People’s Romeo, UK Tour

The story of two star crossed lovers is one which has graced many a stage. Tara Arts has now revived it using a Bengali theatre style called Pala Gaan, originally performed in market squares in the 16th century. This production is perfect for celebrating a theatrical tradition from another land, and one really gets a sense of it through the musicality of the play. However, it’s a poor retelling of one of literature’s most famous love stories and the very essence of the relationship between Romeo and Juliet is lost.

The script is delivered by a three member cast in both English and Bengali, a decision which ultimately leaves no room for the language of love. By switching between the two languages, the rhythm, synergy and connection between the two lovers is lost, which is a great shame. This vacuum is intensified by the fact that each cast member plays multiple roles, with very few props to distinguish one from the other.

Caitlin Thorburn is like a beacon amidst a sea of confused colours. She plays a spirited and soulful Juliet and her key scenes are full of emotion and poignancy. Delwar Hossain Dilu however, fails to impress as Romeo. The pair are buffeted by Leesa Gazi, whose primary role is that of Juliet’s nurse.

The set has the look and feel of a market square and every strip of material is used imaginatively. The two musicians are also faultless. Cross cultural enthusiasts will be well pleased. There’s classical music, dance and vibrant colours draped across the studio. But anyone looking to be drawn into an intense and powerful romance will leave disappointed. There’s no love between this Romeo and Juliet.

Money by Shunt

Stepping inside a piece of Victorian machinery isn’t exactly most people’s idea of a night at the theatre but Shunt are not your traditional theatre company. Their latest production is set inside a warehouse in London Bridge. Money is an intense piece of site specific theatre which shocks and attacks the senses without rhyme or reason.

The giant steel structure stands inside the warehouse, guarded by men dressed in space-like outfits, one of whom rather bizarrely hands out helium filled balloons. The machine whirrs as you’re led inside it. Once inside, there’s no unfolding of a linear plot, but bizarre scenes, in varying locations, that are connected only by the superb cast and their dialogue. One is constantly questioning and trying to piece together the action whilst the juggernaut roles on. Without giving too much away, the pieces do fit together at the end but by then you’re positively exhausted. Not for the faint hearted or claustrophobic, Money offers an experience which simultaneously tugs on the nerves and the brain cells.

I Was Looking at the Ceiling and then I Saw the Sky
Theatre Royal Stratford East

This rather oddly titled musical takes its name from a quote by a survivor of the 1994 Northridge earthquake. But in place of being a piece of theatre filled with insight and revelations, the audience is presented with a musical based on the dilemmas faced by a group twenty something year olds. Originally created by John Adams in the 90s, this production has been revived in collaboration with the Barbican and will have you willing the curtain to fall.

Confusingly, the production opens with the characters dealing with issues of fidelity, trust, love and sex on a set that looks like it has already been destroyed by the earthquake. The accompanying score is a melange of musical genres, including jazz, gospel, blues and pop. Some beats and melodies are tolerable but not outstanding. The choreography is sloppy and acting poor.

The focus on relationships is buffeted by the story of one man who deals with the issue of racism and identity, following his arrest and attack by a police officer. It’s a welcome distraction to the self absorbed ramblings of the other characters. Once the earthquake has hit, the performances become slightly more impassioned. The characters face the truth of their individual circumstances and some feeling has emerged through the cracks. The production then becomes a little less dire.

Cynthia Erivo stands out as having a great voice, whilst Natasha J Barnes and Leon Lopez give good performances. The other cast members are poor and almost amateur. Unfortunately, it’s a production which will have you looking up at the ceiling in despair.

Into the Blue@ The Arcola

“I’m sorry you didn’t get a special mum, you got me”. These words are spoken by a mother struggling with the reality of her circumstances. She’s suffering from depression and has a daughter who was born with Downs Syndrome. It’s a story which on the surface seems like a drawn out, emotional drama but refreshingly it isn’t.
Into the Blue is a very real and moving account of the relationship between a mother and daughter and it’s touching rather than traumatic.

Rosie resides at Acorn Lodge which is a residency for youths with disabilities. She has come to visit her mother Marion, who lives on her own in a studio flat. As the two converse, Marion is revealed to be an anxious mother, unaware of how her daughter has managed to lead an independent and normal life. As the dialogue develops, we learn of the difficulties faced by Marion throughout her life.

The role of Rosie is played beautifully by Sarah Gordy. She’s epitomises the stroppy and determined child and she delivers right on cue. Catherine Terris plays her mother a little less convincingly. The intimacy proffered by studio 2 at the Arcola is perfect for staging the play. It’s cosy and warm, adding to the charm of the play. Writer Beverley Hancock has dealt with the issues here with wit and subtlety. She presents the reality of the situation, without preaching and it’s truly heart-warming.

Suckerpunch@ Royal Court Theatre

The prospect of a new play by Roy Williams always stirs up excitement in both critics and theatre-goers alike and his latest offering doesn’t disappoint. Set in London in the 1980s, Suckerpunch tells the tale of Leon and Troy, two young black youths battling for success and acceptance during a period of race riots and social unrest. It’s a play that sheds light on a legacy inherited by youths today.

Leon’s talent for fast punches and light footwork is discovered by a Caucasian trainer and he embarks on a journey to succeed in the boxing world. Surrounded by racial tension, he is looking to be accepted and see success as a boxer as a way of achieving this. His friend Troy, is also discovered by an America trainer. Both boys only ever become commodities, used by their managers for financial gain. Neither achieves the acceptance that they are looking for and they forever remain on the margins. Williams puts forward the idea that these youths each lead a life of battles and ultimatums, without a role model in sight.

The play is set entirely in a boxing ring, making it extremely atmospheric. Punches are thrown in slow motion and are accompanied by flashing lights and the sound of a roaring audience. The set design creates a piece of theatre that’s almost cinematic, leaving the audience wowed.

Daniel Kaluuya (Skins) gives a stellar performance as the lead. There’s something almost Michael Jackson-esque about the way he moves. He’s slick and energetic as he skips, boxes and dances in the ring. Anthony Welsh shows promise as Troy, but with a wavering American accent Gary Beadle is disappointing as his manger.

Suckerpunch presents a Britain of another time and Williams deals with the issue of racism with subtly and finesse. There are no gimmicks and nothing thrown in for shock value, just great writing accompanied by an innovative set design and score.

The House of Bilquis Bibi @ Hampstead Theatre

Asian theatre company Tamasha are celebrating their 21st year and their latest offering is yet another adaptation of a classic. The House of Bilquis Bibi is a somewhat lacklustre adaptation of The House of Bernarda Alba by Federico Garcia Lorca. Set in present day Pakistan, the play follows the lives of Bilquis Bibi and her five daughters following the death of their father.

Once the funeral rites have been carried out, the eldest daughter Abida is sought out by a suitor who also happens to be her cousin Pappu. We never see Pappu or any other male in this all female production. However, we come to realise that he has managed to steal the hearts of Abida’s other sisters. What ensues is the discovery of the younger sisters’ secrets amid a tense and oppressive environment.

The tyrannical mother is played by Ila Arun who resorts to the bellowing and melodrama typical of a bollywood movie. Youkti Patel plays the smitten younger sister with the sweetness reminiscent of a young bride, whilst Rina Fatania once again plays the all knowing servant who grunts her way through the production.

Although the play is very much a family drama, there are hints of the political unease surrounding the country and the impending threat of Taliban rule. Unfortunately, the play never really delves into it. Instead, the plot is rushed and the ending is wanting. The sparse set also adds to the sense of hollowness of the play.

Adaptations like these focus on revealing another land or culture rather than developing a deep and engaging plot. It’s such a shame that in place of originality, we have yet another attempt to universalise a classic. It’s time to unleash new voices and stories. Or at least make the adaptations engaging and thought provoking.

No Idea@ Young Vic

No Idea has been created from the outcome of a public questionnaire on what would make for good theatre. Closer to stand-up theatre than your traditional production, it challenges perceptions of both the stage and people. Bursting with humour and creativity, it’s original and extremely clever.

Lisa and Rachel are two friends of differing physical proportions. They asked the public for ideas on what would make a good piece of theatre. On stage, the duo impersonates the people they questioned with hilarious consequences. One member of the public suggested a plotline that would give Eastenders a run for its money.

Whilst they reveal the pitfalls of using an open forum as part of the creative process, they manage to interweave another strand; perceptions of physical appearances. They explore the professional limitations imposed on someone who suffers from either a physical disability or difference. They do it using comedy and a mix of scenes and scenarios, which all highlight the plight of an artist constrained by her physical appearance.

The pair literally makes a song and dance about Lisa’s height. The musical number entitled ‘Cheeky face’ is extremely funny and they go to great lengths to hone the message in, sometimes a little too far. That said, No Idea is a comical and creative collaboration that gets the audience simultaneously laughing at and questioning preconceptions, both creatively and personally

Like A Fishbone @ The Bush Theatre, London

A contained model town sits in the centre of an architect’s office. Within this ordered and clinical setting, a tragic tale of loss is unveiled. Anthony Weigh’s gripping new play explores what it is to have faith and whether truth can sit alongside it.

The play opens with a blind woman entering the office of a female architect. She has arrived unannounced but with purpose. There’s an uncomfortable feeling hanging in the air, which is as relentless as the rain that trickles down the windows, intensified further by the intimate space. As the two women converse, the story of a massacre at a school is revealed and they discuss the best way to move on from the ordeal. What ensues is an intense dialogue between the women about faith, symbols, truth and the purpose of architecture. One believes in the power of religion whilst the other creates new truths.

Sarah Smart is superb as the blind woman. She conveys the anguish of a woman having to live with unimaginable pain in a world without light, whilst Deborah Findlay gives a sound performance as the successful architect. Together the two women create an atmosphere charged with emotion and unease. The intensity is cleverly broken by the interruptions of an over eager and somewhat annoying intern played brilliantly by Phoebe Waller Bridge.

Throughout the play there is also an undertone of a feminist debate. The two women are mothers and have varying roles. One is extremely maternal and a Christian, whilst the other is an ambitious career minded woman whose son lives with his father. The inclusion of a feminist argument is perhaps a little too much for a play, which is already so laden with so many issues.

Although, a little ambitious, Like A Fishbone demonstrates the power of theatre that’s close enough to touch. It’s escapism of an intense kind.

Like A Fishbone runs at the Bush Theatre until 10th July

In Conversation with: David Harewood

Martin Luther King, Nelson Mandela and Friar Tuck are but a few of the roles that David Harewood has under his belt. He is now playing the mythological figure Theseus in Welcome to Thebes which is running at the National Theatre. Amardeep catches up with him during rehearsals to discuss Mandela, Mugabe and the pull of America.

AS: How are rehearsals going?

DH: Really interesting. It’s a great piece. It’s a modern classic with huge elements of Greek tragedy. It has been somewhat difficult finding a style with the writer constantly writing and re-tuning so it’s been a little difficult for the actors. So much has been changed; lines and cues have been changed so it has been a very difficult rehearsal process.

What has it been like working with Richard Eyre?

He’s wonderful. He’s a really impressive pedigree. It’s such a big piece and he has taken such time in sculpting it and now I think we’re getting to the stage where it’s much more detailed. It’s really interesting.

Can you talk me through the synopsis?

It’s difficult to explain really. The play burrows from the story of Phaedra and Theseus. Thebes is like a small African nation which has recently come out of a horrendous civil war, and Athens is like America and Theseus is kind of like Obama. Thebes is like a very powerful nation going to a new democracy, somewhere like Liberia. I say Liberia because it has an almost all female cabinet. The play is almost a celebration of women in politics. It’s asking the question: why aren’t there more women in politics and how does a woman serve in politics with politics being a very male dominating world? Theseus is a typical Alpha male and comes to this small African country ruled by women and is rather dismissive of it really.

So we get to see an interesting male/female dynamic?

Yes, a very interesting male/female dynamic and a very interesting male/female political dynamic as well. You see how the politics of need meet the politics of greed. I think that’s an interesting point. I mean here we are, halfway into the 21st century and the western world still hasn’t got an adequate, sufficient dialogue with the third world. We still haven’t got the right way of dealing with poorer nations. They’re still very much with their hands out and we’re still treating them as underlings as it were. We’re not really helping them develop.

And how does playing a mythological figure differ from playing an historical figure?

Not much really. You still have to find the character and it’s still about putting flesh on the bones, it’s the job of the actor to find that.

You’ve played quite a few historical figures, which one are you most proud of?

Hard question. On stage, it would be Martin Luther King in The Mountaintop and then Mandela. That was fantastic. I’m really proud of it. I feel really blessed to have come to know him. Most people come to know him as Nelson Mandela who did that thing in the 90s without really understanding him. To have faced what he did when he did, against who he did is just astonishing. He was so peaceful and without bitterness or any notion of revenge. For him to spend 27 years locked up and them to come out and be so gracious is astonishing.

Did you get to meet him?

I very nearly did. He wasn’t very well when I was there. His personal assistant spoke to me and said he wished me luck, which was good enough for me really.

Is there anyone else that you really want to play?

Many. Lots of Africans. Mugabe is somebody I would love to play. Again, it’s very easy in the west to have a notion of these African leaders being dictators without really understanding that the first wave of African leaders really did start off with the highest of intentions and were successful at first. The literacy rate in Zimbabwe increased two fold when Mugabe first came to power; it was a thriving African nation. I didn’t know at the time that the South Africans were at the border trying to blow up aeroplanes and that the British were also trying to undermine Mugabe because it wasn’t in their interests to have a successful African democracy.

You’re quoted in the Evening Standard as saying it’s an exciting time for black actors. What do you think has brought about this change?

I just think we have had two or three generations of extremely talented black actors, extremely well taught and trained. We’ve now got a generation of black actors who have gone to America and made a success, come back and proved that you don’t necessarily have to go through the BBC and ITV route. You can almost bypass them and go straight to America. Now that America has seen the talent here, it has really given a lot of the younger actors hope and I think that’s a really good thing. Although it’s a shame you have to go over there to become a big success.

Why do you think that it’s easier to be successful in America?

I just don’t think there are the parts here. The framework still isn’t in place here for black actors to be acknowledged on their own merits. I think it’s still a very tough, a very white world in terms of management, in terms of artistic directors, and leadership. It’s still a very white, male dominated place. In America it’s different. I think it’s confused here by class and education and privileged education. There’s a sense of entitlement and right and you only have to look at the people who are writing in those top hit shows to see they are all from Oxford and Cambridge. It’s simply difficult for us to break into that really.

What would you like to see more of in the arts?

Me. I just think there needs to be more risk taking. We’re living in funny times. I’d like to see more risks taken on screen and television; with writing, casting and subject matter. I just think it’s all a bit formulaic and I think that there’s more acceptance of cross casting and multi-racial diversity in theatre. It would be interesting just to get more of a diverse approach to casting on screen.

What’s next for you after the run at the National?

Who knows? I kind of tend to concentrate on what I’m doing at that particular time. I am hoping to break into the American market. I have an American manager now and an American agent. I was in LA in February and it’s really exciting. There’s so much more work and so many more opportunities there. I understand why so many of our black actors are going there. I saw this piece of paper at one of the auditions that I went to and it read “please send more ethnic actors to these auditions, we’re not getting enough of a diverse cast.” They want to see more colour. Very few American shows are cast all white. It has to be that way because it’s reflecting on their society and they feel it’s going to bring a larger audience. Whereas here, it still looks the same.

Who would be your five dinner party guests, past or present?

Jesus, he’d be a laugh. Jack Nicholson, he makes me laugh. Nina Simone, she could sing. Frankie Howard and Mandela

Welcome to Thebes runs at the National Theatre until 18th August 2010

REVIEW: Behud @
Soho Theatre

By Amardeep Sohi

In 2004, a play called Behzti came to the Birmingham Rep amid protests, riots and controversy. Six years on and playwright Gurpreet Kaur Bhatti has responded to those events with a new play. Behud (beyond belief), explores artistic freedom and the various influences that were imposed on Bhatti throughout this time.

The play opens with a woman lying across a wooden table on Hannah Clarke’s stark white set. Wearing a stained orange hoodie and baggy bottoms, she awakens and sits down to write. Her name is Tarlochan Kaur Grewal and she watches on as everyone involved in the production of her play, Gund (a reference to Bezhti) arrive on stage through various doors. From policeman to artistic directors and community leaders, each character attempts to influence the play and unfolding events. Like a maestro, Grewal controls each person with vigour and enacts her revenge, until the point that she loses all control and becomes distressed. Chetna Pandya does well in conveying the angst of the imposed upon playwright, whilst John Hodgkinson brings humour in his role as the self-important artistic director but becomes almost cringe worthy as the unsympathetic policeman.

Bhatti’s follow up was always going to be overshadowed and heavily influenced by her previous play, but Behud leaves a lot to be desired. It is a complex exploration of the playwright’s journey, but her characters are merely types who are difficult to engage with and the script could use another edit. Her one feat however, is how she raises the issue of agenda, particularly with work linked to an ethnic minority. The issue is a delicate one but Bhatti makes the point well, showing that individual or political agendas are never far from her work. She also successfully demonstrates an awareness of everything that is wrong with British Asian theatre as her character ironically tells the artistic director to “Put on those Enid Blyton Asian plays where everyone loves each other in the end”.

Behud seems more like a cathartic, autobiographical experience for Bhatti rather than a great play. Let’s hope the furore surrounding Behzti can finally be laid to rest and she uses her platform to really influence the direction of British Asian theatre for the better

REVIEW: Off the Endz@
Royal Court Theatre

By Amardeep Sohi

Drugs, gun crime and spiralling debt are rife in Off the Endz, a play about life on a London estate. Playing downstairs in the Jerwood theatre at the Royal Court, Bola Agbaje’s status as a serious playwright has been cemented. A bold if somewhat contentious play, Off the Endz presents another topical issue of society with Agbaje’s trademark coupling of humour and high drama.

Sharon (Lorraine Burroughs) and Kojo (Daniel Francis) are a young working couple who are expecting their first child and looking to buy a house away from the estate. David (Ashley Walters) is their childhood friend, who returns from prison to up heave their seemingly stable lives. Having grown up together on the estate, the three have come to lead separate lives but all strive for something better. Their quest culminates with their lives being put in danger and relationships put to the test.

Performances by the principal characters are strong and Ashley Walters’ fans will not be disappointed as he bares all, literally. There are moments of humour and shock, all well timed and effective although sometimes they are taken too far. David’s torrent of abuse for example elicits a roar amongst the audience but becomes ineffectual as he labours on with the gag. The set transfers from the polished interior of Sharon and Kojo’s flat to the job centre and estate grounds. However, a very real sense of being on the estate is only created by the fluorescent graffiti branding the walls of the stage between scenes.

Much like Agbaje’s last play Detaining Justice, Off the Endz offers a balanced view of a burning issue and Agbaje does this through the characters of David and Sharon. David is cocky, brutally honest and disillusioned with the system. He believes that selling drugs is “a better system”. He is opposed by Sharon, the strong female voice of reason who is determined to make “an honest living”. Agbaje demonstrates the ease with which people fall into a life of crime out of disillusionment and presents the way forward without adopting a preaching tone. However, her characters are in danger of falling into stereotypes.

Off the Endz is well written, well performed and enjoyable to watch however, one hopes that Agbaje’s next offering will be a little less predictable and venture out into the unknown.

REVIEW: Disconnect@
Royal Court Theatre

By Amardeep Sohi

An Indian call centre takes centre stage once more in Chennai based playwright Anupama Chanbdreskhar’s latest work, Disconnect. Set in the offices of Blitz-Tel, a call centre employed by the American finance company, True Blue Capital, staff are tasked with chasing up credit card debt through the night. The play humanises the call centre as staff adopt personas and accents to survive this soul destroying job, whilst attempting to empathise with their debtors. The play succeeds in humanising what has become a bane of contemporary society, but it fails to really take off.

Ross, (also known as Roshan), Vidya and Giri are supervised by Avinash and together they make up team Illinois. The soulless environment in which they work is created by a grey set, papered from floor to ceiling with unpaid credit card bills. As the team strive to achieve their targets, they are revealed as a group of hardworking callers who dream of other lives and locations. Ross is the star collector with a seemingly authentic American accent and dreams of living in America. He believes that there “is no formula to collecting”. This human and at times creative approach to debt collecting is responsible for his eventual downfall. Ross’ love interest Vidya is known as Vicki and longs to be white. At the 4th of July party, she wanders onto stage as a rather creepy looking Snow White.

The narrative is at times difficult to follow as calls take place simultaneously but there are moments of excellence, mainly delivered by Nikesh Patel who plays Ross. He makes his professional debut in Disconnect and it is a sterling debut. Although Ayesha Dharker expresses Vidya’s vulnerability with charm and sweetness, the cast remain very much in Patel’s shadow.

The play is a sound attempt at putting call centres, contemporary India and the global effect of America’s economy into the spotlight, but much like the desks which only swivel about on stage between scenes, the issues are present and mobile but don’t really leave any lasting impression.

REVIEW: Serenading Louie @ The Donmar Theatre

By Amardeep Sohi

Two successful couples in their 30s, disillusioned, starved of passion and questioning their purpose in life, forms the plot of Langford Wilson’s play Serenading Louie. Written and first performed in 1976 it is very much a reflection of the times. Intense and at times uneasy watch, the play questions the 'American Dream' in a period of transition.

One living room with connecting bedrooms and kitchen houses the two couples, separately. This simple setting is offset by the complexities of the relationships which play out on stage. Alex and Gabi are a couple who are unable to communicate. One is moody whilst the other anxious. Carl and Mary are their friends who are able to converse but fail to address the one aspect of their lives which could destroy their relationship.

As the play unfolds, the couples go through the motions of reflecting on their individual relationships, desires and dreams. Alex reflects on how he feels “in service” whilst having sex with his wife, whereas Carl cannot connect with life and accepts that “nobody is content with it”. What is interesting is that unusually, it is the male characters that are most expressive and dissect their relationships and roles in life. The women do not engage in the same manner and their inner feelings are never really explicit, resulting in an interesting tone and dynamic. Although, the discussions which take place between Alex and Carl can at times be lengthy and drawn out, they do also highlight the political unease of the period.

Performances by the cast are fantastic. Geraldine Somerville is superb as the steely Mary who shields her vulnerability and the twitchy and confused congressman Alex is played with conviction by Jason Butler Harner.

An American take on the pitfalls of long term relationships, the play highlights how dysfunctional relationships can be frightening and destructive places to inhabit.

REVIEW: Dunsinane@Hampstead Theatre

By Amardeep Sohi

Commissioned by the RSC, David Greig’s new play explores the events following Macbeth’s death. The English Army has stormed Scotland and is looking to restore power. What ensues is a bloody and callous power struggle which, when teamed with a witty and sharp script, results in an engaging and powerful play.

As the English army search for the Queen’s son and heir to the throne, betrayal and violence are rife as the opposing sides vie for power and wealth. Every man has his own agenda but it is the commanding officer Siward who attempts to resolve the problems, whilst dealing with his own personal tragedy in what is the most hostile of environments. The harshness of this hostile land is reflected well in the stony and gravelly set.

Amidst the fight for power and position, the Queen and Siward succumb to the sexual tension between them and become embroiled in a liaison which only complicates the situation further. The sexuality between them is played out well by Jonny Phillips and Siobhan Redmond, who saunters around the stage as the shrewd and fiery Grauch. Sam Swann plays the endearing Boy Soldier whose naivety demonstrates a soldier fighting a war beyond his years. He is surrounded by an army of rugged young men who engage in boyish banter throughout, thus lightening the drama which unfolds.

Dunsinane is a play which sees power and politics played out with drastic consequences, sprinkled with a touch of humour and in true RSC style, the violence and injuries inflicted are so very real. A truly clever and commendable commission.

REVIEW: Really Old, Like Forty Five

By Amardeep Sohi

As the title suggests, Tamsin Oglesby’s new play focuses on the older generation. A black comedy which explores the issue of dementia and society’s attitude towards the elderly, it borders on the bizarre with robotic nurses and babies strewn across the divided stage.

Resembling a traditional British sitcom, the opening of the play shows promise. Elderly siblings, Lyn, Robbie and Alice are joined by Lyn’s daughter and Alice’s grandson to watch a play. As they break for the interval, they engage in sharp, comic banter as questions of age, parental responsibility and the role of grandchildren arise. A swivel of the stage and we’re introduced to The Ark, an institute which has set out to study this particular demographic of society and develop a drug for dementia. They offer hilarious solutions for coping with the elderly - slow lanes on pavements for example.

The plot progresses in these two opposing arenas but the play fails to live up to its initial promise. As Lyn experiences the onset of dementia, the Ark constantly interrupts and in doing so detracts from the subject matter and removes any real connection to the characters. It becomes a futile addition to the play. The only moment of brilliance is delivered by Michela Meazza who plays the robotic nurse Mimi perfectly. Although, Marcia Warren is close behind as Alice, who ultimately becomes the granny one wishes to take home for a cup of tea.

The play attempts to tackle the subject of dementia with dark humour and no logic but it ultimately becomes a disappointing and confused take on a delicate subject matter.

REVIEW: The 14th Tale

By Amardeep Sohi

A dusty stage, a fold up chair and a spotlight are all the tools required by Inua Ellams to tell his tale. “A word and graphic artist” Inua was born in Nigeria, later moving to Ireland and England. His work brings together the visual and the written word in this award winning one man show. The 14th Tale is a fusion of childhood memories, reflections and anecdotes, all delivered in one slick act.

The play opens to the sound of hospital commotion. Inua is dressed in jeans and a t-shirt, stained with what looks like blood. He begins by reflecting on being a ‘trouble-maker’ which he explains is a family trait. We learn of how he “climbed into the world already in trouble” having hidden his sister in the womb. He continues by telling various anecdotes from his life; how he tried to convince his teacher that Moses retrieved water from a tap, how he got revenge on the school bully and adjusted to life in London and Dublin. Ellams has the audience laughing out loud, and hanging on his next word as he impersonates each person in his story and emulates his words through his panther like movements.

Produced by Fuel, The 14 Tale triumphs as a melange of stories delivered with poetic and comic brilliance. Ellams manages to maintain simplicity through the tapestry of his tale and ensures a memorable performance, without feeding stereotypes.

The 14th Tale is visiting the National Theatre for 10 performances until 13th March.

REVIEW: I Am Yusuf And This Is My Brother

By Amardeep Sohi

Palestine. 1947. Yusuf and Ali are two brothers whose loyalty to one another is unfounded. Yusuf is warm, radiant and childlike, whilst his brother Ali is protective yet loving. Their story plays out against a backdrop of division and unrest, as the UK mandate ends and the UN seals the fate of this troubled land. For its latest offering, the Young Vic has partnered with Shiber Hur, a Palestinian theatre company, who previously toured villages and refugee camps in the West Bank and Galilee to deliver the tragic history of a divided people and land.

The play opens in 2000 with an elderly couple involved in a struggle. The elderly man is refusing to wash and clearly has mental health issues. With only a dusty brown sheet draped across the stage, we travel back to 1947 where we’re introduced to the brothers Yusuf (Amer Hlehel) and Ali (Ali Suliman), play fighting in the dirt. Their tale of brotherly love runs alongside the traditional tale of two star crossed lovers. Ali is in love with Nada (Samaa Wakeem), a local girl whose father opposes the union. The two threads run alongside one another until the conflict forces them into dire circumstances. As events unfold, the elderly couple roam the stage, each stepping into their individual and collective past along the way.

The historical context of the play is evident as the UN vote triggers the chain of events. However, the tragedy and political unease of the period remains very much in the background, leaving the audience craving more. Military presence is merely symbolised by a lone soldier Rufus (Paul Fox), who has a fleeting flirt with a young Palestinian girl, before returning to Sheffield. There are no scenes of war, only the desperate plight of refugees. What the play lacks in history it makes up for in authenticity as dialogue is delivered in both Arabic and English, accompanied by the haunting vocals of a young girl who wonders the stage with an eerie presence.

Although relationships are at the forefront, the play is ultimately one of division; of land, of lovers, of brothers and of countrymen. But it is the play’s treatment of the past and present which is pure genius. The past and present are forever entwined, each one impacting on the other and never forgotten.

I Am Yusuf And This Is My Brother runs at the Young Vic until 6th February 2010.

In Conversation with Bola Agbaje

By Amardeep Sohi
Bola Agbaje is a young playwright who is currently under commission to the Royal Court Theatre. Her previous play Detaining Justice was part of the Not Black and White season at the Tricycle theatre. Amardeep asks Bola about immigration, Gordon Brown and other burning issues.

What first prompted you to write and submit your play Gone Too Far to the Royal Court’s Young Writer’s Festival?

I had just finished the Critical Mass course at the Royal Court and at the end we were encouraged to write a play and submit for the festival. I wrote Gone Too Far and it was selected as one of the two plays to be performed.

You've stated that the world projected in your previous play Gone Too Far was known to you because you experienced life on a London estate. What was your inspiration for tackling the issue of immigration in Detaining Justice?

I have always been fascinated by the subject of immigration. I find it so interesting that I take for granted the fact I have a British passport and I often misplace it, whilst to another individual it is their lifeline.

How did you begin to research the topic?

I went on a week long course at the Asylum and Immigration Advice Centre(AIC). I learnt a lot about the different types of visas people apply for and also the different cases that the AIC deal with. I spoke to a lawyer who also dealt with immigration and asylum cases.

You weave a complex web of issues surrounding immigration, what do you hope people will take away from it?

If there is only one thing people take from the play, I hope it is this – immigrants and asylum seekers are not all the same. They are human beings like everyone else and many aspire for a better life, the same way we all dream for a better future. The ‘immigration problem’ the government wants to resolve does not have straight forward solutions. I am not sure if I would even call it a problem. The play was not written to answer question or give solutions.

I read in an interview that you sent a letter to Gordon Brown asking him to see your play Gone Too Far. Did you ever receive a response?

No he didn't get back to me. I didn't think he would but anything is worth a try. The offer is still open. Gone Too Far has been published and if and when he ready to talk and hear me out he can. My door is always open.

Do you find it difficult to write without thinking about how critics or the public will receive your work?

The moment I start concentrating on people’s opinions I have to put my pen down or step away from the computer because it often means I need a little break. My aim as a writer is to be truthful to the character and the story. When I start to think about critics and being liked I am not being truthful.

How have you found the experience of being part of a three play programme at the Tricycle? Did it ease the pressure at all, to undertake this with Roy Williams and Kwame Kwei-Armah?

I was under immense pressure. I am the new kid on the block. This was only my second published play and I was told by many writers that your second piece is never as good as your first, so if I say I was scared I would be lying. I was petrified. However, I was also honoured to be asked to be a part of the season. I knew I had to work hard on my piece because Roy and Kwame have both set very high standards in their careers.

(Playwright) Roy Williams recently said that theatre’s landscape has changed significantly since he first started out and that there are more prolific writers of colour now. In the time that you’ve been writing, what changes have you noticed?

I have noticed many young people aspiring to become writers. Many new audiences are attending the theatre.

Are you exploring any other mediums, such as writing for TV or film?

I have written Gone Too Far as a film script. This year I have written 3 short films with a friend of mine, John Dayo who is also an aspiring director under his production company Day Zero Productions.

Do you have a burning issue that you are itching to tackle next?

I am always fascinated with the question of choice, fate and destiny and will always aim to explore these three themes.

What's next for you?

My third play Off the Endz will be on at the Royal Court Theatre at the end of January in the theatre downstairs. It’s a play that focuses on choice and debts; the debt people find themselves in because of the state of the economy and also emotional debt. What do we owe our friends and ourselves?

REVIEW: Detaining Justice
Tricycle Theatre

By Amardeep Sohi
Immigration and Justice are two words which are very rarely heard together. More than just a snapshot of immigration in London today, Bola Agbaje’s play is complex, layered and rife with contradictions. Detaining Justice is part of the Tricycle theatre’s Not Black and White series. Alongside Roy Williams and Kwame Kwei-Armah, Agbaje certainly cements her position as a playwright to be taken seriously. She handles the issue with an intelligence and honesty, which will leave you not only questioning society's treatment of the issue but your own.

We follow the story of Justice, a young Nigerian boy detained for entering the country illegally having fled his homeland. We piece together his story through various sketches. We meet the disenchanted lawyer who volunteers to fight his case, the sister who will stop at nothing to help him, the pastor who connects the community and the black enforcement office determined to make sure he “goes back to his country”. As his story unfolds, we understand his plight and the unjust treatment he must endure as a result.

We’re also introduced to the wider immigrant community, each struggling with their own frustrations and turmoil. By demonstrating the harsh and at times inhumane treatment and hostility they receive, she humanises the immigrant experience. But her true talent lies in the way she moves swiftly from the most serious of situations to light-hearted humour with the greatest of ease, topped off with an all singing and all dancing gospel choir.

Cecilia Noble plays the loud, and bolshie Abeni with such conviction. Her partnership with the pastor Pra (Kobna Holdbrook-Smith) evokes the most laughter as they banter and fight their way through every scene. Sharon Duncan-Brewster (Eastenders) plays the gentle Grace whose compassion for her brother is heart-wrenching. Whilst Karl Collins and Jimmy Akingbola go head to head as Justice’s lawyer and enforcement officer, both black but on opposite sides of the argument.

Agbaje’s play offers a conflicting insight into this most controversial issue. She sets compassion against practicality, brother against sister, and chance against choice. In doing so, she proves that the issue of immigration is indeed not black and white.

The Not Black and White series continues at the Tricycle until 19th December.

In Conversation With: Dharmesh Patel

Dharmesh Patel is a member of the Royal Shakespeare Company’s ensemble, who will be performing with them until 2011. Amardeep Sohi catches up with him to discuss working with the RSC, Asian Theatre and the dark side!

Amardeep: How are you enjoying your time with the RSC?

Dharmesh: I’m loving it to be honest. I’ve never done any Shakespeare except for when I was at university. So for me it’s like going back to university and re-learning a new kind of art form. Shakespeare is such a different form of theatre; it’s like learning a new language so you have to go back to the very beginning. The great thing about the RSC is you’re working with the best in the business, so in that sense it’s like a dream job. And especially as it lasts for two and a half years, because as an actor you’re never really sure of where your next job is or how long it’s going to be so, in that sense, it’s a real treat.

AS: You’ve already answered my next question…

DP: What was the next question?

AS: What initially drew you to being part of the ensemble and what are you hoping to take away from it?

DP: In terms of being part of an ensemble, I think it’s something British theatre lacks, you know. There’s not enough of it. For every show an actor does, there’s a different cast every time so you never really get to know the people. Michael Boyd has got 44 people who get on very well and we’ve created such a bond and you take that onto stage. If that connection is there before you’ve even started your rehearsal, then it can only get better.

AS: And what was it like working with Michael Boyd in As You Like It?

DP: Do you know what Amardeep, it’s really weird because there’s a real myth around the RSC and as a performer when you hear the name of the RSC, it’s a special thing. There’s also myth around Michael Boyd that he could be scary because the man is a genius, so you 'up' your game as much as you can. But on meeting him, it’s kind of the opposite of what you thought. He’s a beautiful man, he’s very caring. He makes sure you’re ok in the rehearsal room and no matter how big or small your part is; he treats everyone the same. So in that respect it’s very relaxed in his rehearsal rooms.

AS: Which Shakespearean lead would you like to play and why?

DP: Ok, I’m a bit obsessed with love, love and hate. I’m really obsessed with it as a performer, so obviously Romeo without a doubt. I’ve wanted to play him since I was a kid and it was one of the first plays we ever looked at. And Mercutio as well, I’ve always loved the darker side of Mercutio.

AS: How did you get into acting?

DP: I never actually went to drama school. I went to university to study drama and become a drama teacher. I did a course in physical theatre straight after. A friend of mine was doing it and I thought why not. I think that’s when I began to really love performing, being on stage, devising, that was where it really came about. And after that I got an agent. I’ve been really quite lucky because I’ve just had job after job. I suppose I got into it more by luck than by choice if that makes sense. Although, I feel like a fraud sometimes because I never went to drama school. It’s nice to fall into something and love what you do.

AS: What has been your most memorable part to date?

DP: I did a show called Happily Married before I came to the RSC which was devised by a Spanish actress called Susanna Alctund. I just got to play who I love to play, a mad character called Ron who’s obsessed with antique books. He will do anything for his books. It’s about his marriage to Mariam who dreams of being a triangle soloist in some band or orchestra. That was at Freedom Studios and that was an incredible part because I got to go a little bit mad and a little bit wacky.

AS: How did you get involved with Freedom Studios?

DP: Again, when I was doing this physical theatre course, Madani Younis(award-winning Artistic Director of Freedom Studios), came along to give us a workshop. He wanted to do some research and development on one of his scripts. He came to see us in Liverpool and we helped him out and off the back of that we just stayed in touch. I did a show for him called Silent Cry and off the back of that did some writing. Madani is my mentor and if I’ve got any trouble or gripes, I just go to him and speak to him. What he does is incredible; it’s what I want to do. He has taken Asian theatre and turned it on it’s head. Rather than calling it Asian theatre he just wants to do good work. I suppose Asian theatre in Britain is lacking, it’s not as inventive as it used to be. Madani brings that spark back for Asian actors. He teaches them a very different way of working. So hats off to Freedom!

AS: You mentioned that you do a bit of writing…

DP: I do yeah.

AS: Are you working on anything at the moment?

DP: There’s a script for a 50 minute play which I am trying to turn into a film, so there are a few ideas I’m throwing around. I’m very much into the dark side of life. The play that I wrote for Waves was about a cannibal who is obsessed with cooking. He gets obsessed with this girl and he follows her home and watches her through a window. In the end he eats his mentor, who teaches him how to cook. It’s all recorded on a video diary which he sends back to his mum every week or month. He’s a very odd character. I love this sadistic world. I know I shouldn’t be saying that.

AS: You’re very dark!

DP: It’s what I love and it’s what Asian theatre doesn’t offer me. As a performer you push yourself to every limit you have possibly got. You want to be tested as an actor, you want to be pushed. You want to work with great actors, with great directors. If you’re in a play about arranged marriage, you’re not going to be tested on that. For me, the dark side is a great side.

AS: What advice would you give to someone starting out as an actor?

DP: If there’s one piece of advice I would give to anyone is to do TIE, which is Theatre In Education. If you can crack that as your first job, I think it gives you a better understanding of the theatre.

AS: Who has been your biggest inspiration?

DP: Madani is one of those, he has definitely pushed me in the direction of the work I want to do and how I want to approach it. Paul Hunter is another one. I think everyone should work with Paul because he brings out an amazing side in everyone. I’ve also got really weird sort of inspirations like Genghis Khan. I know that’s an odd one but I love the idea of one man who has so much belief, that he trudges on and does what he needs to do in order to get where he wants to be. I don’t like him because he was crazy, I like him for his ambition and sheer drive.

AS: If you could act alongside any actor past or present, who would it be?

DP: I don’t know, it’s a tough one. Of course De Niro, only because I grew up with him and I think I’m better than De Niro…only kidding! As a kid, he was one of those actors who made you go “wow”. He’s the gangster you always wanted to be. He had a dark side and really brought out a character.

AS: You seem to be obsessed with the dark side?

DP: I am, but only because I think every human being holds back on the sort of dark side of their life. I think we’re too embarrassed to show our darkest, inner feelings to our partners and close friends. And sometimes I think human beings think on such a different plane, they sometimes think of the worst things, some even do the worst things. I’m obsessed with what makes them do it. I’m obsessed with how we think as humans. I’m not very method in my acting but I love reading autobiographies. I love knowing where that person is coming from. The likes of Ghandi, Mandela, Malcolm X for example, they’re all powerful people, but it’s what they were thinking about that’s more interesting than what they achieved. It’s how you get to that place in the first instance is what I’m obsessed with. I’m not weird; I just want to point that out!

AS: I’ll make a note of that!

Dharmesh will be playing the lead role in the Young People's version of Hamlet, directed by the award winning Tarell Alvin McCraney. The play will tour schools in London next year, followed by a run at The Courtyard Theatre in Stratford-upon-Avon.

REVIEW: Punk Rock
Lyric Theatre

by Amardeep Sohi
Stepping into a sixth form isn’t usually something many people would opt for on a night out but in his new play Simon Stephens puts teenage angst into the spotlight with dramatic results. Punk Rock is a play which delves into the lives of a group of sixth formers in a private school in Stockport. With bullying, teasing, sex and the pressure to succeed at the forefront, the play draws you into their world and leaves you utterly gripped.

The Lyric’s main house is transformed into a sixth form library with grand and austere bookcases crowding the cast. We meet the self-harming Lilly, a new starter from Cambridge who toys with the boys, William who thinks he is “the best person in this town” and befriends her and Chadwick the bullied young boy who predicts the apocalypse.

What begins as mindless and hyperactive chatter descends into darkness as the pressurised world which they inhabit is revealed with severe consequences.

Moving from harmless teenage banter to intense scenes reminiscent of a thriller is Stephen’s great coup and this young cast do great justice to his play. Tom Sturridge plays the endearing yet energetic William with intelligence and he commands the audience, whilst Jessica Raine offers a credible Lilly.

With no interval and only bursts of punk rock to separate each scene, there really is nowhere to escape as this teenage drama unfolds and quite rightly so. It’s an explosive debut for the new artistic director at the Lyric and hopefully a sign of things to come.

Punk Rock runs at the Lyric Hammersmith until 26th September

REVIEW: Julius Caesar
Courtyard Theatre, Stratford-upon-Avon

Political upheaval, backstabbing and ruthless ambition appear to be the order of the day. We’re not talking about Gordon Brown’s political strife but Shakespeare’s Caesar currently playing in repertoire in Stratford-upon-Avon..

The play is an account of Julius Caesar’s infamous demise and in her directorial debut with the RSC, Lucy Bailey’s production is a bloody affair. The play opens with a brutal fight between two men dressed in loin cloths. Reminiscent of animal savagery; it is a sign of things to come.

Greg Hicks plays the ill-fated Caesar in this production. Having reached the peak of his political career, he is on the brink of accepting a crown. Cassius and Brutus conspire to assassinate him to keep the Roman Republic in tact. Caesar’s demise is prophesised by his wife Calphurnia (Noma Dumezweni) but he dismisses her claims and he is subsequently killed. What ensues is a vicious and bloody war between the conspirators and Caesar’s successors, led by Marc Anthony.

The assassination is a scene in which each vulture takes his turn to strike a defenceless Caesar, resulting in a blood splattered and gruesome stage.

Bailey however, adds a new dimension to this production as she merges both stage and screen. She employs giant screens to project images of the Senate House and the jeering crowds who are affected by the political unrest. By doing so, she not only creates a production which is as grand as the historical setting of the play, but she creates a visually challenging stage for the audience which detracts from the gore.

The cast consists of the RSC ensemble cast who are committed to the company until 2011. Greg Hicks is a credible Caesar but it is Darrell D’ Silva’s performance as the loyal Mark Anthony which is by far the most memorable. Noma Dumezweni and Hannah Young play Calphurnia and Portia respectively. Both women enact their heartfelt pleas to their husbands with emphatic sincerity. But this is a testosterone fuelled arena, and for the most part we witness brutal butchering as the two sides go to war in this political bloodbath.

by Amardeep Sohi

The play runs until 2nd October 2009.
For ticket information visit www.rsc.org.uk

REVIEW: The Black Album
Cottesloe Theatre, NT

By Amardeep Sohi
Burning books, student protests, and Islamic fundamentalism come to the National Theatre’s stage this summer in the dramatisation of Hanif Kureishi’s novel The Black Album. Set in the 1980s the play follows Shahid, a young Muslim man who embarks on a university degree during a period of political unrest; Salman Rushdie has been issued a fatwa for The Satanic Verses and Islamic fundamentalism has taken root in Britain.

Unfortunately Kureishi’s much anticipated dramatisation falls short in its ambitions and doesn’t quite deliver.

As images from 1980s Britain are transposed onto the drab walls of a student room to a backdrop of 80s tracks you can’t help but feel nostalgic. However, the plot is slow and struggles to draw in the audience. Jonathan Bonnici plays the much confused Shahid, who on arriving at university meets Riaz (Alexander Andreou) the leader of a group of Muslim students determined to fight against liberalism.

Flitting between the group and the enclave of his lecturer Deedee Osgood (Tanya Franks), the height of his involvement is symbolised by a change into Islamic attire and observing the group’s prayer session. He merely floats in and out of the two arenas with little effect and in this respect the play doesn’t really delve into this explosive issue.

The comedy which sits alongside the play’s political theme is lacking in originality. The most comic value is derived from an aubergine flavoured pakora bearing a sign from God and Strapper, (Glyn Pritchard) the racist drug dealer who jumps around on stage with Shahid’s brother, Chilli (Robert Mountford). Kureishi’s partnership with Tara Arts has regrettably created a play which falls short in its attempt to enlighten a post 7/7 society on Islamic fundamentalism. Instead, it offers a lightly spiced slice of 80’s culture.

The play runs at the National Theatre until 7th October followed by a national tour.

REVIEW: This Much Is True
Theatre 503 Battersea

On 22 July 2005, twenty-seven year old Brazilian electrician, Jean Charles de Menezes, was shot dead by the London Metropolitan Police on a stationary train in Stockwell tube station.

London was already on heightened alert because just two weeks earlier, four men took bombs on to three trains and a bus killing themselves and 52 other people. Now award-winning writer and director Paul Unwin and writer Sarah Becks explore the unanswered questions and recriminations that still hang around the actions of the Metropolitan police, regarding that fateful day, four years on.

The tragic tale unwinds by interlocking new and personal testimony from a variety of sources including Jean Charles' family and friends, senior police officers, campaigners and eye-witnesses, director Tim Roseman and the solid cast of Amber Agar, Gerald Kyd, Stefano Braschi, Alice Da Cunha, Beatriz Romilly and the sublimely brilliant Justine Waddell, alongside additional audio-visual landscape with deep connecting storytelling.

From the moment you step into the auditorium there is much to take in. Images screened onto walls, books and other paraphernalia, along with video streaming, set an encompassing and elaborate melee of puzzles to illicit some kind of response. Unwin and Beck make no bones about wanting you to feel something. Nothing about what you see or hear is left to chance.

Whereas previous productions including the transcript piece Stockwell at the Landor Theatre, focused on the clinical aspect to the event, This Much is True examines the fallout from the tragedy. The palpable atmosphere of fear, dismay and anger involves having to unlock untruths, including the despicable attempts by unnamed sources to sully the dead man's character by implying de Menezes was a sexual predator.

Although the production is beautifully realised, there are times that the relentless flow of information becames overwhelming and messy. Set changes, overlapping audio-visuals and a section of the audience on stage, make viewing hard work. Honing in on selected key events would have made the play more user friendly.

But what This Much Is True highlights in equal measure, is the panic of the police force before the killing, the panic afterwards and the denials that only re-enforced the spectacularly catastrophic turn of events.

3 out of 5

by Jackie Cobham

REVIEW: IT FELT EMPTY WHEN THE HEART WENT AT FIRST BUT IT IS ALRIGHT NOW
Arcola Theatre

The cost of human trafficking involving women is palpable in two ways. By the pimps who exploit them and by governments who view them as illegal immigrants. .

Producing ground-breaking plays for over 30 years, Clean Break Theatre Company’s remit of dramatising women’s experience of crime and punishment, is realised with the help of playwright Lucy Kirkwood in this disturbing, yet utterly gripping play.

The story centres on two women; young Croatian mother Dijana (Hara Yannas) is brought to England by her boyfriend Babac. He promises her the world but eventually forces her into prostitution. Gloria (Madeline Appiah) is a 'mouthy' West African migrant, who is not short of an opinion or two.

From the outset Kirkwood and director Lucy Morrison bombard the audience with abstract narratives that pack a punch. You are not sure what you are supposed to be seeing, as you are taken through a bizarre complex maze, each pit stop a visual melee of revelation, uncompromising candour and female bonding. You are told not to try to figure it out but to “go with it”.

From a dank and claustrophobic brothel, through to installations hung with toys, clothes, teddy bears and cling filmed wrapped chairs, the ever moving tour encompasses aquariums filled with intricate models, to a detention cell and servicing clients, never losing sight of the bigger picture; the reason these two women are there.

This production is stunning. Gripping and compelling in equal measure. The strength lies in Chloe Lamford’s beautifully realised set design, but the jewel in the crown belongs to Madeline Appiah and Hara Yannas. Appiah shines as Gloria. The playful and trusting nature she shows towards Dijana’s antagonistic mistrust adds to the intrigue, and Appiah’s charisma keeps the tension going, even when it’s uncomfortable to watch.

Yannas’ portrayal of the mistreated and emotionally unpredictable prostitute and absent mother is striking and you stay with her when her life spirals. Taking in the good and the bad.

This modern day take on the slave trade is emotionally draining which is a testament to Kirkwood’s writing, Morrison’s direction, cast and the all-female production team.

by Jackie Cobham

REVIEW: The Mysteries - Yiimimangaliso
The Garrick Theatre

From the outset of this production, a glorious mixture of faith, spirituality and joy fill the air.

The Isango Portobello Company, who all hail from a township in Cape Town, South Africa, unveil a sublimely rich production, full of passion, that touches the heart.

Based on the original medieval mystery plays, this is the Christian story told through folk, music and humour while never forgetting the seriousness of the message.

What is so effective in director and adapter Mark Dornford-May’s exquisite production is how the cast marry a juxtaposition of cultures.

Medieval English and a host of African languages; Afrikaans, Zulu and Xhosa, all vie for attention, but despite the melee of dialects spoken, you never feel lost due to the wonderfully expressive and familiarity of the stories told.

The songs range from the traditional hymn to ‘Singing In The Rain’ and ‘You Are My Sunshine’ to the rousing sounds of percussion, oil drums and the voices of the cast used in a variety of sound effects peppered throughout the show.

What distinguishes this production is Dornford-May’s ingenious idea of making both God and Jesus a woman. Pauline Malefane steps up to the plate admirably, commanding every scene she is in. No moment is wasted as Malefane stamps her mark and you get the feeling you don’t want to mess with her and this is realised in her swift dispatch of the mischievous and troublesome

Lucifer (Noluthando Boqwana) who, dressed in a bright red alluring suit, shimmies sexily, dropping trouble wherever she can. Boqwana’s comic timing and physicality is mesmerising as too is the impressive Zamile Gantana, playing the beer bellied and funny Noah.

Many of the strengths of The Mysteries lies in the stagecraft. A simple cloth held up with a selection of the cast behind it, depicts the ‘Last Supper’ while 'The Flood' is realised by a company member emptying a watering can. There are also scenes which are heavy going, notably the ‘massacre of the innocents’ and the ‘crucifixion’ sequence which keeps you riveted in your seat.

This production hits every spot. Never has the story of the bible been so gloriously told. A must see.

by Jackie Cobham

5 out of 5

REVIEW: Brazil x 2
Old Red Lion Theatre, London

In celebration of Brazilian theatre, Alter Ego presents Brazil x 2 a double-bill of plays directed by Victor Esses.

The work pulls into focus Brazilian culture past and present, social apathy, sexual repression, and urban mob rule in two distinct stories, The Assault by Jose Vincente and The Last Days of Gilda by Rodrigo de Roure.

The evening opens with The Assault, which is so dire I am going to put it on hold for the moment, because the second play, the whimsical comedy drama, The Last Days of Gilda is the real gem of the evening.

Set in modern day Rio de Janeiro, Gilda, a beautiful and enchanting young girl is in her kitchen trying to keep cool in 40 degrees heat. Slaughtering live chickens while fending off the female inhabitants in her community is the order of the day. Her crime? Poisoning their husbands with a cocktail of food, sex and taking what is sanctified.

Played by the mesmerising Brazilian-French actress Gael Le Cornec, Gilda is hilariously matter-of-fact as she navigates her way through everybody’s lives while dodging bullets, dog excrement and dirty nappies being laid at her door by irate wives, and pandering to the love-stuck husbands who can’t get enough of her charms.

What makes this play work is down to de Roure’s quirky observational script and Le Cornec’s effortless portrayal of a woman whose feisty and sensual demeanour belies the obviously damaged young girl underneath, trapped in a world she is not sure she has the capacity to get out of. Her inventive use of the audience and props covers everything from the food to the men adds to Le Cornec’s command of the stage which makes The Last Days Of Gilda a must see, which cannot be levied at The Assault.

Set in Sao Paolo 1969 Victor (Steven Farah) a lowly, unstable bank clerk kidnaps Hugo (Jade Willis) a night cleaner. Hugo wants to clean but Victor wants to talk. What transpires is not the chance meeting as first thought, but a calculated move to snare the unsuspecting co-worker into his manic, repressed world of money and hidden sexual desire.

The problem with The Assault is that nothing is ever explored just ‘told’. Why these two men do the things they do is never answered, which subsequently makes you care even less about who they are. Farah and Willis try their best but they are on a hiding to nothing with a structurally weak script.

by Jackie Cobham

The Last Days of Gilda 5 out of 5
The Assault 1 out of 5
Times: The Assault: 7.30pm, The Last Days of Gilda: 9.15pm
Tickets: 0207 837 7816

REVIEW: Ìyà-Ilé(The First Wife)

By PJ Cobham

Iya – Ile (The First Wife) written by Oladipo Agboluaje begins in 1989, Lagos, Nigeria. Political madness and social instability has engulfed the country. War and public status are fought over zealously, but celebrations are afoot. Toyin the wife of Chief Adeyemi is turning forty but behind the lavish mansion and finery, everything is coming to a head. Distractions are free-flowing; from two wayward sons who flit between anarchy and the pursuit of the flesh, to their parents decaying marriage. In amongst all of this dysfunction is Helen the housemaid who bides her time…

Playwright Agboluaje is a skilled dramatist; mixing the satirical with the humorous with a sprinkling of the sublime. His eye for detail is in abundance here, as he meanders masterfully though the story of two people who clearly have nothing in common but the superficial.
Toyin (played with ruthless precision by the always engaging Antonia Okonma from Bad Girls) is a calculating woman who treats status as the ‘be all and end all’. She treats her housegirl Helen (Estella Daniels) as she does all her servants, without humanity. Toyin loves to humiliate in order to usurp status, skilfully distinguishing hierarchy by beating and humiliating them which such ease, you begin to wonder whether she is simply transferring her own unhappy life onto her servants, whom to varying degrees covertly steal, deceive and manipulate within their masters lives.

There is much to like about this production. From corrupt reverends, great one-liners, over-sexed idealistic teenagers, snooty political wives to mischievous servants. The cast and set are solid and inviting, costumes uniformly extravagant including the hilariously oversized head wraps and the pace on the whole, evenly matched with dramatic content.

If there was any criticism to levy at this production it would be the stability between the dramatic and the humorous; there are moments when it jars. It’s most notable with the assault from Chief Adeyemi on his wife, which seems to come from nowhere. There was no inkling that his behaviour was so ferocious up to that point.

Despite this, Iya-Ile is an engaging tale summed up by this poignantly chilling statement from serial philanderer Chief Adeyemi (Jude Akuwudike) after he ferociously beats his wife into utter bloodied submission: “There is nothing any of you can do to me! Nothing! I am the man of the house!” as he unashamedly and without taking a breath throws out the old and brings in the new.

Recommended
4 out of 5

REVIEW: Once On This Island
Hackney Empire, London

by Uchenna Izundu

This reggae infused musical fairytale about Ti Moune, determined to find love on a Caribbean island where people are segregated by their skin colour, is a snazzy and energetic affair.

She is a dark skinned girl who was saved by the gods and is determined to prove to them that love can conquer death.

Ti Moune (Shyko Amos) is from the black impoverished community in Haiti and she falls for Daniel Beauxhomme, the mixed race Prince, who has affluent French roots. After nursing him back to health after his car accident, her family try to dissuade her from seeking his love – pleading that their groups do not mix.

Through group dance routines, the cast is lively and engaging with lovely costumes and a sparkling set that embraces the rainbow colours of the Caribbean.

The demon of death is the charismatic Jo Servi, who flashes a menacing grin in a sharp bowler hat and amusing skeleton suit. However, the voodoo element that the gods play in Ti Moune’s destiny, is watered down.

Sharon D Clarke, from Holby City, does not have a starring role, despite the publicity posters giving the impression to the contrary. She plays goddess Asaka, which is the patron of agricultural activities, and sports a great straw hat! Her warm and throaty voice is a delight throughout the musical numbers.

This love story doesn’t hold the depth or the complexity of star crossed lovers like Romeo and Juliet: more dialogue and character development is required. What is lovely to watch in this production is its organic nature where the villagers, who are the story tellers, use whatever is at hand to drive the narrative and invoke the spirit of the island. The tempo of this story really only picks up in the second half of the show and unfortunately there isn’t any overriding tune that leaves an impression after it’s finished.

Otherwise, as a show with high production values, its simplicity should be enjoyable for family audiences and adults who have a sweet tooth.

REVIEW: The Tempest

By P J Cobham

The Royal Shakespeare Company, in association with South Africa's Baxter Theatre Centre sees Associate Artist Antony Sher return to play Prospero. Joining him is renowned South African actor John Kani playing Caliban.

An all-African affair, Janice Honeyman’s Tempest touches on issues that are as relevant today as they were when Shakespeare first wrote this, his last play. Greed, exploitation of land, power struggles and racism are the order of the day.

Prospero: Duke of Milan (Antony Sher) and his brother Antonio (Lionel Newton) are warring siblings. Prospero is bookish and on the face of it sees power as an inconvenience. His brother Antonio, on the other hand, has his eye on the prize. So much so, that he manipulates others into believing his brother is unfit to rule. Enemies line up thick and fast and eventually Antonio gets his wish and usurps the dukedom for himself and in the process casts Prospero and his baby daughter Miranda out to sea. They eventually land on a distant island once ruled by the witch Sycorax but now inhabited only by her son, Caliban, and Ariel, a spirit who helps him conjure a storm that shipwrecks his enemies on the island with the sole purpose of exacting his revenge.

Visually, Honeyman’s production is stunning. The traditional, the mythical and the spirit of Africa are beautifully realised here, as too are the inventive use of puppetry, song and dance in its storytelling. There is a resonance between culture and humanity and it is the relationship between Prospero, the spirit Ariel and Caliban that draws you into their mystical world.

Atandwa Kani who plays Ariel glides around the island and its inhabitants with ease. His relationship with his master highlights how vulnerable they both are, but it is Sher and John Kani who command your attention. The relationship between them is intriguing, antagonistic and mindful in equal measure. Caliban is depicted as a monster to be vilified and tormented but he is also a product of man’s behaviour.

This beguiling story is beautifully staged, and is helped along by a stellar cast, and delightfully rich traditional African dance choreographed by Christopher Kindo

Not to be missed.

4 ½ out of 5

IN CONVERSATION WITH DAVID AJALA

With roles in A Dark Knight, Adulthood and the lead in a BBC sitcom, David Ajala is fast becoming a young British actor to watch. Currently appearing in the RSC’s A Midsummer Night’s Dream, Amardeep Sohi catches up with him between rehearsals.

Amardeep Sohi: You’re currently playing Cobweb in The Royal Shakespeare Company’s production of A Midsummer Night’s Dream, which is a fantastic production by the way. What have you enjoyed most about this role?

David Ajala: I’ve enjoyed a few things. A lot of what we developed for the production came from a series of different ideas and trial and error. When we started I told the director Greg that I could do acrobatics and break dancing and it was cool to experiment with this even though we didn’t end up using it. I think with anything you do, however big or small the part you have to be able to put your stamp on it which is what you bring to that part. That’s what I try to do with all that I do, however big or small.

AS: In this particular production, the fairies (including Cobweb) appear as demonic dolls puppeteered by the cast and I have to say they leave quite an impression on the audience. Did you find working with them a little strange?

DA: I wasn’t sure how we would play the fairies, so when we were told that we were experimenting and playing with dolls, I just took to it. I remember playing around with the dolls in rehearsals and we were moving them towards Steven Tiplady who had to tell us to slow it down. It was at that moment we realised these fairies had the potential to be dangerous as well as mischievous.

AS: You’re also the understudy for Lysander, one of the principal male characters and Snug. Have you ever had to go on as an understudy?

DA: We were just actually rehearsing it now in our rehearsals because we have an understudy run next week and the idea is just to make sure everyone is familiar with the set and has the experience of being their understudy character so that when you do go on, you’re warmed up. I have gone on as an understudy before for Hamlet. These things do happen; I’ve had to go on three times.

AS: How did you find going on at the last minute?

DA: The first time was just before press night. I knew the part and I knew what I was doing so I wasn’t too scared but it was just a little strange. I really enjoyed it and the company were so supportive.

AS: You don’t secretly hope you’ll get the chance to go on…?

DA: I would love to go on as Lysander and Snug but I know to be able to would mean bad news for the other actors and I wouldn’t wish that on any of the cast members. I might hide them in the cupboard or something and sneak on stage though.

AS: So that’s where they should look if you ever go on as Lysander?

DA: Oh no, I shouldn’t have said that!

AS: Going back to Shakespeare, there’s often a stigma attached to his work that it’s inaccessible and difficult, do you think that’s changing?

DA: I definitely think that’s changing, I think that it’s one of those things that if someone doesn’t fully understand it then they may be in a position to be more negative towards it. It’s a bit extreme but I think if you were going to watch a foreign film without subtitles, you may not understand it word for word but you would understand how the characters are feeling, you’d understand where the conflict is and you’d understand what the character’s objective is. You would get all of this without even understanding the language. Shakespeare is far from being a foreign language, but I think well performed Shakespeare is well understood. And it’s always said that Shakespeare isn’t to be read, it’s to be performed. Like any play, the script comes to life when you perform it and Shakespeare’s language is so rich and beautiful.

AS: So what inspired you to start acting?

DA: I think it was just being able to make people laugh, that’s what it was. I went to Kingsland Secondary School in Hackney and like in a lot of inner schools in London, you have to be able to stand your ground. I found myself in a position where if I didn’t stand my ground people would just pick on me. So because I was a bit of a joker I could get out of it and people wouldn’t pick on me. I don’t think you ever really remember the moment where you think I’m going to be an actor. Acting just gave me a platform to express myself. It was a release and an opportunity to meet new people and try different ideas. I went to amateur theatre school and from then I went to the Courtyard Theatre. From there I got a new agent and got to work on a variety of new things.

AS: I just met Sam Alexander who plays Philostrate in the green room and he told me to ask you how your apprenticeship is going?

DA: Ha ha! Because I’m the youngest in the company, Sam sees my position as being on an apprenticeship because I don’t have huge parts. I have small parts here and there and great understudy parts and the way I see it, being with the RSC for nearly a year is like round two of drama school. It’s almost like me building a new foundation and learning new things and kind of making investments in a future career. I’ve learnt so much with the RSC. After the run finishes here I’m blessed to be able to go on to the National Theatre. Again it’s just about learning new things and being able to work on a platform where the calibre of work is to such a great standard and it’s so enjoyable.

AS: What will you be appearing in at the National?

DA: Death and the Kings Horseman by Wole Soyinka. So the apprenticeship is going well and I’m getting paid for it which is good!

AS: What role or part have you been most proud of?

DA: Without sounding cheesy it’s almost like any part that you take on board, you develop it, you go through the hardship of a character and when you take it to the rehearsal stage it’s almost like witnessing a child’s birth. So you just become attached to it and yes you may have a preference, just like you may love your first born child or your second child, but you have a love for them all. That’s how I am, but it’s been great. I’ve been doing so many things. I was actually offered a place at the RSC last year but I had to turn it down because I was doing a TV series called Trexx ‘n’ Flipside which is like Laurel and Hardy meets hip hop. I got to play Flipside which was awesome. It’s a sitcom which was originally on BBC 3 and is now on BBC 2. I’m going to do a bit of plugging now; it’s on BBC 2 on Saturdays at 1.40pm. I also worked on the Batman movie which was awesome.

AS: Yes, I saw that in your profile. What part did you play in Batman?

DA: I was The Joker’s sidekick.

AS: That was a phenomenal movie. How did that part come about?

DA: When I auditioned for it they didn’t tell me that it was for the new Batman movie, they told me it was for a role in a film called Rory’s First Kiss. My agent told me to go to meet the casting director Lucinda Heller. I went in for the audition and I took on board Lucinda’s enthusiasm and support and just did what I needed to do. The day after my agent told me I’d got the part in Rory’s First Kiss and I was loving that. It was a feature film and although I didn’t know what part I was playing – it was a feature film. Two days later she gave me a call again and said “David we’ve done our research and you’re actually going to be working on the new Batman movie”. I remember being in my mum’s kitchen and she was just jumping up and down and dancing and it was awesome.

AS: It was the anniversary of Heath Ledger’s death this week. What was it like working with him on the film?

DA: It’s funny because I didn’t really know Heath’s work. I knew he did Brokeback Mountain and Monster’s Ball but I hadn’t seen him in it. I remember meeting him and talking to him and he was just the nicest guy, he was just so cool. On the day of filming when I saw Heath as The Joker for the first time, it was scary. When you saw him do his takes it was just incredible, it was like a master class in acting. He stayed in character between takes throughout, playing with cards or doing some tricks. When Chris Nolan would say, “number ones at the ready” he would just morph back into The Joker with this intense evilness and scariness. I’ve never seen anything like it. I would look at him and think this guy is going to win awards for this.

AS: You’re only 22 but you’ve worked across film, theatre, TV and radio. Which medium do you prefer?

DA: Um, someone else asked me this recently. When I was working on Trexx ‘n’ Flipside I really enjoyed it, but I missed theatre. I missed having that live reaction and for comedy you need to have that to give you that extra energy. But now I’m here doing theatre I miss doing tv and film.I just enjoy doing it all, but I do want to do some more feature films.

AS: Are there any actors in particular you’d like to work with?

DA: Ah yes, I’ve got a list. Chiwetel Ejiofar. I would love to work with him, beyond being a fellow Nigerian he is an incredible actor and he recently played Othello which I’m gutted to have missed. I just think he’s a great actor with great versatility and his skills have not only allowed him to work in this country but also in the US. I would also love to work with Meryl Streep, I think she’s just flawless, she’s so solid. I’ll just mention those two, because my list is too long.

AS: Who would be your leading lady?

DA: Who would be my leading lady…ok let me just say this for the record: my Mrs. That woman would be my leading lady.

AS: That’s very sweet.

DA: On a professional level it would be Angelina Jolie. I think as well as being a beautiful woman she is so talented.

AS: Where do you see yourself in five years?

DA: In five years….I see myself by God’s grace just doing what I love to do, it’s that simple. When I say doing what I love doing, that could be looking after kids or spending time with my family more, because this profession can be quite hard sometimes.

AS: What advice would you give to aspiring actors?

DA: OK, you have to know the reason why you’re getting into acting in the first place. A lot of people might decide to become an actor from watching awards ceremonies and seeing celebrities in magazines. You have to look at it from the right side of the coin; the reason they’re in that place is because they’ve had to go through x, y and z to get there. Go to stage school, to express yourself and learn your craft. Also, you have to have an entrepreneurial mind frame because we all have bills to pay. You have to try and pursue different avenues to bring in the cash to allow you to have the flexibility to focus on acting. And enjoy, enjoy and enjoy.

For more information go to: www.rsc.org.uk

REVIEW: Havana Rumba

By P J Cobham

Blend together wild nights of rum, rumba and Reggaeton, introduce the hottest dancers and acrobats from the heart of Havana, add live music from Sonora La Calle(Cuba’s legendary ten piece salsa band) and what do you get? Toby Gough’s exuberant vision: Havana Rumba.

Past and present Cuba underpins a kaleidoscope of colour, sexuality, community spirit, lots of rum drinking and dance.
.

Havana Rumba is a show very much connected to Cuba’s past, yet dreams of a new tomorrow. A musical journey born out of patriotism, yet yearning to experience the world.

The fire that is Havana Rumba begins on a street called Callejon de Hamel where every Sunday people gather to dance the rumba. Young, old, rich or poor, this is the place to be, with the charismatic statesman the ‘King of Rumba’ presiding over festivities.

A playful Cuban narrator takes us on a history of Cuba, with all its political machinations and the shenanigans of its inhabitants. Seduction rituals, intoxicating dance sequences( which include a supple acrobat who tumbles across the stage with the precision of a world champion gymnast) light-heated banter are all played out. If a snap shot of Cuban history is what you’re after, then this is a good place to start.

But what is astonishing about this show is the engaging and talented cast. The energy is jaw-dropping, the singing impeccable and the band… well they are a master class in Salsa music. There is no single stand out moment, simply because the show is filled with them. Having said that an honorary mention to the comical “Pizza Song” is in order!

From the Golden Age of Havana in the fifties, hip-hop fusion, the American quest for a better life and the role played by African immigrants gives Havana Rumba a rich tapestry from which to draw from.

Beware though, at the end of the show you need to put on your dancing shoes. For the encore the entire cast gets the audience up and dancing to an impromptu rumba class.

A fantastic must see production.
5 out of 5

Havana Rumba running until 3 May. 8pm
Riverside Studios, Hammersmith, London.

REVIEW: The Tempest

By P J Cobham

The Royal Shakespeare Company, in association with South Africa's Baxter Theatre Centre sees Associate Artist Antony Sher return to play Prospero. Joining him is renowned South African actor John Kani playing Caliban.

An all-African affair, Janice Honeyman’s Tempest touches on issues that are as relevant today as they were when Shakespeare first wrote this, his last play. Greed, exploitation of land, power struggles and racism are the order of the day.

Prospero: Duke of Milan (Antony Sher) and his brother Antonio (Lionel Newton) are warring siblings. Prospero is bookish and on the face of it sees power as an inconvenience. His brother Antonio, on the other hand, has his eye on the prize. So much so, that he manipulates others into believing his brother is unfit to rule. Enemies line up thick and fast and eventually Antonio gets his wish and usurps the dukedom for himself and in the process casts Prospero and his baby daughter Miranda out to sea. They eventually land on a distant island once ruled by the witch Sycorax but now inhabited only by her son, Caliban, and Ariel, a spirit who helps him conjure a storm that shipwrecks his enemies on the island with the sole purpose of exacting his revenge.

Visually, Honeyman’s production is stunning. The traditional, the mythical and the spirit of Africa are beautifully realised here, as too are the inventive use of puppetry, song and dance in its storytelling. There is a resonance between culture and humanity and it is the relationship between Prospero, the spirit Ariel and Caliban that draws you into their mystical world.

Atandwa Kani who plays Ariel glides around the island and its inhabitants with ease. His relationship with his master highlights how vulnerable they both are, but it is Sher and John Kani who command your attention. The relationship between them is intriguing, antagonistic and mindful in equal measure. Caliban is depicted as a monster to be vilified and tormented but he is also a product of man’s behaviour.

This beguiling story is beautifully staged, and is helped along by a stellar cast, and delightfully rich traditional African dance choreographed by Christopher Kindo

Not to be missed.

4 ½ out of 5

IN CONVERSATION WITH DAVID AJALA

With roles in A Dark Knight, Adulthood and the lead in a BBC sitcom, David Ajala is fast becoming a young British actor to watch. Currently appearing in the RSC’s A Midsummer Night’s Dream, Amardeep Sohi catches up with him between rehearsals.

Amardeep Sohi: You’re currently playing Cobweb in The Royal Shakespeare Company’s production of A Midsummer Night’s Dream, which is a fantastic production by the way. What have you enjoyed most about this role?

David Ajala: I’ve enjoyed a few things. A lot of what we developed for the production came from a series of different ideas and trial and error. When we started I told the director Greg that I could do acrobatics and break dancing and it was cool to experiment with this even though we didn’t end up using it. I think with anything you do, however big or small the part you have to be able to put your stamp on it which is what you bring to that part. That’s what I try to do with all that I do, however big or small.

AS: In this particular production, the fairies (including Cobweb) appear as demonic dolls puppeteered by the cast and I have to say they leave quite an impression on the audience. Did you find working with them a little strange?

DA: I wasn’t sure how we would play the fairies, so when we were told that we were experimenting and playing with dolls, I just took to it. I remember playing around with the dolls in rehearsals and we were moving them towards Steven Tiplady who had to tell us to slow it down. It was at that moment we realised these fairies had the potential to be dangerous as well as mischievous.

AS: You’re also the understudy for Lysander, one of the principal male characters and Snug. Have you ever had to go on as an understudy?

DA: We were just actually rehearsing it now in our rehearsals because we have an understudy run next week and the idea is just to make sure everyone is familiar with the set and has the experience of being their understudy character so that when you do go on, you’re warmed up. I have gone on as an understudy before for Hamlet. These things do happen; I’ve had to go on three times.

AS: How did you find going on at the last minute?

DA: The first time was just before press night. I knew the part and I knew what I was doing so I wasn’t too scared but it was just a little strange. I really enjoyed it and the company were so supportive.

AS: You don’t secretly hope you’ll get the chance to go on…?

DA: I would love to go on as Lysander and Snug but I know to be able to would mean bad news for the other actors and I wouldn’t wish that on any of the cast members. I might hide them in the cupboard or something and sneak on stage though.

AS: So that’s where they should look if you ever go on as Lysander?

DA: Oh no, I shouldn’t have said that!

AS: Going back to Shakespeare, there’s often a stigma attached to his work that it’s inaccessible and difficult, do you think that’s changing?

DA: I definitely think that’s changing, I think that it’s one of those things that if someone doesn’t fully understand it then they may be in a position to be more negative towards it. It’s a bit extreme but I think if you were going to watch a foreign film without subtitles, you may not understand it word for word but you would understand how the characters are feeling, you’d understand where the conflict is and you’d understand what the character’s objective is. You would get all of this without even understanding the language. Shakespeare is far from being a foreign language, but I think well performed Shakespeare is well understood. And it’s always said that Shakespeare isn’t to be read, it’s to be performed. Like any play, the script comes to life when you perform it and Shakespeare’s language is so rich and beautiful.

AS: So what inspired you to start acting?

DA: I think it was just being able to make people laugh, that’s what it was. I went to Kingsland Secondary School in Hackney and like in a lot of inner schools in London, you have to be able to stand your ground. I found myself in a position where if I didn’t stand my ground people would just pick on me. So because I was a bit of a joker I could get out of it and people wouldn’t pick on me. I don’t think you ever really remember the moment where you think I’m going to be an actor. Acting just gave me a platform to express myself. It was a release and an opportunity to meet new people and try different ideas. I went to amateur theatre school and from then I went to the Courtyard Theatre. From there I got a new agent and got to work on a variety of new things.

AS: I just met Sam Alexander who plays Philostrate in the green room and he told me to ask you how your apprenticeship is going?

DA: Ha ha! Because I’m the youngest in the company, Sam sees my position as being on an apprenticeship because I don’t have huge parts. I have small parts here and there and great understudy parts and the way I see it, being with the RSC for nearly a year is like round two of drama school. It’s almost like me building a new foundation and learning new things and kind of making investments in a future career. I’ve learnt so much with the RSC. After the run finishes here I’m blessed to be able to go on to the National Theatre. Again it’s just about learning new things and being able to work on a platform where the calibre of work is to such a great standard and it’s so enjoyable.

AS: What will you be appearing in at the National?

DA: Death and the Kings Horseman by Wole Soyinka. So the apprenticeship is going well and I’m getting paid for it which is good!

AS: What role or part have you been most proud of?

DA: Without sounding cheesy it’s almost like any part that you take on board, you develop it, you go through the hardship of a character and when you take it to the rehearsal stage it’s almost like witnessing a child’s birth. So you just become attached to it and yes you may have a preference, just like you may love your first born child or your second child, but you have a love for them all. That’s how I am, but it’s been great. I’ve been doing so many things. I was actually offered a place at the RSC last year but I had to turn it down because I was doing a TV series called Trexx ‘n’ Flipside which is like Laurel and Hardy meets hip hop. I got to play Flipside which was awesome. It’s a sitcom which was originally on BBC 3 and is now on BBC 2. I’m going to do a bit of plugging now; it’s on BBC 2 on Saturdays at 1.40pm. I also worked on the Batman movie which was awesome.

AS: Yes, I saw that in your profile. What part did you play in Batman?

DA: I was The Joker’s sidekick.

AS: That was a phenomenal movie. How did that part come about?

DA: When I auditioned for it they didn’t tell me that it was for the new Batman movie, they told me it was for a role in a film called Rory’s First Kiss. My agent told me to go to meet the casting director Lucinda Heller. I went in for the audition and I took on board Lucinda’s enthusiasm and support and just did what I needed to do. The day after my agent told me I’d got the part in Rory’s First Kiss and I was loving that. It was a feature film and although I didn’t know what part I was playing – it was a feature film. Two days later she gave me a call again and said “David we’ve done our research and you’re actually going to be working on the new Batman movie”. I remember being in my mum’s kitchen and she was just jumping up and down and dancing and it was awesome.

AS: It was the anniversary of Heath Ledger’s death this week. What was it like working with him on the film?

DA: It’s funny because I didn’t really know Heath’s work. I knew he did Brokeback Mountain and Monster’s Ball but I hadn’t seen him in it. I remember meeting him and talking to him and he was just the nicest guy, he was just so cool. On the day of filming when I saw Heath as The Joker for the first time, it was scary. When you saw him do his takes it was just incredible, it was like a master class in acting. He stayed in character between takes throughout, playing with cards or doing some tricks. When Chris Nolan would say, “number ones at the ready” he would just morph back into The Joker with this intense evilness and scariness. I’ve never seen anything like it. I would look at him and think this guy is going to win awards for this.

AS: You’re only 22 but you’ve worked across film, theatre, TV and radio. Which medium do you prefer?

DA: Um, someone else asked me this recently. When I was working on Trexx ‘n’ Flipside I really enjoyed it, but I missed theatre. I missed having that live reaction and for comedy you need to have that to give you that extra energy. But now I’m here doing theatre I miss doing tv and film.I just enjoy doing it all, but I do want to do some more feature films.

AS: Are there any actors in particular you’d like to work with?

DA: Ah yes, I’ve got a list. Chiwetel Ejiofar. I would love to work with him, beyond being a fellow Nigerian he is an incredible actor and he recently played Othello which I’m gutted to have missed. I just think he’s a great actor with great versatility and his skills have not only allowed him to work in this country but also in the US. I would also love to work with Meryl Streep, I think she’s just flawless, she’s so solid. I’ll just mention those two, because my list is too long.

AS: Who would be your leading lady?

DA: Who would be my leading lady…ok let me just say this for the record: my Mrs. That woman would be my leading lady.

AS: That’s very sweet.

DA: On a professional level it would be Angelina Jolie. I think as well as being a beautiful woman she is so talented.

AS: Where do you see yourself in five years?

DA: In five years….I see myself by God’s grace just doing what I love to do, it’s that simple. When I say doing what I love doing, that could be looking after kids or spending time with my family more, because this profession can be quite hard sometimes.

AS: What advice would you give to aspiring actors?

DA: OK, you have to know the reason why you’re getting into acting in the first place. A lot of people might decide to become an actor from watching awards ceremonies and seeing celebrities in magazines. You have to look at it from the right side of the coin; the reason they’re in that place is because they’ve had to go through x, y and z to get there. Go to stage school, to express yourself and learn your craft. Also, you have to have an entrepreneurial mind frame because we all have bills to pay. You have to try and pursue different avenues to bring in the cash to allow you to have the flexibility to focus on acting. And enjoy, enjoy and enjoy.

For more information go to: www.rsc.org.uk

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