Skip to: Overdue, A Song for Ella Grey
Continuing the catch-up of what’s been showing since fringe season, September got started with two concurrently-running fortnight-long plays. One was a relatively safe mainstream play in a theatre often used for new and experimental work, and the other was a very experimental piece in a theatre best known for safer bets. So let’s get to it and see what was on offer.
So, starting with Alphabetti Theatre, this play took the highly prestigious slot of the opening piece for the brand-new venue. With this standing to set expectations for a lot of Alphabetti first-timers, a lot of responsibility was entrusted to co-producers Coracle Arts. But it was a good bet to take, because Arabella Arnott’s play had a very promising opening at the Gala’s scratch night, due in part to Rosie Stancliffe in the lead role of Beth. She has shone in every role I’ve seen her in, and even if the play itself doesn’t work out, she’s always added to it. Continue reading
Short Stories are often ideal pieces to make into plays – but the signature touch to David Almond’s stage adaptation of The Savage is Live’s staging of it.
With the opening of Live Gardens next door and with it Live Tales, their writing centre for children and young people, it’s little surprise they’ve chosen to adapt a children’s story for their main production. A lot of people get sniffy about adapting children’s books for an adult audience, but these tales are often ideal for an adaptation. The bane of adapting novels is that it’s very difficult to adapt anything over 200 pages without making massive cuts to the story; but this means that easy-going story length of books aimed at children or teenagers suddenly becomes ideal when transplanted to the stage.
The other things about children’s stories is that the best ones are a lot darker than grown-ups give them credit for, and David Almond’s graphic novel The Savage is no exception. The central character of the story is a boy only known as “Blue”, in the aftermath of the sudden loss of his father. A teacher tries to get him to embark on creative writing, but his mind isn’t on this – until Hopper comes along. Hopper has also lost his father, in his case to prison, and we will in time discover he is just as unhappy, but for now Hopper disguises this by tormenting Blue about his own father. So Blue comes up with a story about a “savage” who lives in a hole and kills people who get to close to him. The origins are vague – perhaps Blue considered Hopper a savage, or perhaps a savage was a fate Blue wished on Hopper, but Blue ends up finding his own self burring with his creation.
But whilst this would be a good choice for any theatre to take on, it was especially a good choice for Live to do this – and not just because it happens to be set on Tyneside. Being a new writing theatre, there is inevitably a hit-and-miss element to Live’s plays, but the thing I’ve found consistently good about them is their sets. They rarely settle for a merely functional set and there’s always something about them that catches the eye – the dive of a nightclub in Our Ladies, the (metaphorcally) crumbling household in Geoff Dead, the disappearing wall in Iris, and even the eye-catching generic set for Elevator are things that spring to mind. This one has to be seen to be believed: at first glance it looks like a Stig’s tip from Stig of the Dump, but this is in fact a multi-purpose set covering Blue’s classroom, bedroom, the quayside, and everything in between. Continue reading