Othello

 Curve, Leicester

21^st September 2022

‘When you shall these unlucky deeds relate,

Speak of me as I am’

 

Of all Shakespeare’s plays, Othello is arguably the one that has the most pertinence in the contemporary world. Frantic Assembly grasp this notion and bring the play bang up-to-date, accentuating the modern-day issues at its heart in their fast-paced, expressive and surprisingly gory adaptation (first produced in 2008, now revived in a co-production with Curve). Class, race, sexism and territorialism simmer beneath a veneer of bogus loyalties and gang culture, creating a pressure cooker of tension which eventually boils over in spectacular fashion.

Director Scott Graham and co-adapter Steven Hoggett centre the action in a run-down pub, the local haunt of a street gang led by a battle-worn Othello (Michael Akinsulire) and his ‘lieutenant’, Michael Cassio (Tom Gill). The opening scene sets the tone in an exciting whirlwind of lust, violence and camaraderie (both genuine and false) in a near wordless feat of choreography. Frantic Assembly are masters of movement and that is demonstrated to thrilling effect here; the punches carry weight and the fighting is fused with an often striking lyricism. The use of movement to convey key aspects of the story is an ingenious tool, keeping the plot hurtling forward towards that inevitable doom, where perhaps more traditional productions could get bogged down by the wordiness of Shakespeare’s verse (I say this as someone who loves Shakespeare!). So much of Othello and Desdemona’s (Chanel Waddock) relationship here is played out through choreographed moments of tenderness, passion and aggression, and by focusing on this intimacy we invest more in the characters, making the denouement all the more tragic. I also particularly enjoyed the collaboration between choreography and Laura Hopkins’ set design during the scene where Iago and Roderigo (Felipe Pacheco) conspire to get Cassio blind drunk. The walls of the set undulate in dizzying inebriation while the actors lunge, fly and swoop through the pub, pausing only for more shots of alcohol. At other times the walls of the pub expand and contract, creating cinematic zoom effects, homing in on, or isolating individual characters. Every considered detail of this production unites to create a lean yet engrossing portrait of modern Britain.

An unnervingly still presence amidst the frenetic revelry is Joe Layton’s Iago; a man that picks up on the tiniest details, who calculates from shadowy corners (at one point he literally sinks into the walls of the pub) and whispers poisonous untruths into the expectant ears of his acquaintances. Here, the racism directed towards ‘the Moor’ is of a very 21^st Century flavour; Iago is jealous of his prowess, both physical and sexual, and much is made of Iago’s vengeful belief that Othello has slept with his wife, Emilia (Kirsty Stuart). The racism displayed makes us even more uncomfortable as it holds up a mirror to the hypocrisies and everyday prejudice that is still rife in the world today.

Similarly, as the racism of the past is reflected in the present, Graham and co have also shone a spotlight on the misogyny at the heart of the play. Just as Bianca (Hannah Sinclair Robinson) is dismissed, slurred at and thrown to the ground, Emilia and Desdemona are the victims of the most violent language and actions. The image of Desdemona’s limp body suspended in her husband’s chokehold will haunt me, just as Iago’s final burst of aggression towards Emilia is horrifically shocking (and bloody). The previous scene between the women in the ladies loos as they lament ‘these men!’ is depressingly fatalistic, as they eventually concede to ‘let them use us well […] the ills we do, their ills instruct us so’; just as the production creates an authentic portrait of working-class territorial gang wars, so too does it depict the harsh reality of domestic violence and commonplace misogyny in society today.

The cast all play their parts with a rawness and passion that befits the intensity of the piece, and as an ensemble they move as one, creating an electric atmosphere. Frantic Assembly demonstrate again why they are one of the most exciting theatre companies working today. By stripping back Shakespeare’s play to its bare bones, the group have produced a play which is action-packed, accessible and relevant to contemporary audiences without losing any essence of the original. I was fully absorbed by this sordid microcosm from start to bloody end.

Othello plays at Curve until 1^st October 2022 followed by a UK tour. It then plays at the Lyric Hammersmith from 19^th January to 11^th February 2023.

For full tour details please visit: https://www.franticassembly.co.uk/productions/othello-2

Frantic Assembly's Othello. Credit: Tristram Kenton.

The Clothes They Stood Up In

 Nottingham Playhouse

17^th September, 2022, matinee

“It never rains, but it pours”

Adrian Scarborough adapts and stars in the first stage production of Alan Bennett’s 1997 novella The Clothes They Stood Up In at Nottingham Playhouse. About a married couple who return from the opera to find their flat completely empty, the piece reflects on how we’re prone to complicating our lives with belongings, and explores unrealised dreams in a stifled marriage. In Adam Penford’s production, which has the pacing of a thriller, the result is a hugely enjoyable dark comedy in which Scarborough captures the essence of Bennett.

In adapting it from the page, Scarborough maintains the fluidity of the novella. We start in an opera house after the curtain falls on Così Fan Tutte quickly followed by a scene on the bus home. These short scenes demonstrate some witty observations which help to establish the characters of Mr and Mrs Ransome (Scarborough and Sophie Thompson). Firmly rooted in the trappings and routines of middle-class life, Scarborough quickly introduces us to the predicament in which they find themselves. On entering their Notting Hill apartment, they find it stripped bare. Furniture, clothes, pictures, teabags, even the toilet roll! Anything that’s not been nailed down and even some things that are have mysteriously vanished. Assuming they’ve been burgled the couple set about rebuilding their lives whilst also trying to solve who done it, how they pulled it off and why. One of the biggest achievements is that the play feels like it’s always belonged on the stage and feels part of the theatrical canon. I’ll avoid spoilers, but there’s a striking similarity with Bennett’s Enjoy (1980) in which the council wants to demolish a terraced house and rebuild it brick-by-brick in a museum. The accumulation of belongings over a lifetime is somewhat central to his People (2012) as well. In this way, it also somewhat reminded me of Michael Frayn’s Here (1993) in which, faced with an empty flat, a couple begin to construct their lives together.

Objects, then, carry meaning: they reflect where we’ve come from and what our social status is. Robbed of these possessions, what are we left with? For Rosemary Ransome in particular, it invites her to start again and think of new possibilities. She befriends the man who runs the corner shop, she discovers the internet, daytime TV and beanbags. The burglary even has some sexual awakenings. Thompson portrays her liberation, kindness and quiet hopes with care. Ultimately, she learns how to accept to let go and this is what sets her free. Maurice’s relationship to objects is more complex, in fact they seem to torment him more and more. Like with Ned in Jez Butterworth’s Parlour Song (2008), which also deals with disappearing belongings in a nightmarish world of middle-class inertia, Maurice loses his sense of self along with his belongings. Scarborough hilariously plays Maurice’s building frustrations, at one point climbing a drainpipe to try to retrieve them.

Scarborough has chosen to modernise the setting. References to mobile phones and Brexit occasionally jar with other dialogue but I feel this helps to emphasise how insular their lives are. The play is so much about the Ransome’s idiosyncrasies but, outside their flat, we’re privy to the very different world of multicultural, 21st century Britain. References to police waiting times, petty street crime, drug addiction and more show that Bennett firmly has his finger on the pulse of societal issues. Ned Costello, Charlie de Melo and Natasha Magigi all deftly bring to life a range of supporting characters to people the play.

From corner shops, buses, warehouses and (a range of!) apartments, Robert Jones’ eye for detail in his design is superb. Elevating the apartment slightly looks aesthetically pleasing but also adds to the feel that the Ransome’s lives are compartmentalised. As well as being a much welcome addition to Bennett’s work, Penford keeps the pace moving nicely so it feels like both a thriller and a comedic romp. It certainly gave the audience what they were looking for at the performance we saw.

The Clothes They Stood Up In plays at Nottingham Playhouse until 1^st October. For more information, please visit https://nottinghamplayhouse.co.uk/events/the-clothes-they-stood-up-in/

Adrian Scarborough and Sophie Thompson in The Clothes They Stood Up In.
Credit: The Other Richard

Mamma Mia!

 Curve, Leicester

Tuesday 14^th September, 2022

 

‘Without a song or a dance what are we?’

 

There’s no denying that the UK is in a strange place at the moment. A new Government, a looming recession, a cost of living crisis like none seen before… not to mention the death of our Head of State. September has seen the country plunge into the Twilight Zone. So now, more than ever, we need a little escapism. And Mamma Mia! is just the slice of cheesy sunshine to counter the doom and gloom of daily life. The show bursts with energy, laughter and stonking great music; it’s the epitome of feel-good.

Surrounded by the rustic idyll of a small Greek island, young Sophie hatches a plan to reunite her mother with the three men that may or may not be her father in time for her wedding. Friendship, romance, family bonds and second chances are explored and celebrated in delightfully pop-tastic style, while maintaining a very British sense of humour. The ABBA jukebox musical is over 20 years old now, and feels fresh yet timeless thanks to its simple storytelling and unpretentious production. Catherine Johnson’s book and Phyllida Lloyd’s direction let the relationships between characters lead the plot, fostering infectious camaraderie (who wouldn’t want to be friends with Donna and co?) and erring just on the right side of sentimentality. Amid all this, Benny Andersson and Björn Ulvaeus’ songs shine. Every number is a certified banger and the music has been carefully curated to fit the action, whether in heartfelt earnestness (‘Slipping Through My Fingers’), sucker-punching accuracy (‘The Winner Takes It All’) or tongue-in-cheek glee (‘Chiquitita’, 'Does Your Mother Know?').

The simplicity of the story and production also lets the large cast shine as they jive their way through party-like ensemble numbers such as ‘Voulez-Vous’ and the post-curtain Mega-Mix, while also allowing each individual character their moment in the spotlight. Sara Poyzer’s earthy Donna is wonderfully wry, yet truly soars during the musical’s more reflective moments. Nicky Swift and Helen Anker provide fine comedic support as Donna’s loyal friends Rosie and Tanya, and the latter’s relationship with a scene-stealing James Willoughby Moore (as cheeky, lust-struck Pepper) is a real highlight. The younger cast also impresses, in particular Jena Pandya excels at imbuing Sophie with youthful charm and wide-eyed naivety.

I’m struggling to think of a time at the theatre that was as filled with such unadulterated fun; Lloyd, Johnson, Andersson and Ulvaeus have created a gleefully giddy bop of a musical. The atmosphere was electric, the audience were ecstatic and mightily united in their jubilant reaction, and this current tour demonstrates why the show continues to be a sure-fire hit across the world. And with the recent announcement of a new TV casting show centred on Mamma Mia! the hype will surely continue for years yet to come. For a dose of bottled-joy and a tonic to everything else going on in the world right now you really can’t get any better.

 

Mamma Mia! plays at Curve until 24^th September 2022.

For full tour details please visit: https://mamma-mia.com/uk-and-international-tour/

Sara Poyzer and the cast of Mamma Mia!
Credit: Brinkhoff/Mögenburg

Playtime

 Royal & Derngate, Northampton

10^th September 2022, matinee

“attention, imagination and care”

Despite being critically acclaimed as one of the greatest films of all time, I can’t pretend I’ve ever seen Jacques Tati’s 1967 comedy masterpiece or, indeed, any of his work. But having been brought up on the comedy of Mr Bean, it’s easy to see the universal and timeless influence Tati’s creation of Monsieur Hulot has had on the world. Theatre company Dancing Brick now invite a new generation into the stylish and comedic world of Tati. From near-misses to near kisses, the result is a visual feast of playful and stylish vignettes characterised both by slapstick and a romantic longing for a more analogue world.

Valentina Ceschi and Thomas Eccleshare’s co-production starts by introducing us to the character of Hulot (Enoch Lwanga). A tall, guileless presence in a brown mac and trilby hat, Hulot then steps into the manic twentieth century world, starting with an airport arrivals lounge. Here, Hulot takes a step back to let the chorus take centre stage. With minimal dialogue, it is unbelievable what the cast of five achieve, peopling the stage with tourists, nuns, lovers, opposing sports teams, chauffeurs and air stewards as they navigate their way along travellators and down escalators. Michael Vale’s design consists of six grey, uniform prosceniums which creates a sense of depth and gives the stage about a dozen entrances. Onto this comes a flurry of colour: actors exit downstage right as one character and then enter as another character upstage left seemingly a split second later, bringing order and disorder together.

In playtime, we’re strangers to the modern world. In the next scene, Hulot waits for his meeting with a businessman. It’s a brilliant sequence which brings out the humour in the strict order we assign to the modern world. The rigidity of systems, machines and processes is satirised through the highly stylised and comical movements to which characters are reduced. This same sense of humour continues in a scene at the Paris Expo which exhibits such trivial and bemusing modern world gadgets as the bouncing jug, red and white wine in one bottle, and fondue sets. Where Dancing Brick’s production is at its best is when it pushes the theatricality of the piece which merits its adaptation from screen to stage. We see this in a clever scene in which we have a window into two neighbouring hotel rooms where actors can hilariously have a presence in both simultaneously. In the second act, a frenzied scene set in a restaurant brings back the multitude of characters we met at the airport and more. Actors go from snooty Maître Ds to clumsy workmen and from tested chefs to tormented waiters. Cats escape, cutlery goes flying and neon lighting features are on the blink. This could do with some tightening but it aims for the farcical heights of Feydeau.

This is truly a company effort. Martin Bassindale, Valentina Ceschi, Abigail Dooley, Enoch Lwanga and Yuyu Rau all deserve praise along with the stage management team led by Lisa Lewis to achieve this theatrical feat. The amount of quick changes and crossing over backstage must be exhausting. It’s all underscored by Chilly Gonzales & Pierre Grilley and Martha Wainwright’s original music which elevates the drama (especially in the second act) and adds to the French feel of the piece.

I think Playtime could achieve a stronger sense of narrative throughout as it occasionally feels rather sketch-like. For instance, I thought the motifs of the two pairs of lovers could have been more firmly grounded. But overall, I admire Playtime’s boldness and innovative approach to reinventing a piece of 20^th century cinema to 21^st century theatre.

Playtime runs at Northampton’s Royal & Derngate until 17^th September. For more information, please visit https://www.royalandderngate.co.uk/whats-on/playtime/

Enoch Lwanga, Yuyu Rau and Valentina Ceschi in Playtime. Credit: Manuel Harlan

Identical

 Nottingham Playhouse

6^th August, 2022, matinee

“They are identical”

The premise of this world premier has, on paper, the perfect formula: based on a well-loved story, with music and lyrics by the UK's foremost composers and directed by a theatre legend. It is pleasing to see new musical theatre writing being performed at this scale with such polish and with creatives of this calibre involved. On the whole, Identical is an entertaining slice of whimsy, while not quite exceeding the sum of its parts.

Following the scrapes and schemes of Lottie and Lisa, twins separated at birth, Stuart Paterson's book owes more to Erich Kästner’s original novel than the various film adaptations. Located in 1950’s Germany and Austria we’re treated to some stunning European set design, making great use of moving LED screens in which Douglas O’Connell’s video designs meltingly transport us from rural holiday camps to train stations, theatres and palatial mansions. I’ve often been cynical of the over reliance on video effects in theatre, but this has completely won me over, as the designs seamlessly blend with Robert Jones’s physical set pieces and effectively expand the world upon the stage. Returning to the story’s roots lends the piece a classic air, even if the lack of modernity and Nunn's direction favours quaintness over comedic potential.

Stiles and Drewe’s music and lyrics are ebullient and accessible. From the wry “It’s Not for Me to Say” to more emotional ballads like “We Were Young”, the music often helps to advance character. I particularly enjoyed “Little White Bird”, played after the twins have reunited, in which Lisa’s poem accompanies Lottie’s self-composition on the piano perfectly. It shows their synchronicity and implicitly reflects Stiles and Drewe’s song-writing process. But it’s the title number which is really memorable and the tune I’ve found myself humming a few days later.

Nunn creates some stunning set pieces. I particularly enjoyed the ballet scenes which later bleed into Lottie's nightmarish visions of being torn from her sister as a baby, set against a fairytale backdrop worthy of the Brothers Grimm. Large ensemble moments such as these are countered with many intimate scenes between the sisters and their parents. Emily Tierney and James Darch are both charming as the estranged couple, and Louise Gold and Michael Smith-Stewart make an entertaining double act as Johan's housekeeper, Roza, and the local Doctor. At this performance Lisa and Lottie were played by Eden and Emme Patrick, and both girls impressively lead the show with great skill and charisma. Casting Director, Anne Vosser, has accomplished a real coup in finding not just one, but three sets of triple threat identical twins. The relationship between the girls is completely believable and very sweet, ensuring the piece is full of heart.

The piece is quite long at just shy of three hours. In particular, there are some bits of exposition, even late in the show with characters explaining to each other what’s happened, which aren’t necessary. On the other hand, I felt that some cuts had possibly already been made which left parts of the show not making sense. For instance, a sub-plot in which Roza has been stealing money to send to her ill sister seems somewhat misplaced. Is this simply to convey that Lotte has better Maths skills than her sister and is able to spot that money is missing from the household? If so, I think other parts of the book achieve this already. I also couldn’t help but wonder if the dog, which barely gets any stage time, had another scene in which he excitedly welcomes the returned twin sister.

But these are all kinks I’m confident can be ironed out if the musical were to – and surely it must – have a further life. It may be twee, but Identical is also entertaining and bright, and spot-on musical theatre escapism.

Identical ran at the Nottingham Playhouse until 14^th August. It plays at The Lowry, Salford, from 19^th August – 3^rd September.

Emme Patrick and Eden Patrick in Identical. Credit: Pamela Raith.

Secret Blog: 2point4 Children and the joys of rediscovering favourite TV shows

                                                                                                                 

“Wanted: The BBC is looking for a typical blue-collar family with both parents working and two children”

I’ve consumed so much TV over the last two years. Covid restrictions saw a surge in TV watching and online streaming across the country and that was no different in our home. We moved into our house in February 2020 and spent the first few weeks with no TV aerial or WiFi which resulted in evenings spent watching old Jonathan Creek DVDs! In this way, we were quite fortunate that the beginning of the first lockdown coincided with us being able to ditch the David Renwick locked room mysteries (as entertaining as they are) for a Netflix subscription and a deep dive into iPlayer. When the daily news bulletins got too much to handle, we’d turn to boxsets. From The Missing and Line of Duty to, more recently, The Staircase, they’re now a part of our everyday routine.

Re-watching classic sitcoms has also been fun, many of which the BBC put on iPlayer or even in primetime slots. From Fawlty Towers to The Vicar of Dibley, they provided much needed comic relief. But there’s one I’ve particularly enjoyed rediscovering over the last year. 2point4 Children, Andrew Marshall’s sitcom about suburban surrealism, was one of the BBC’s biggest sitcoms of the 90s. Set in Chiswick, it follows the working-class Porter family and their friend Rona negotiating the ups, downs and bizarre turns of everyday life. After eight successful series, culminating in a Millennium special, the show ended in 1999 due to Gary Olsen’s death the following year. But considering the show’s popularity, it seemed like it had been all but forgotten apart from a smattering of repeats on UK Gold. I even had to convince my wife I hadn’t made it up as she’d never heard of it! But earlier this year, I re-discovered it again through two vehicles. The first was J.D. Collins’ brilliant podcast Don’t Slam Your Podcast. The podcast reviews each episode alongside creator Andrew Marshall recalling his memories, and interviews with cast members. The second is that the BBC have put all 56 episodes on iPlayer, something I never thought I’d say considering it’s not aired any episodes in over 20 years and that rights issues have stopped a full DVD release from ever happening.

I’m not entirely sure how I came to like 2point4 Children. I was born in 1992 so after the series started airing and was surely too young to understand some of the jokes, even during the later series. I remember watching series 7 and 8 but also remember parts of series 6 when I would’ve been about four years old! For me, it is hugely and pleasingly nostalgic. Even if I didn’t understand some of the lines, watching the series back has unlocked a peculiar sort-of muscle memory where I can remember memorising certain lines and trying to fit them into conversation with my family. My inclination for comedy when I was younger was clear. Some years later, I also remember ripping off the plot for The Deep, in which the Porters think they’ve killed their neighbours’ fish and rush to replace them only to discover they were already dead and instead have killed their racing pigeons, for my GCSE English Language exam. It served me well. And probably somewhere in my mum’s loft are VHS tapes with episodes of ChuckleVision, The Queen’s Nose and episodes of 2point4 recorded on them.

What I love about 2point4 is that Marshall marries the mundane with the surreal. He grounds the show in a setting and characters which are believable. We believe the jobs they have (Bill in catering, Ben a self-employed plumber), we believe the house they live in, and we believe they are a family. Much of this is down to the performances. Belinda Lang and Gary Olsen have great chemistry but we also believe that Bill is the leader of the pack (as the first episode title sets out) whereas Ben more often plays the clown role. But this is not always the case and does a disservice to how funny Bill is. I really like a point made in a recent blogpost on Dirtyfeed that although Bill is the glue that holds the Porters together, she can also be ridiculous in her own right. Much of the show’s believability is also down to the design which, although filmed in front of a live studio audience, doesn’t feel like a set. The Harpers’ house in My Family (also set in Chiswick) looks and feels like a brightly lit, oddly-shaped TV set and would probably be worth several million pounds if real. Rooting 2point4 in a credible domestic sphere allows Marshall to take the show to some surreal and dark places. In one episode with parallel plots, we see Bill and Rona inadvertently stumble across Shirley Bassey’s dress warehouse which leads to a fantasy song and dance number. Meanwhile, we see Ben kidnapped by a friend and taken to Portmeirion in a plot which parodies 60s TV show The Prisoner. But these plots are brought together by a touching scene between siblings Jenny and David. All of this in 30 minutes! Similar to Renwick’s One Foot in the Grave, it plays with the form and challenges us to think what a sitcom can be. But none of the strangeness feels contrived or out of place, simply a part of everyday family life. As in life, the ordinary and extraordinary sit side by side.

Re-watching it recently, I was struck by how contemporary the show was: in the early series, we see the effects of a long Conservative government in several running jokes in which Bill blames everything on Thatcher. Greed (1995) is about the lottery at a time when the National Lottery was only a year old. Fame (1999) prophesies an obsession with reality TV when the Porters film a pilot fly-on-the-wall documentary. The Millennium Experience (1999) captures the nation’s fears about the Millennium Bug. After the Fox (1999) is partly set on the Eurotunnel when that was only a few years old.

I’m delighted 2point4 has a new lease of life. The show’s aged exceptionally well and much of the dialogue still crackles. One of my favourite episodes is a Christmas special, Two Years Before the Mast (or “the baps episode” as my mum refers to it due to Sandra Dickinson’s line “I’ll just wipe my nose on these baps” living rent-free in the back of our minds), in which the Porters find themselves as stowaways on the Oriana. All episodes of 2point4 Children are available on BBC iPlayer, so go have a deep dive.

The final episode review of Don’t Slam Your Podcast lands this weekend and all episodes are available here: https://linktr.ee/2point4podcast  

Finding Home: Leicester's Ugandan Asian Story at 50

Curve, Leicester

2^nd August, 2022

“The rains are coming”

Fifty years on from the Ugandan Asian Exodus, in which 70,000 people were expelled from Uganda by dictator Idi Amin, Curve are marking the anniversary with a programme of work to commemorate the journey made of the 28,000 Ugandan Asians who left their homes in Africa to come to Britain, many of whom settled in Leicester. As part of this, three new plays have been commissioned by local writers and performed by a local community cast. The double bill which opened last night made up of Ninety Days and Call Me By My Name showcases some exceptional new writing. Both plays explore the turmoil as well as the resilience of the communities involved in what was a pivotal moment in Leicester’s history. Under the direction of Mandeep Glover, they explode onto the stage with a vibrancy, rawness and unshakeable determination to explore difficult issues.

In Ashok Patel’s Ninety Days, we’re placed at the heart of the personal upheaval in which Ugandan Asians found themselves when told they had 90 days to leave the country. Sudesh and Geeta are one such couple who are unable to withdraw money, unable to sell their businesses and properties, and are torn apart because of having different passports. Through Patel’s writing and the finely drawn performances from Rav Moore and Sneya Rajani, we get a sense of the trauma they experience. Patel also introduces us to Ugandan characters who are sympathisers of Idi Amin thus setting the scene of a nation divided by race, class and an imbalance of wealth.

I particularly liked the play’s use of food to explore cultural differences. In one scene we see (and smell the aromas of) Wynnie, a Ugandan housemaid and Sudesh’s mistress, cooking for Geeta. Initially, we see Geeta enjoying the blend of African and Indian spices but, in a shocking moment in which she spits out the food, she uses this against Wynnie. Like in Rachel De-lahay’s The Westbridge, characters bond over food, yet it is also a notable marker of identity. Similarly, Patel uses food to explore irreconcilable differences and its nourishing qualities. When Geeta arrives in the UK, an old lady (a good comedic performance from Billie Grace Venus) offers her tea and biscuits. And in the coda, 18 years later, we see Wynnie and Geeta reunite, this time food helping to heal their feud.

“That was our home, as Leicester is yours”

The second act starts with Octavia Nyombi’s startling poem Who’s England Anyway read by Nathan Obokoh. Nyombi’s poetry is a refreshing accompaniment to the more prosaic language of the plays either side of it. Accompanied by movement choreographed by Kesha Raithatha, it is an impressive mix of words, movement and sounds which sets the energy and tone of the second play. In Dilan Raithatha’s Call Me By My Name, set in present day Leicester, we see Danny filling out his UCAS application. Unsure of what to put as his ethnicity, this triggers a discussion with his elders about identity. Through a series of flashbacks, Raithatha charts a community’s early days in Leicester, the adversity they faced and ultimately their resilience.

Raithatha’s play is about the power of storytelling and gives a really adept examination of how we reflect on our identities. Developed by visiting Ugandan Asian communities around Leicester, and listening to their stories, it’s also about the need to share stories and how we edit those stories as they get passed down the generations. One character wishes ‘someone took a genuine interest in [their] story’ while also omitting the more harsh memories. It is played out on Eleanor Field’s multipurpose set in which a mountain of suitcases conveys characters’ displacement. Along with Rhys Parker’s lighting, it captures the vibrancy and heat of Uganda.

These are crucial plays which explore a part of history of how our city came to be. I loved their blend of global scope with a local perspective, their focus on both past and present, and their unflinching approach at staging difficult truths. The series marks a new direction for Curve’s community productions in which they share stories of Leicester’s rich culture and history. Like Chris Bush’s superb Rock/Paper/Scissors recently in Sheffield, these plays are a powerful coming together of stories from our local communities being told on our local stages.

Finding Home: Ninety Days and Call Me By My Name runs at Curve Leicester until 6^th August. They play in rep with a third play, Chandni Mistry’s RUKA, a new play for children, also until 6^th August.

Manas Kotak and Jishnu Soni in Call Me By My Name. Credit: Kieran Vyas