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The Lockdown continues, we're still confined to our own homes and with the people we share the space with. Except for carefully managed essential trips out social activity has become almost entirely virtual.
Remembering the times when we could meet people in the flesh, so in those times what did I do on April 14th...
Having never read the classic Philip Pullman novels and only seen the Golden Compass film released the previous year, I had no idea quite where the story would go when I saw His Dark Materials at the Theatre Royal Bath. It was also my first experience of a youth company, in this case the Theatre Royal Bath Young People's Theatre.
An all-round impressive production both in design and performance, the huge cast were clearly at home on the main stage of this historic theatre. Pleasantly surprised by the quality of the show I was also taken aback by the sharp twists in the story that, having only seen the film, I was quite unprepared for.
One of the great joys of theatre is the ability to witness and learn from completely different stories and life experiences.
Just the day before I had been party to the dark, visceral, immersive staging of Trainspotting in caverns beneath Bristol's old train station. Then, today, I was sat in a comfortable seat at one of Britain's finest Georgian theatres to see a story about Shakespeare's daughter!
While also a restorative treat after the excesses of Trainspotting, The Herbal Bed at the Theatre Royal Bath was, at the same time, a powerful indictment of unchallenged state power exercising control over every detail of a person's life.
When I saw La Strada at the Bristol Old Vic I hadn't heard of Sally Cookson. A couple of years before she, with her company, had created a four hour, two part, production of Jane Eyre that got a lot of positive reviews. That show, Jane Eyre, would come back, slimmed by an hour and was even broadcast online by the National Theatre during The Lockdown, when I got top see it, and it was magnificent!
The year after seeing La Strada, in 2108, I saw her production of A Monster Calls, now one of my all-time favourite shows. Now, having seen three productions that she has created and directed, I can see the similarities in approach and style, it's something that has become more common, a greater use of movement and abstraction that strip back the story to it's essentials that both focus more on the key elements of the central story but also allow the audience to make more direct connections to their own experience of the world.
All that said, I actually found La Strada disappointing. Perhaps I wasn't ready, wasn't attuned to Cookson's style, the design and staging were exquisite and while there definitely some emotionally resonant moments as a whole I just didn't connect with either the main characters or their journey.
Remembering the times when we could meet people in the flesh, so in those times what did I do on April 14th...
in 2008
An all-round impressive production both in design and performance, the huge cast were clearly at home on the main stage of this historic theatre. Pleasantly surprised by the quality of the show I was also taken aback by the sharp twists in the story that, having only seen the film, I was quite unprepared for.
in 2016
Just the day before I had been party to the dark, visceral, immersive staging of Trainspotting in caverns beneath Bristol's old train station. Then, today, I was sat in a comfortable seat at one of Britain's finest Georgian theatres to see a story about Shakespeare's daughter!
While also a restorative treat after the excesses of Trainspotting, The Herbal Bed at the Theatre Royal Bath was, at the same time, a powerful indictment of unchallenged state power exercising control over every detail of a person's life.
in 2017
The year after seeing La Strada, in 2108, I saw her production of A Monster Calls, now one of my all-time favourite shows. Now, having seen three productions that she has created and directed, I can see the similarities in approach and style, it's something that has become more common, a greater use of movement and abstraction that strip back the story to it's essentials that both focus more on the key elements of the central story but also allow the audience to make more direct connections to their own experience of the world.
All that said, I actually found La Strada disappointing. Perhaps I wasn't ready, wasn't attuned to Cookson's style, the design and staging were exquisite and while there definitely some emotionally resonant moments as a whole I just didn't connect with either the main characters or their journey.
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