By Amber Bereznyckyj, History and Creative Writing student at the New College of the Humanities
While there are many great shows such as Wuthering Heights (National Theatre) and Legally Blonde the Musical (Regent Park’s Open Air) returning to the stage this summer, I want to showcase the five most culturally critical new plays that I was lucky enough to witness this year. If I were to characterise the new and upcoming shows, I would say they all represent authenticity. This is especially so for this year’s new wave of brutally honest LGBTQIA+ dramas. They not only showcase the community’s heritage, but also its complications, which wouldn’t be showcased at all even a few years ago. That would be the second characteristic of the fresh material coming to British theatres – unapologetic honesty.
Since COVID, the theatre scene has seen an influx in digitalised, immersive experiences in the re-telling of old stories as well. Overall, what defines theatre this year is minority representation and how technology animates shows such as The Van Gogh Experience. This, in turn, personifies our culture itself, as though it was standing right in front of you offering wise advice.
- Everything is Grand, and I’m Completely Okay
Conor Burke, The Hope Theatre, March 2022
Conor Burke is an Irish Playwright currently studying at the Royal School of Speech and Drama and appears to be an up and coming writer to watch out for. This performance, a one man show, explains the perils of turning 25 and commands an intimate relationship between the protagonist, Malachy, and the audience. In the black box of Hope Theatre, the show felt like a complete confession with hysterical moments that left even the most stern giggling. In this show, it is just you and Malachy, and the use of paper and karaoke left the audience nodding with sympathy, as if the character was an old friend. It doesn’t have much of a plot, relying too heavily on tangents. However, the characterisation distracts the audience from this. I arrived with low expectations but left the theatre feeling relieved and ready to see what’s next for this new writer. - Cruise
Jack Holden, The Duchess Theatre, July 2021
Another one man show has made it to the list: Jack Holden’s debut play. Usually, I wouldn’t be keen on yet another piece about the stereotypical stigma surrounding the HIV epidemic. However, this is a true story, of what should have been Micheal Spencer’s last night on earth after contracting HIV in 1988. It is very iconic that he decided to spend his last night in Soho cruising, and I felt grateful to hear the story. Holden was clever to set the play in the present day in a LGBTQIA+ helpline centre, as it managed to deal with the multiple locations, times and immense amount of characters well. I didn’t pity those in the community in this show. Rather, I felt informed, and it was a great reflection of the cultural significance of the HIV epidemic for the community. All the gags were so specific and accurate to historical context, meaning that certain moments got lost in translation for younger audience members, but there was an older gentleman sat next to me who cheered at the highs and cried, holding my hand at the lows. To say this show is touching would be a vast understatement and for those who feel disconnected with the community’s history, it is worth a watch. - The Burnt City
Punchdrunk, One Cartridge Place, Summer 2022
Punchdrunk is back! This is a cheeky submission to the list – The Burnt City is not written by a new writer, but a new concept of theatre. Punchdrunk is the leading company of immersive theatre in the world and they have landed themselves in Greenwich. You walk into a Grade II listed building into a reenactment of the fallen city of Troy. For fantasy lovers or worshipers of the Greek Ecclesiastes; this promenade will fully immerse you in the myriad of rooms and corridors available. You are asked to put on plague masks before entering the mourning city as dancers complete rituals around you. It is quite exhausting after three hours and it is important to check accessibility options before going. Additionally, I understood why the tickets were expensive once I knew that 54 actors were involved. I wouldn’t necessarily call it a show either, but more of an experience as there was no overarching storyline apart from thematic nods as you walked through the apocalyptic city. For example, themes of decadence and female violation are seen throughout. If you want to be immersed into a storyline as well, I would recommend Phantom Peak which is an immersive theme park similar to WestWorld. However, if you wish to immerse yourself in impeccable world-building (which the Burnt City does better) I would invest in going to see Punchdrunk’s new creation. - “Daddy”: A Melodrama
Jeremy O’Harris, Almeida Theatre, May 2022
The first thing to say about this show, before the shocking revelations and quickly normalised full frontal nudity, is how beautiful the naturalistic set is. Set in an actual fully functioning pool that is part of a lush LA mansion in the show; the set is impressive and bound for Broadway. The acting at the start of the performance was below par, clearly due to nerves. On the other hand, the show did demand an awkward stage presence given the strangeness of a full gospel choir and life-sized dolls. The show slowly brings you into the melodrama which is very satisfying, almost verging on a psychodrama. The play focuses on the unequal power dynamic between a young black artist, Franklin, and his art-dealing sugar daddy, Andre. One thing to say about the writing is that it covers the white gaze, black art and LGBT issues. The performance certainly didn’t cater to heteronormative expectations and maintained integrity, shining a light on the most difficult issues concerning the appropriation of black art and exploitation. You will be left absolutely stunned when you realise that the first act of the show is a satire on Franklin’s idealistic vision of his relationship with Andre. - Two Palestinians Go Dogging
Sami Ibrahim, Royal Court Theatre, Summer 2022
This is Ibrahim’s debut play after it won the 2019 Theatre Uncut Political Playwriting Award. The set is minimal but interestingly made from corrugated iron, and the humour is stark, parodying other dramas set in the Middle East. It is deliberately set in 2043 as the Arab-Israeli conflict still rages on. It is a clear message for those who watch the performance that the conflict won’t end anytime soon. It opens with a couple attempting to sexually experiment in contested land until an Israeli Soldier called Sara is killed. The play swiftly floods the narrative with stories of blood, retribution and revenge. This is especially so with the character Reem, whose trauma surrounding the murder of her children really makes the audience understand the impacts of war on occupied communities. There are a myriad of violent acts, including the gunning down of children and humiliation videos of Sara’s last moments. It ends in a similar manner to Inspector Calls, with a message from Ibrahim himself that this is someone’s daily life. This is not some grotesque Theatre of Cruelty, or a dystopian world; this is someone’s reality. This is someone’s reality.
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