Theatre blog fans will remember that that when my list of theatre thing to cover suddenly dried up owing to this Thing In The News you might have heard about, I’d take the opportunity to catch up on something I’d been meaning to do for some time: backdate my Ike Awards to the start of my blog. The Ike Awards, I may remind you, are my equivalent to a 5-star review for a review publication that doesn’t use star ratings. I’d originally planned to go all the way up to the present, but I then discovered I liked the retrospective element: commenting on the plays I loved the most once more, years after I’d seen it. Sometime, it was interesting to see what happened next; sometimes, it was just fun to recall how good it was.
So I decided to leave a four,year gap, with the 2017 retrospective to come in 2021, long after the aforementioned Thing In The News is over. Spoiler: it’s still going on (sad-trombone.wav). But not to be daunted, let’s have a look at the year. A shorter list than usual, but also one of the most disparate.
Sometimes I have predicted artists starting out will go on to great things and gone on to the proven right, but sometimes I proven wrong by the people I underrated Although Paddy Campbell’s debut, Wet House, was a big success, I wasn’t that enthused with what I felt was a lack of plot. What I underestimated, however, is just how good he was at the thing he does best, which is writing about what he knows. All of his plays were based on his experiences of working in social care, and this grew stronger, but it was piece of verbatim theatre that topped it all.
Northern Stage have just completed their Queens of the North season, with the headline act being two plays with prominent female leads. As well as this, there were other plays and events that are, to use Northern Stage’s words “Stories by women, about women, about humankind through the eyes of women”. However, out of all of the events I saw, by far the strongest one was neither Dr. Frankenstein norHedda Gabbler, but a lower-key production over in Stage 2. So let’s begin with this.
Paddy Campbell’s new play, it must be said, had a pretty tenuous link to the Queens of the North season it was officially part of. A play that explores young people leaving foster care through their own words, both male and female, the only vague claim this has to be about humankind through the eyes of women is that the artistic director of the performing company Curious Monkey happens to be female. This play would surely have been programme with or without a Queens of the North season to put it in – it would have been crazy not to, given the following both Curious Monkey and Paddy Campbell already had.
But, hey, whatever, that’s just marketing. What I’m really interested is the play. I knew little of Curious Monkey’s previous work, but this was playing to Paddy Campell’s greatest strength on writing very fairly and knowledgeably about the social care system. The only question was whether a verbatim play could live up to his previous more conventional scripted plays. Well, what do you know? It has; in fact, it’s surpassed those expectations handsomely. Continue reading →