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
Skip to: Educating Rita, September in the Rain
Two productions of classic plays caught my eye this month. One was a headline production at the Gala Theatre, continuing its transition back to a producing theatre. The other was a smaller-scale production down in Yorkshire. Both are excellent scripts where there is little the producing company can do other than be faithful to it, so let’s get straight on with how they did.
Starting at the Gala, this is their second in-house production since they restarted this last year with The Fighting Bradfords (or the third if you count their small-scale immersive piece No Turning Back). Last year it was new writing, this year it’s the revival of a classic. Not everyone who came to see last year’s friends will be interested in a revival; but there again, not everyone who watches a tried and tested play wants the lottery of a new work. As the only major theatre in Durham, I think it’s fair enough to have different plays appealing to different audiences. “Rita” (not really her name, but that becomes relevant later) signs on with the Open University wanting to learn more about literature. Shouldn’t be a big deal, but it is. The barrier is partly snobbery – even supportive tutor Frank sometimes lets his casual prejudices slip in – and partly her own fear of this snobbery, but it’s mostly the inverse snobbery of friends, family, and husband who all expect her to stop learning and have a baby like everyone else. Continue reading
The Gala’s first theatre commission in years, The Fighting Bradfords, might not be the most memorable World War One play, but it portrays a faithful story of four forgotten brothers.
What a year it’s been for the Gala Theatre. Ever since the acrimonious departure of artistic director Simon Stallworthy, the Gala Theatre’s status has been relegated to a second division receiving venue, with very little actual theatre being programmed. I got wind of things changing around 12 months ago with the appointment of a new programming director and a renewed interest from the County Council. Things started bearing fruit earlier this year with a lot of high-profile companies coming to the theatre – there had been the odd high-profile company before, but three companies in one season (Northern Stage, Original Theatre Company and John Godber company) was new. Then came Next Up …, the inaugural scratch night, which was successful enough to become a regular thrice-yearly fixture.
Now comes The Fighting Bradfords, the Gala’s first commission. Well, sort of. Officially, this is a Durham County Council commission for a play to be performed at the Gala. The Gala is owned by the council, and theatre management is so tightly integrated into the council structures, there’s no clear line for what cultural activities in Durham County do and don’t count as the Gala’s own. In this case, the commission (along with No Turning Back over the summer) was part of a wider series of events over the county called Durham Remembers, marking the centenary of the Battle of the Somme, and the commission requested by the council was the story of four sons of the respected Bradford family. All enthusiastically signed up to fight, all were decorated for bravery – and all but one gave their lives. Continue reading