Skip to: Moby Dick, Coppelia
So now that I finally have the time to do this, I intend to do a big catch-up on my reviews. Now, the festival fringe and the West End may have hit the ground running in the spring and summer, but most regional theatres played it safe and waited for the autumn. However, there was a bit of theatre activity in the regions, and a lot of it was focused on outdoor performances. Although there was never a point in 2021 where outdoor theatre was permitted but indoor wasn’t, those performances in 2020 that went ahead outdoors did quite well and for some the idea stuck.
A lot of the outdoor performances happened at the Festival Fringes, particularly Brighton – those I am covering in their respective roundups. But apart from that, there were two performances that particularly caught my eye.
The John Godber Company has been one of the most determined companies to perform on in any way they can, although it’s fair to say they were at a bit of an advantage here. With the Godber family themselves taking on so many roles over the years, it was an easy matter to put on a family event with Sunny Side Up. I would like to have told you about that, but the performances were very popular and sold out quickly. However, not all John Godber performances are family affairs, at to get back into the swing of things this year, they put on one of their largest productions to date at Hull Marina.
The first thing I will say is how much I love the venue. Stage @ The Dock came about from a regeneration of the Marina and presumably came about in part from Hull as 2017 City of Culture. Obviously it’s at the mercy of the weather, but on a balmy evening it’s a great place to see an outdoor-set play. With the John Godber Company having helped bring this space into the spotlight, I hope it’s not forgotten about now that indoor theatre has got going again.
For once, a John Godber Company play features writing from someone other than a Godber, for this is a collaboration with Nick Lane, who is writing most of Blackeyed Theatre’s current plays as well as many of the Stephen Joseph Theatre’s Christmas plays. The challenge of most adaptations is choosing what to keep in and what to leave out: with the exception of the shortest of short stories, it’s near-impossible to stick to original plot point by point and hope to be done in two hours – and certainly not Herman Mellville’s epic of a book. The best focus I think you can put on a stage version of Moby Dick is the suicidally dangerous obsession of Captain Ahab – and that’s precisely what is done here.
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.
Skip to: Educating Rita, September in the Rain
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
Unlike many Godber plays, The Empty Nesters’ Club is very much a niche play. But if you’re in the niche of empty nesters, you won’t be disappointed.
Since leaving Hull Truck, John Godber has, if anything, got busier. Once I made an effort to catch all his plays; now there’s so many productions coming out thick and fast I often leave it until the second tour to know if it’s worth watching. The latest show on its second tour is The Empty Nesters’ Club, a play about what happens to Vicky and Phil when their only child Millie (played by Godber’s real daughter Martha) goes to university.
Presented as a meeting of the Empty Nesters’ Club, a support group created by Vicky, she tells the story of her own daughter. The story begins with the life of typical parents of a sixth-former, working hard as a taxi service for their daughter, givng her a freedom but secretly staying awake in bed until she comes home. Being unable to resist telling everyone she’s got an offer from Oxford. (She goes to UCL instead, but that story thread will become relevant later.) All busy until the drive home from her new home – and suddenly they don’t know what to do with themselves.
This play has a similar appeal to Shafted!, which toured this time last year. Telling the story of a colliery couple after the defeat of the miners’ strike, clearly this was very popular with people who’d been there; not because it particularly took sides, but because people related to the story of what happened in the following three decades. A similar appeal is at play here: the audience was almost entirely people old enough to have been through Phil and Vicky’s experience. Continue reading
John Godber’s latest play Shafted might not be his most distinctive play, but it’s another thoughtful play depicting an issue he cares about.
John Godber’s career has taken and interesting turn ever since he set up his own “John Godber Company”. After departing Hull Truck in a moderately acrimonious manner, he’s rebuilt bridges very quickly and happily tours there. He’s very supportive of amateur productions of his work when many other playwright are snotty about amateur efforts. But the most interesting development is the emergence of what some call a new “angry” Godber. I’m not sure I’d use the word “angry” myself – but his recent plays speak out on a lot of issues, and not whichever issues are the latest bandwagon, but whichever issues that are important to him. He particularly got my respect for Poles Apart where he challenges the disdainful attitude many supposedly left-wing artists have to the working class they’re supposed to champion.
But the Godber play that’s been getting the most attention is Shafted!, which, for a change, Godber wrote for himself and his wife to perform. It had a very successful run last year, and this year Godber and Thornton are on their lap of honour. This time, it’s about what happens to couple Harry and Dot after the defeat of the miners’ strike. But if you’re hoping it’s a platform for Godber to rant about Thatcher, this is not the play for you – although he’s broadly sympathietic to the mining communities such as the one he grew up in, he’s not interested in romanticising one side and vilifying the other. This follows what happens on a more human level. Continue reading
John Godber’s latest play might not have the most interesting story, but it is one of the most interesting plays from a writer who has a lot to say.
Alan Ayckbourn once suggested that the reason that you get very few working class people at the theatre is that they think they’ll be looked down on. I think he may have hit the nail on the head – theatre is a middle-class dominated pursuit, and for reasons I’ll go into shortly, middle-class writers and directors can be pretty clueless at depicting the working class. Even Ayckbourn himself doesn’t even try to take this on and plays it safe with the middle classes. But one playwright with a working-class background through and through is John Godber. He writes about this a lot, and he neither romanticises it nor disparages where he came from. From the simple expectations of a holiday in September in the Rain to the disintegration of mining communities in Our House to nightlife in Bouncers (nightlife, to be fair, is about equally hellish across the class spectrum but you get the idea), he’s a master of writing about what he knows.
But if there’s one change I’ve noticed in Godber in the last couple of years, it’s been that that’s he’s getting angrier – but not in the way you might expect. Whilst many writers have directed their ire at the bastard cuts from the bastard Tories, Godber has focused heavily on the very people who claim to be standing up for the working class – and yet look down on the people they’re meant to be standing up for. I first noticed this theme in Lost and Found two years ago, and now it’s back with a vengeance for Poles Apart. Continue reading
(Prologue: Chris Neville-Smith sits as his computer, thinking that he really can’t be arsed to write two articles about two plays he’s already seen. “What I really need” he thinks, “is a contrived theme to connect the two together.” Suddenly, he realises they’re both set in schools. Problem solved.)
Who would be a secondary school teacher? Here you are, trying to help teenagers learn the stuff they ought to know unless they want to spend the next forty years in the beef caracass factory, and what do they do? Have a riot. And who would be a secondary school pupil? It’s like Lord of the Flies, but with thick oversized schoolboys in charge. The only consolation is that it gives teachers and pupils alike the chance to write plays about what schools are like.
So two plays that are doing to rounds now are Teechers and Donna Disco. Both plays are smash hits, and having seen them before I can vouch they are smash hits for a reason. I also had high expectations for the companies producing them. And so, in perhaps the least surprising turn of events in the history of the blog, both productions were exactly as good as I was expecting. I won’t give a detailed appraisal of the plays as they’re already getting praise from pretty every Tom, Dick and Harry, but I’ll give a quick run-down. Continue reading
Not a lot happens in John Godber’s September in the Rain. Strangely enough, it’s precisely this that makes it a lovely play to watch.
Real-life marriage are complicated things, but look on the bright side: at least we don’t let writers decide what happens. Really, on this subject writers are the most hypocritical bunch. They’re all too happy to write stories of boy meets girl, girls meets boy, and they fall in love, get married and live happily ever after, and audiences lap it up. But what about if the couple start off married? It’s all lying and cheating and affairs and misery. Double standard or what? And soap writers are the worst offenders. Kat and Alfie were once the couple everyone wanted to get together against all odds, and as soon as they get married, it’s, well, the usual fate of soap marriages.
And so, it’s strange but true that John Godber’s September in the Rain stands out from the crowd for one reason: it’s a story about married couple Jack and Liz (John Thomson and Claire Swinney) who stay together loving each other their whole lives. The play takes place on their last holiday to Blackpool as pensioners, and goes back to their first as newlyweds. It’s a two-hander, with Jack and Liz narrating the story between them, with the difference that instead of looking back and holidays past, they look forward to holidays yet to come, with children and family delights. Normally, there would be an obvious criticism to make at this point: there is no room to keep the audience guessing. Forget the “will they won’t they” story – we already know the ending. But in this play, it doesn’t matter – indeed, this is a definitive part of the play.
Muddy Cows is the latest of John Godber’s sports plays. It’s well-written and well-directed, but its mainly for the sports play niche.
I was almost tempted to dismiss this play out of hand. What a far-fetched idea! Seven people actually choose to play rugby? I personally cannot think of anything I’d less rather do ever since this was inflicted on me in PE, but to some people this sport is their passion. But, evidently, getting flattened on a muddy field each week isn’t enough punishment for some. If you’re a true masochist, you captain the team, and add all the stress of running the team. That is the life of Maggie Deakin (Liz Carling), captain of the women’s second fifteen at the local Rugby Union club.
If there’s one thing that the 35th anniversary tour of John Godber’s Bouncers tells us, it’s that sometimes it pays handsomely to write about what you know.
It is often said John Godber is the third most frequently performed playwright after Shakespeare and Ayckbourn. It is also often said that critics don’t like John Godber. Neither of these claims are proven, but he certainly has one claim to be a hate figure. You see, whilst most writers – even the successful ones – spend year after frustrating year inching their way through one painstakingly constructed script after another before they get anywhere, John Godber knocked off Bouncers in two afternoons. This has since grown to be one of the most profilic late twentieth century plays, performed all over the world, and – the biggest prize of all – a set text text in secondary schools. Jammy bastard. (And, okay, it wasn’t all plain sailing; the original two-hander at the 1977 Edinburgh Fringe bombed at the box office and the few critics who saw it either dismissed it or ignored it, but that’s the other capital offence: proving the art establishment wrong. Naughty naughty.)
Now in its thirty-fifth anniversary year, and the year when it is discovered that going out is still not horrible enough, Bouncers, directed by the original author, has been touring the country under the banner of Watershed productions. John Godber has previously faced criticism for showing Bouncers virtually every year at Hull Truck long after people were sick of it, but there’s little doubt over the appetite in the rest of the country. At Darlington Civic Theatre, mid-week in the final stop on the tour, the theatre was mostly full. Not only that, but plenty of people stayed back afterwards for the post-show discussion. And it was clear the audience got it. Bouncers is not a piece of entertaining fluff, nor is it a production aiming to out-do other productions in shock value; the audience saw it, quite rightly, as a rather sad statement of the culture of drinking and clubbing every Friday and Saturday night.