Tezza's Theatre Place

(L-R) Flora Spencer-Longhurst (Simona) and Lucy Sheen (Ye) in A Pupil – Park Theatre. Photography by Meurig Marshall What is greatness? Shakespeare addressed this question in  Twelfth Night  with his famous line “ Some are born great, some achieve greatness, and some have greatness thrust upon them ”. The one aspect that is not looked at here is whether or not greatness can be taught, and if so, what does it take to get from good to great? And, maybe more importantly, why would you want to make that transition? All of this and more is explored in Jesse Briton’s new play  A Pupil  which is having its world premiere at Park Theatre. In a rough old bedsit, Ye (Lucy Sheen) is contemplating something from which there is no return. Tired, stuck in a wheelchair she is reaching for the pills and the bottle, as a way out of all of her problems. However, her friend and landlady – a well-intentioned, interfering, evangelical Christian by the name of Mary (Melanie Marsh...

LEAVE A COMMENT Our Country’s Good Transportation was a horrific punishment in many ways. People convicted for, what would be today, the tiniest crimes were taken from their families and friends, stuck on a ship for months, travelling in appalling conditions and then dumped in the colonies to serve out their time which could be anything from a few years to the rest of their lives. Not just that but when they got to the colonies, there were none of the trappings of a civilised country. Everything was rough and ready, living in tents, limited food and horrendous punishments for any misdemeanors, inflicted by, on the whole, rather brutal members of the army forced to be moved from their comfortable billets and look after the prisoners. For some, the worst aspect of life in the penal colonies was a lack of anything to do. But in Timberlake Wertenbaker’s 1988 play  Our Country’s Good  at the Bridewell Theatre, both the convicts and the guards definitely find ways to pass the ti...

What is your opinion of Social Workers? Mentioning them usually causes one of two reactions; support or antagonism. Even 1980s sitcom  Yes Minister  mentioned them in an episode called The Skeleton in the Closet, and I quote – “ Parkinson’s law of social work you see; it’s well known that social problems increase to occupy the total number of social workers to deal with them ”. This is, of course, a gross exaggeration but the occupation of a social worker is not that many people would choose, though most feel free to criticise. This is demonstrated really well in Lost Watch’s production  Left My Desk  which is its first show at the New Diorama Theatre since becoming Associate Ensemble. Left my Desk  is a series of scenes in the life of Senior Social Worker Becca (Rianna Dearden) and the people she deals with (Jennifer Daley, Rachel Hosker, Adam Langstaff and Jamie Samuel). Becca, like the rest of her team, has a full caseload of work, dealing with delinquen...

The Unbuilt City: Sandra Dickinson (Claudia) and Jonathan Chambers (Jonah) – Photo by PND Photography People keep secrets. They keep things from their nearest and dearest, their friends, random members of the public. They also have a tendency to keep things. When my grandmother died and we were clearing the house, we found every utility bill she had ever received kept in a folder in her desk. I mention this because the idea of keeping secrets and things is at the heart of Keith Bunin’s one-act play,  The Unbuilt City  which is getting its European premiere at the King’s Head Theatre The story takes place in the Brooklyn Heights townhouse of Claudia (Sandra Dickinson), a reclusive socialite. It’s a cold February and she is welcoming a visitor in the shape of Jonah (Jonathan Chambers) a young man on a mission, He has two things on his mind. One finding out if Claudia has certain, almost mythical, item in her possession and two, if she has it, convincing her to part with it....

Ciarán Hinds (Hugh), Colin Morgan (Owen), Adetomiwa Edun (Lieutenant Yolland). Image by Catherine Ashmore Love it or loathe it, the British Empire is a rich source of material that is ready-made for novels or plays – usually suggesting the English were bad while everyone else good. However, some writers have approached the subject in less obvious ways and one of those is Irish playwright Brian Friel, whose 1980 play  Translations  has recently been revived at the National Theatre. 1833 and in the quiet community of Baile Beag, life continues much as it always has. The inhabitants are an insular lot who speak Irish, Greek and Latin – thanks to a knowledge of the classics and the teachings of the Catholic church – but who don’t speak English, the language of their rulers. In the local ‘hedge’ school, aspiring teacher Manus (Seamus O’Hara) is working with Sarah (Michelle Fox) a local girl with a severe speech impediment. His father, schoolmaster Hugh (Ciarán Hinds) has not ye...

The Night Alive Have you ever been banjaxed? I first heard that word a good many years ago when Terry Wogan used it in his radio show. It’s a good Irish word meaning among other things confounded. The reason I mention this is because I was left feeling banjaxed after seeing Conor McPherson’s The Night Alive at the Jack Studio Theatre in Brockley Tommy (David Cox) is in his early fifties. He is a bit of a jack-the-lad but he is also lonely. He is estranged from his wife and kids and is currently living in a little room in the house owned by his uncle Maurice (Dan Armour). Tommy doesn’t really work in the conventional sense of the word. He has a van and, with the help of his friend Doc (Eoin Lynch), he makes some sort of living doing odd jobs and moving things for people. Doc and Tommy rub along just fine until one night when Tommy rescues a young girl called Aimee (Bethan Boxall) from being beaten and takes her home, which like Tommy himself, may not be much to look at but is at lea...

Left to Right: Eleri Jones, Isaura Barbé-Brown The concept of robots has been around for thousands of years. Basically, since humans first learned how to work, they started thinking about ways of getting out of it by having some device do the work for them. Since then, technology has moved on and these days, either directly or indirectly, robots are a part of our lives. Already, there is a hotel in Japan staffed with robots and how long will it be before we get our automated friends to do everything that we would rather not? A question that is examined in Nessah Muthy’s one-act play  Sex With Robots and Other Devices , part of the Sex Season at the King’s Head Theatre. The show – performed by Isaura Barbé-Brown, Deshaye Gale and Eleri Jones – sees a future where ordering a totally realistic sex robot is as easy as getting a takeaway delivered. Each scene shows the interaction of human or humans with their own personal robot, and we get an idea as to why they have decided to go ...

Athena Stevens and Jonathan McGuinness – Photo by Stephen Cummiskey Playwrights like to manipulate people. When they pen a show, they will write certain characters from certain angles in order to get the audience to feel a certain way about them. Sometimes, this is just something that happens, based on where the show is meant to go. Sometimes though, this audience manipulation is a deliberate act on the part of a playwright determined to make the audience think a certain way. A prime example of this can be found in Athena Stevens play  Schism  which has just opened at the Park Theatre. Schism  is the story of two people and their twenty-year relationship together. It starts back in Chicago in 1998 where failed architect turned maths teacher Harrison (Jonathan McGuinness) is contemplating suicide in his small house. As the radio fills the air with the ‘wise words’ of Shumaker, Harrison starts to swallow tablets. He goes on doing this until he is suddenly interrupted by...

Open Clasp Snake Coercive controlling domestic abuse may not sound like a good subject to turn into an entertainment for the masses. When the play is based on real-life stories from women that have suffered and survived such abuse, then it starts to sound even less like something I would want to see. However, being nothing if not professional, I went along to the Soho Theatre to see Open Clasp’s production  Rattle Snake . In a cube-shaped stage, two women sit at a dinner table facing each other. They don’t speak to each other but they are interacting by carrying out a set of what looks like ritual moves with the glasses on the table. As they get faster, one of the women makes a mistake and the two freeze, looking around in fear, waiting for something or someone to react to the mistake. When nothing happens, the two relax slightly, then start again. After a while, they stand and talk to the audience. We learn that they are Suzy (Christina Berriman Dawson) and Jen (Eilidh Talman...

Kes at Jack Studio Theatre Back in my school days, I, along with everyone else had to read a book called ‘A Kestrel for a Knave’ by Barry Hines. At the time, I thought it was an okay book, but I didn’t really think too much about it. The book was made into a film by Ken Loach in 1969 and finally a play by Robert Alan Evans which is currently being presented at the Jack Studio Theatre in Brockley. A middle-aged man (Rob Pomfret) is troubled. images, sounds and memories are racing through his mind, taking him back to his childhood, in a northern mining town in the late 1960s. We travel back in time with him to a milestone day in his younger life when he was plain Billy Casper (Simon Stallard) a fifteen-year-old boy from a working-class home, with a brother down the mines, a flighty mother and an absent father. By any standards, Billy’s life is pretty bleak. School is horrendous for the young lad, and there is little to look forward to when he leaves and faces a future, like so many ...