divisions of goodies and baddies. It calls at the north east with Darlington Hippodrome on the 12th-16th May.
Who’d have predicted this? Less than three years ago, the Gala Theatre ran Willy Russel’s masterpiece for one week, solely for the sake of getting in-house productions back up and running. Jessica Johnson’s superb performance as Rita then inspired Theatre by the Lake to cast her in their own production, along with north-east heavyweights Max Roberts as director and Stephen Tompkinson as Frank. Now that tour has been a success and they are back with a bigger and better tour. I’d originally assumed if this ever came to Newcastle, Live Theatre would be the obvious choice and that’s the favourite haunt of both director and actors. Not now – this calls for a bigger theatre.
And so, what began with a low-key beginning comes to Newcastle Theatre Royal on the 18th-23rd May. The play itself of course needs no introduction, but Jessica Johnson perfectly captures the character of Rita, torn between an ambition to make more of her life than a lowly hairdresser and low self-esteem brought on by friends and family expecting her to know her place. This play has so far only been a footnote in the theatre news of Newcastle, but you have no excuse to miss it this time. It’s about time this performance got the audience it deserves on home terf, so do not miss this.
The first three safe choices are major tours, but this final safe choice is quite the opposite: a solo performance the requires next to nothing in the way of staging. A low-key performance at the last two Buxton Fringe, this swiftly earned a reputation as one of the best performances going. Green Knight is a retelling of Sir Gawain’s legend as told by the temptress Lady Bertilak, but it’s a clever retelling. Nothing is changed from the original story, but a lot is added – and, in a way, this is the only way it could have been if you think about the story. By popular demand, I will point out that Lord Bertilak is a bit of cock and the game he plays was really a cock thing to do. But as well as being a pawn in his game, she is also in love with the noble and gallant Sir Gawain.
The other thing that stands out of the play is its simplicity. Whilst the other three plays all make use of the big stages in their own ways, this performance works best in the small intimate spaces it tours to. No need for lavish lighting and sound plots here – just Debbie Cannon and the props Lady Bertilak brings on stage is all that’s needed to tell that tale. You can see this at York Theatre Royal‘s studio theatre on the 5th February.
Coming next …