Anatomy of a Suicide

by Alice Birch

seen at the Royal Court Theatre on 29 June 2017

Katie Mitchell directs Hattie Morahan (Carol), Kate O'Flynn (Anna) and Adelle Leonce (Bonnie) with support from seven other actors in multiple roles in this intense study of three generations of women, two of whom commit suicide.

Carol's story starts in 1972 when she is met by her husband just after a failed suicide bid, while Anna's story begins in 1998 when, almost crippled by drug use, she is confronted by a young intern whose hospitality and kindness she has abused. Bonnie, in 2033, is binding up the wounds (self-inflicted?) of Jo, a fisherwoman who is obviously attracted to her.

The Glass Menagerie

by Tennessee Williams

seen at the Duke of York's Theatre on 15 April 2017

John Tiffany directs Cherry Jones as Amanda, Kate O'Flynn as Laura, Michael Esper as Tom and Brian J Smith as Jim in this excellent revival of Tennessee Williams's 'memory play'.

As the play is narrated by Tom, an aspiring poet (who may be seen as a stand-in for the author) we may expect it to be about his own struggle to escape the suffocating atmosphere of his family, and in particular of his over-bearing mother Amanda. She indeed manages the faded hopes of her life by keeping up appearances and talking, talking, talking in a way that would infuriate any young man with any strength of character. Cherry Jones portrays this difficult and at times infuriating woman with immense authority and dignity, which makes her power all the more pervasive, while Michael Esper as Tom shows us something of the strain of living up to such a mother's standards.

The Trial

by Franz Kafka adapted by Nick Gill

seen at the Young Vic on 12 August 2015

The play is not, of course, by Franz Kafka - it is a rather free adaptation from the famous novel. It is directed by Richard Jones and features Rory Kinnear as Joseph K, with eleven other actors taking all the subsidiary roles, in particular Kate O'Flynn playing some six significant females in Joseph's life, as imagined by Nick Gill.

The first four rows of the audience on either side of a long transverse stage are reached through corridors of flimsy plywood, and each row has an equally makeshift shelf in front of it, rendering everyone sitting there as putative jurors in the eponymous trial. The acting space itself, designed by Miriam Buether, has two parallel belts which are frequently in motion to allow various props and settings to appear and disappear as required. Scenes are often framed by doors at either end, which are free-standing and are often slammed loudly. The effect is nightmarish, especially as it gives rise to the thought that all significant spaces for Joseph K are essentially alike in their configuration. The phrase 'everything belongs to the Court' begins to have a physical as well as a metaphorical resonance.