Saturday, April 25, 2020

National Theatre Live: Treasure Island

Photography from The National Theatre

In amongst the stellar selection of lockdown entertainment offerings from the National Theatre’s YouTube channel thus far was Bryony Lavery’s adaptation of Treasure Island in a 2014 production from director Polly Findlay.

Robert Louis Stevenson’s *other* hugely influential classic novel is a piratical high adventure, which sees the brave Jim Hawkins caught up in buccaneer hijinks as they face off against the dread pirate Long John Silver in search of buried treasure.

This is a truly spectacular production, full of charm, whimsy and rollicking spirit, which is hardly ever short of breath-taking sights on its two-hour travels. Lizzie Clachan’s outstanding set design alongside Bruno Poet’s lighting, and music and songs from Dan Jones and John Tams manages to conjure up maritime atmosphere in treasure-digging spades. Gorgeously detailed and vivid backdrops abound, with much ingenious mechanical wizardry on display which keeps the production moving along at a pacey and pleasingly fluid clip.

Photography from The National Theatre

Patsy Ferran leads a strong cast as Jim Hawkins, with a refreshingly modern, even prescient, take on this so-called “boys’-own” adventurer, stubbornly refusing to be whittled down to boy or girl, and full of vim and vigour. Alongside her is Doctor Who alumni Arthur Darvill, hugely enjoyable as the dastardly, two-faced Long John Silver, with both performers having a grand old time of it, and sharing good chemistry onstage, along with some surprisingly endearing shared moments. There are no slouches amongst the rest of the principal cast either, with Gillian Hanna convincing as the crotchety Grandma, Alexandra Maher taking a good-natured pop-culture ribbing as The Doctor (complete with swishy, dandy long coat) in her stride, and many highlights present and accounted for on the good ship Hispaniola’s manifest of misfits.

Confidently and skillfully directed by Findlay, this is a lively, hugely enjoyable production perfect for all the family which captures the spirit of high adventure near-perfectly, and looks ship-shape doing it.

Thursday, April 23, 2020

INTERMISSION: Heavy Shit


TRIGGER WARNING: This is a frank discussion of domestic violence and abuse which makes references to child abuse, serious mental illness, complex trauma, and self-harm. Please use your discretion wisely.

According to Refuge, incidents of domestic male violence and femicide during this lockdown have increased from an average of 2 per week to 1 every 36 hours, or over 4 per week. If you can, please consider donating whatever you’re able to their services to assist women and children fleeing male pattern violence, and others suffering at the hands of their partners.

I will be donating £36. One pound for every hour that a woman has left to live as you read this. For many women, that time has already passed, and still more have even less time left. Your donation could help a woman and her children to #StopTheClock.

90% of the violence that occurs is witnessed by very young children. Between 1997 and 2001, between the ages of 7 and 11, I was trapped in my childhood home with an abusive male, and I both witnessed, and was the victim of, domestic male violence. This is both a stream of consciousness exercise in processing my feelings about that – which I will likely be engaged in for the rest of my life – and a testimony of the lifelong impact that witnessing and experiencing domestic violence has on very young children.

I hope it helps.


UK GOVERNMENT GUIDELINES ON SEEKING SUPPORT: https://www.gov.uk/guidance/domestic-abuse-how-to-get-help
REFUGE CHARITY: https://donate.refuge.org.uk/page/51133/donate
WOMEN'S AID: https://www.womensaid.org.uk/

If you are in the UK and need to contact the police without otherwise being able to communicate, press 5 twice on your keypad and leave the line open. The operators are trained to recognise this as a distress call, and will trace it to send officers to support you.

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It happened between the ages of probably no earlier than 8 and no later than 11. It was physical. Emotional. Psychological. Obviously, when you’re a child, you’re completely trapped. There’s nowhere else to go, so that compounds everything, really. You’re a prisoner in your own home. Quite a lot of the time, it came down to just not being allowed to be a child, because children doing silly, childish things embarrassed or humiliated him, and then, of course, any negative emotion was translated into uncontrolled, violent rage. Crying about it made me gay, clearly. Heads he won, tails I lost.

Over a long enough time period, all of your self-esteem is destroyed. It’s lost on a lot of people that being allowed to be a child is an essential part of actually becoming a functioning adult, and if that gets denied to you, then you lose all sense of self. More to the point, you fail to develop properly at all. You learn to live in fear. To never say no, to never talk back, or defend yourself. You develop the worst coping mechanisms; assuming that it’s your fault, that you did something wrong. You learn that anything that is not deliberate, clear affection must be some sort of anger or resentment towards you. You have no ability to recognise or set boundaries, your social competency suffers, and you wind up with terrible, debilitating social anxieties. Panic attacks. Depression. Anxiety. Emotional instability. Personality disorders. Attachment disorders. Deep, complex, lifelong psychiatric trauma in general. All of which I do have, and have to deal with now.

You so often develop complexes that come out in the most debilitating ways – this man was a heavy drinker, so alcohol became this horrifying taboo that paralysed me with fear. I once had a panic attack because somebody offered me a beer at a house party when I was young. Making friends or socialising during university was a struggle. I ended up very isolated amongst people my own age, even before university, simply because they had been allowed to grow up where I hadn’t. I very quickly developed a bad reputation as disturbed weirdo, frankly. It didn’t help that I shut myself away on purpose, out of fear that if anybody ever discovered “the truth” about me, they would hate me and abandon me. Of course, I was also pathologically desperate for approval at the same time, and as we all know, desperation and neediness is very attractive to everybody. That certainly helped with making friends. Altogether, not ideal in my small town university, or anywhere, really.

Quite apart from that, I’ve pissed away years meaning to get around to doing things I still haven’t done. Projects never started. Piles of books unread, games unplayed, films unwatched. It sounds banal, but between a spending addiction that arose as a coping mechanism to give me temporary mood boosts that relieved my depressive states, there is a part of me that is still left waiting for the permission to do anything by myself, to be given leave to spend my time as I please, which will never come. I’m often kicked out of short-term crisis counselling services because they don’t feel equipped to cope with the complexity of my mental health needs. Come to that, neither do long-term secondary services, which shunted me off to art therapy I never went to, I thought it’d be fucking useless – some drunken asshole spent years shouting in my face for every perceived slight and once beat me for not wearing pyjamas when it was fucking boiling at night, the first time I ever self-harmed I was 9 years old, because of that man, I only started talking to myself in the first place because the lack of anyone else to talk to drove me completely ‘round the twist, and you want me to paint shit still life? You’d get better paintings out of Hitler, and he’s dead- but…whatever, I guess.

The thing is, any child psychologist will tell you that traumatised children often get ‘stuck’ developmentally at whatever age the trauma occurred, and that without intervention, it’s difficult to get back on track, if at all. Between the trauma-induced developmental delays, naivety, and the learned lack of boundaries, you’re wide open for even more abuse and general advantage-taking, which then compounds whatever trauma you already had. Domino effect. Complex trauma isn’t one instance of cause and effect, it’s a giant mess of interconnected, interacting, separately-occurring traumas at all points in life, feeding off of each other, including the “afterwardsness” of realising that what happened was abuse, and having that realisation in and of itself become something which traumatises you further. I can’t have been older than 11 when all the abuse stopped, and he left – I remember him crying on my nan’s shoulder and saying sorry, as if he knew he would be damned for life, and hiding under my bed from him whilst he cleared his belongings out of my room without either of us saying a word to each other, as if he knew what he did – and then, sometime after that, my uncle died very suddenly at 21, and I just…sort of… stopped. Ended up stranded on the strange seas of thought, alone, somewhere between the ages of 11 and 12. As if I’d had enough horror.

I spent years stuck there. I never got trauma therapy. Bereavement counselling, anything like that. It was all quiet whispers indoors between the adults, like I wasn’t there, no-one ever really bothered to take me to one side and say, “Christopher, what happened wasn’t normal, you’ve witnessed terrible violence, you’ve been badly abused”, like I was some sort of person who had been traumatised or anything. We do like to patronise kids, don’t we? It’s so much less hassle to just pretend they don’t understand, especially if they’re disabled. It’s an extension of that weird British masculine instinct to sweep it under the rug, keep schtum, stiff upper lip. Bizarre. I put a lot of work into my social skills over the summer after I had a good couple of complete mental breakdowns in my fresher’s year, but even with all that study and practice, I’m pretty sure I’m still way too far behind to ever fully catch up now. I’m 30, and I still feel about 23. That’s not a middle-aged Dad having a mid-life crisis joke on Facebook, I seriously mean I literally, developmentally, am probably where most 23-year-olds should be, and I’m 30. I feel like this is my life now. Perpetually falling behind everyone else, always coming off as a bit weird and needy and immature whether I want to or not. No wonder I’ve never had a girlfriend. I mean, it’s not like I’m owed one, but you know, shit is depressing.

The worst part is, and this is amongst the most difficult to admit, I’d be lying if I said that I hadn’t perpetuated abuse onto others when I was younger. That had to do with my own attachment problems and lack of boundaries. It’s long since stopped, and I’ve made a point of apologising to these people and leaving them to live their lives, but I have to live with it now, and so do they. I will regret the things I did forever. It haunts me. I keep coming back to this horrifying realisation of the destruction and damage done to so many lives, over so many years, because of what that man did to me in the first place – which he did because his father did the same to him. Sometimes, I think part of my urge to never have children is the urge to just make it all stop, forever. By the way, that doesn’t invalidate my asexuality or my decision to be childfree, there are a multitude of other reasons that are nothing to do with abuse, and if you weaponise a history of abuse to deny someone their identity, you’re a special kind of arsehole. Still, the thought does occur to me sometimes.

I hate “what do you do?” parts of conversations with new people. What am I supposed to tell them? That my psychological development is now so stunted by multiple abuses and compound traumas, and my mental health so poor, that I now can’t actually function as an adult my own age, and the DWP actually considers it a severe disability worth permanently signing me off of work over? I feel like that would thoroughly disturb most people right out of wanting to know me. Hell, *I* frighten me at the best of times.

On top of all this, I’m recently rediscovering that my *mother* is a cruel, vindictive abuser, who I haven’t spoken to since last August. So…there’s that. Frankly, I’m surprised I can even think straight most of the time.

For reference in terms of how long this has an impact, this started to happened when I was 8. I didn’t tell anybody, ever, until I ended up alone in a safe room at the age of 20. So, yeah, there…tends to be a bit a satellite delay. It will *always* have an impact from here on out, to the grave. No use denying the way of it.

..and nearly every bit of it solely from witnessing and experiencing domestic violence as a child. I have been left bereft of a huge amount of confidence or security in who I am, and it’s followed that I have led a disappointing shadow of the life that I ought to have done under better circumstances. We do, and must, talk about the women that lose their lives. We must also talk far more about how their children are robbed of so much of the lives they might have had if this had never been allowed to happen to them.

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Tuesday, April 21, 2020

"The Nobodies" by Chalk Line Theatre

This is a recollection of a performance on February 20th 2020. Also published in London Theatre Reviews, April 21st 2020: http://www.londontheatrereviews.co.uk/post.cfm?p=2780

Photography by Lidia Crisafulli

Following on from an impressive debut showing with Testament at the Hope Theatre, the Chalk Line Theatre company returns, this time to the VAULTS Festival, with a second offering from writer Amy Guyler in the form of The Nobodies.

Where previous outing Testament dived into the murky depths of male mental health and masculinities, Chalk Line remains keenly socio-political here, telling a new, but no less grimly relevant tale of existential horror through Guyler’s writing, which crackles throughout with all the pacey drama and darkly comic humour, as well as the witticism and insightfulness that has hallmarked Chalk Line’s offerings thus far.

The talented trio of Lucy Simpson, David Angland, and Joseph Reed each thoroughly convince in their parts as radical young socialists Rhea, Aaron, and Curtis respectively, as their group of would-be activists are driven to bribe and blackmail politicians to get their notion of social justice. Before any of them know it, some ill-advised improvisation in a fix starts a radical peoples’ movement which inevitably spirals out of all control, and all manner of ethical horrors ensue in a story which no doubt owes a considerable debt to the stylings of Fight Club and its ilk.

Photography by Lidia Crisafulli

Fortunately, Guyler and the cast manage to bring plenty of distinctly theatrical style, substance, and uniqueness to what might have felt too derivative in less capable hands, and there is much more besides to love about this original production, which pointedly asks searching, discomforting questions about the true moral righteousness of radicals.

Alongside Guyler’s fine writing, and the cast’s great performances, the intimate surroundings of the VAULT stage’s tiny space are put to some very creative and inventive uses by set designer Becca White, whose great sense of place in (quite literally) assembling a scene is ably assisted by atmospheric lighting from Alan Walden, and Mekel Edwards’ evocative sound design. All the while, Vikesh Godhwani and Sam Edmunds’ joint direction makes for a tightly-focused, pacey and very enjoyable evening of drama which certainly proves memorable for its audience. It seems destined for a life well-lived when it transfers to the Edinburgh Festival in the indeterminate future, when (in the words of Beckett) Happy Days will come again.

Photography by Lidia Crisafulli

Thursday, April 16, 2020

National Theatre Live: One Man, Two Guv'nors

Photography by Johan Persson

Writer Richard Bean’s accomplished adaptation of 1746 Italian farce The Servant of Two Masters by Carlo Goldoni transports the original’s evergreen comic scenario - a poor, starving fool of a Harlequin blundering into waiting on two masters at deadly odds with one another, in search of an extra meal - to Brighton in 1963, where the modern Truffaldino takes the form of the hapless Francis Henshall, lately fired from his Skiffle band and caught between two sets of hardy East End gangsters intent on killing each other. Commedia dell’arte ensues as Francis recklessly bumbles his way through every desperate effort to stop each finding out about the other, whilst eating literally everything he can get his hands on.

Opening to unanimous critical acclaim during its original 2011 run with the National Theatre, and becoming a global phenomenon, director Nicholas Hytner’s outstanding work is these days rightfully regarded as a modern classic the British stage. Today, in the throes of our prolonged global quarantine, it proves unweathered by the long near-decade since, as fresh, inventive, energetic and full of laughter as ever, and now, a sorely-needed tonic for these lonely days.

The full cast. Photography by Johan Persson

This is a spectacular production, alive with enthusiasm and almost bursting with love for the craft in every aspect. Mark Thompson’s beautifully realised, clever set design transports us effortlessly everywhere around the city of Brighton, from stately homes to the mean streets, to the posh restaurants in-between; Grant Olding seemingly captures the lightning of 60s rockabilly in a bottle and tosses it back to us via the considerable talents of in-house band The Craze, taking us on a musical journey back through time and placing us perfectly in situ in 1963; the Craze themselves treat us to their infectiously energetic, feel-good rockabilly stylings throughout, performing a short albums’ worth of memorable and ridiculously catchy numbers at (literal) intervals throughout; and certainly not least, an impeccably chosen cast make every performance a highlight down to the smallest of bit-parts, with even the ensemble giving some shockingly convincing turns in danger of bamboozling uninitiated or unwary viewers (or indeed, sympathetic reviewers).

To mention any stand-outs would be to list the whole cast, whom all – from lead James Corden’s pitch-perfect Francis Henshall, to Suze Toase’s delightful, doggedly driven Dolly, and Oliver Chris’ side-splitting Stanley Stubbers – display a spectacular talent for making the rigorously rehearsed seem improvisational, and never fail to do justice to the beautifully literary, playful, sparklingly intelligent, and laugh-out-loud hilarious writing of Richard Bean.

Daniel Rigby as Alan Dangle with Oliver Chris as Stanley Stubbers. Photography by Johan Persson

Indeed, it seems easy to see why this was the first choice for our onrush of indoor theatre of a rather different sort. It represents the best possible opening night: a definitive, superlative run of a classic, so practically perfect in every way that it would perhaps be no loss to the art of theatre to put a stop to all future staging efforts on account of the work having already achieved its pinnacle. A five-star tour-de-force of farce.

Suze Toase as Dolly with James Corden as Francis Henshall. Photography by Johan Persson.