My Country; a work in progress

prepared by Carol Ann Duffy

seen at the National Theatre (Dorfman) on 1 March 2017

Rufus Norris directs Penny Layden (Britannia), Stuart McQuarrie (Caledonia), Adam Ewan (South-West), Christian Patterson (Cymru), Seema Bowri (East Midlands), Cavan Clarke (Northern Ireland) and Laura Elphinstone (North-East) in a play comprising verbatim interviews with dozens of people in the various regions of the UK (pointedly excluding London and the South-East, apart from some politicians' statements spoken by Britannia) in relation to the Brexit referendum, with framing and connecting pieces by the Poet Laureate Carol Ann Duffy.

The play opens with Britannia calling the regions together for a meeting "as she always does" at critical moments of history - some previous occasions are referred to, going back to the fourteenth century. As the representatives of six regions arrive they bustle and chatter, the tensions between them veering between relaxed chaffing and more serious confrontation; Britannia is like a convener somewhat weary of the bickering. 

The Threepenny Opera

by Bertolt Brecht and Kurt Weill

seen at the National Theatre (Olivier) on 24 June 2016

The production is a new adaptation by Simon Stephens directed by Rufus Norris and designed by Vicki Mortimer. It features Rory Kinnear as Macheath, Nick Holder as Peachum, Haydn Gwynne as Mrs Peachum, Rosalie Craig as Polly Peachum and Sharon Small as Jenny Driver.

Brecht's technique of alienating the audience from their conventional expectations of 'an evening at the theatre' is marvellously emphasised in this production, with the vast Olivier stage exposed in all its glory, flats and flights of stairs wheeled about by the cast, the flats often faced away from the front of the stage (showing all their struts) and just as frequently revealed to be utterly flimsy as various characters burst through them to enter a scene. Occasionally the revolve is cranked onto service by means of a giant lever wheeled to the front of the stage and laboriously 'worked' by an actor; on only one occasion is the drum used to bring a pre-constructed set up to stage level.

wonder.land

by Damon Albarn, Moira Buffini and Rufus Norris

seen at the National Theatre (Olivier) on 31 January 2016

This musical, inspired loosely by Lewis Carroll's 'Alice' books, is directed by Rufus Norris and designed by Rae Smith, and it features Lois Chimimba as Aly, Hal Fowler as the MC (and Cheshire Cat and Caterpillar), Carly Bawden as Alice, Enyi Okoronkwo as Luke Laprel and Anna Francolini as Ms Manxome.

Making full use of digital technology, both as a plot device and as a theatrical resource, this exuberant piece makes its presence felt even before one has reached the auditorium of the Olivier Theatre. There is an installation in the cloakroom foyer featuring virtual displays, smartphones and i-pads inspired by elements of the set, all stirring a great deal of interest among the younger members of the audience.

Everyman

a new adaptation by Carol Ann Duffy

seen at the National Theatre (Olivier) on 27 April 2015

The late-mediaeval morality play has been adapted and expanded by the current Poet Laureate Carol Ann Duffy. It is directed by Rufus Norris, the new Artistic Director of the National Theatre, and stars Chiwetel Ejiofor as Everyman, Kate Duchêne as God (and Good Deeds), Dermot Crowley as Death and Penny Layden as Knowledge.

The play opens with Everyman falling slowly from the fly gallery of the Olivier theatre into a pit created in the drum revolve - curiously, the reverse of the poignant conclusion of the opera 'Between Worlds' which I saw a couple of days previously. The two pieces both deal with the unexpected but inevitable confrontation with death, but in 'Everyman' the emphasis is on a personal 'reckoning' with God, which in turn requires a searching self-reckoning as Everyman, totally unprepared, confronts his maker.