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Graeae – Cherylee Houston joins Harriet Walter, Sharon D Clarke and others for Crips Without Constraints from Tuesday 19 January

Crips without Constraints Part 2

In Spring 2020, at the height of the first Covid-19 lockdown, the UK’s leading disabled led theatre company, Graeae launched a weekly series of new works to be streamed online.  Crips Without Constraints played for eleven weeks to critical acclaim.   Today, the company announces Crips Without Constraints Part 2 which will launch in the new year with five brand new short plays, celebrating the best talent and creativity of Deaf and disabled artists from across the UK.

Graeae can also reveal casting will include award-winning actor and Graeae patron Dame Harriet Walter, Sharon D. Clarke (Death of a Salesman – Young Vic, Holby City – BBC), Mandy Colleran (comedy duo No Excuses), Naomi Wirthner (The Doctor – Almeida & West End), Julie Graham (Benidorm – ITV, Doctor Who – BBC) with further exciting casting to be announced and Cherylee Houston (Coronation Street).

The new plays, all bold and brilliant duologues, are written by Leanna Benjamin, Rebekah Bowsher, Karen Featherstone, Kellan Frankland and Jessica Lovett, all alumni from Graeae’s Write to Play programme, covering topics from sibling rivalry to death by post stick notes.  Additionally this year, the pieces will all be directed by upcoming disabled  directors Stephen Bailey, Hana Pascal Keegan, Cheryl Martin, Alex Whiteley and Lilac Yosiphon.

Nickie Miles-Wildin, Graeae Associate Director says: 

“It’s exciting that disabled writers are being given the platform they deserve. Such an eclectic mix of stories that have been creatively told using the digital world of online communication. Incredibly hyped and proud of the entire team, from writers and actors to directors and composer.  Can’t wait to share it with the world.”

The plays comprise –

HOW DO YOU MAKE A CUP OF TEA?

by Kellan Frankland

A disabled actor meets the not-yet-disabled woman intent on playing her. Ferocious and funny the play poses the question, who has the right to play whom?

FLOWERS FOR THE CHATEAUX

by Rebekah  Bowsher

A woman discovers that her future son-in-law’s mother is the ex who dumped her by postcard 20-odd years ago,

THE GIFT

by Leanna Benjamin

A pregnant woman has to make a terrible choice, but will her mother respect her decision?

STUCK WITH YOU

by Jessica Lovett

Two sisters clash over wedding preparations.

GOOD DAY, BAD DAY 

by Karen Featherstone 

A woman picks a fight with herself. A reminder that who we are depends on the day.

Full casting and running order to be announced in the New Year

Filmed on Zoom and released every Tuesday at midday from 19 January until 16 February 2021, all pieces will be captioned and audio described. A new theme tune has been composed by sound designer Jonathan Leitch.

Combined with these plays, every Thursday from 21 January, Graeae will release a short, filmed conversation with Deaf artists in British Sign Language, discussing in more detail the themes from that weeks’ play.

The plays and BSL conversations will be available to watch through Graeae’s YouTube channel (www.youtube.com/graeaetheatrecompany) and website (www.graeae.org).

Crips Without Constraints is supported by Arts Council England, Esmée Fairbairn Foundation and Jack Thorne.

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Death of a Salesman, Sharon D Clarke: “There is space for us to tell the stories that we want to tell – not just the stories we feel we have to tell.”

Sharon D. Clarke
Sharon D. Clarke hasn’t changed. That is, admittedly, something of a loaded statement. Obviously, she has changed. This year cemented her as UK theatre’s biggest superstar. Whether it is musical or play she always delivers the goods.

Earlier this year, Sharon received acclaim for her Linda Loman in Marianne Elliott’s and Miranda Cromwell’s sell-out revival of Arthur Miller’s Death of a Salesman at the Young Vic. This Loman family is black, which casts their drudgery in pre-civil rights American in a whole different light. She stars alongside Wendell Pierce as husband Willy Loman.

Her CV is prolific on stage and screen; with appearances on Doctor Who and Holby City as well as stints in The Lion King (as Rafiki) and We Will Rock You (originating the role of Killer Queen). Furthermore, in 2014 she won an Olivier Award for James Baldwin’s The Amen Corner at the National Theatre. In 2017 she picked up an MBE.

And earlier this year, she won one of the most coveted Oliviers: Best Actress in a Musical for playing the lead in the glorious revival of Tony Kushner’s civil rights musical Caroline, or Change – first at Chichester, Hampstead and then in the West End. She also found time to star in Blues in the Night at Kiln Theatre.

Sharon D Clarke, Blues in the Night –photo by Matt Humphrey

Sharon D Clarke, Blues in the Night –photo by Matt Humphrey

We are talking on the phone, Sharon is in her dressing room at the Piccadily Theatre, London where she is embarking on a 10-week run. The first question I ask, though, is a reference to her recent appearance in Elton John biopic Rocketman:

What were you like as a child, Sharon? She bursts out laughing. “As a child?” Clarke says slowly. “Chatty. I was a very sociable child. My school report actually said: ‘would do better if talked less.’ I was the child that other people came to with their problems; I was the girl in the loos telling the other girls that they were actually having a period. Problem solver, outspoken and lively.”

Clarke brings bluesy, fragile heartbreak to her Linda. How would she describe the character? “Linda’s all-consuming love for her husband is her biggest weakness and her biggest strength. From a woman’s point of view, she’s dealing with three very immature men: Willy and her two sons Biff and Happy. She’s also fighting to keep her family together.”

“These are the types of roles that I would have never had been seen for historically”, she insists. “To be able to get inside this play; a seminal piece of American literature, is a privilege. The way I see it is that Lynda is the glue within the family, her drive is supporting her husband because he’s not able to support himself emotionally and her concern for him keeps her going. She’s terrified for him every time he leaves the house. But I would say that she’s a very strong, ferociously loyal and loving wife and mother,” Clarke says.

Death of a Salesman in the West End Rehearsals - Brinkhoff/Mögenburg

Death of a Salesman in the West End Rehearsals – Brinkhoff/Mögenburg

I ask what question people ask her most when she talks about this Death of a Salesman, produced by Elliott & Harper, Cindy Tolan and The Young Vic. “I would say nearly everyone asks me what difference does it make through the eyes of an African American family? How does it change the show? In answer to that question, it absolutely heightens and deepens the words,” she explains. “There are more things that leap out of Miller’s text that make more sense. For example when Willy demands his bit on the side to go back into the bathroom because it would have been illegal for a black man to have an affair with a white woman, Or when you’re boss who is calling you kid it takes on a different connotation – it is all representative of the glass ceiling – you look at this Loman family and from the outside they would have been doing well as they have a mortgage, a car and Willy has a job. But it would never go further as the world was never ready for that at that time.”

Death of a Salesman in the West End Rehearsals - Brinkhoff/Mögenburg

Death of a Salesman in the West End Rehearsals – Brinkhoff/Mögenburg

I ask Sharon what it was like having two directors. Clarke considers this for a moment. “I wasn’t sure at first. But I found it to be a treat and a dream,” she begins. “Marianne and Miranda work on different aspects of the show and actually that works really well. For them, it’s not a new collaboration and they already have history (both worked closely on last year’s gender-swapped Company) and a unique shorthand. Sometimes they’ll finish each other’s sentences. As an actor you know that you are in safe hands with those women.”

We talk about theatre-making as a constant quest. Has Salesman taken her further along the path she needed to go? “I think every show does that. There is a whole new generation seeing this production, which is vital. It’s about finding more in your craft and discovering something that stretched you and challenges you so that you’re not jaded, or bitter and twisted,” Clarke says.

Caroline, Or Change has announced it will transfer to Broadway next year, with Clarke reprising her role. I ask her if she is excited to be making her Broadway debut. “Of course, I am,” she gasps. “Wow, that is such a wonderful opportunity and such a joy. I’m going with a show and it will be my fourth time doing it. So, it doesn’t necessarily allow me to be as nervous as I could have been,” she explains. “But I’m under this woman’s skin. I feel that I know Caroline and can do the character and that story complete justice.”

Sharon D Clarke in Caroline, or Change

Sharon D Clarke in Caroline, or Change

“What is especially exciting is Tony Kushner’s actual maid, whom Caroline is based on, is still alive and she might be able to come to see the show. That is giving me goose bumps right now just talking about it.”

Clarke is aware how rare it is for a black woman, like herself to be in a position of power in the industry, and she is determined to use her influence to tell stories that might not otherwise be heard. “I’ve been very lucky,” she says. “For me, as a performer it’s vital that we hold a mirror up to society and continue to tell these stories and there is space for us to tell the stories that we want to tell – not the stories we feel we have to tell.”

With that, it’s time for Sharon to clear off and perform for a sold-out audience at the Piccadilly. Before she goes, I ask how she stays positive in a turbulent world. “Let’s live the best lives that we can live,” Sharon decides. “Since the EU Referendum, with the ongoing uncertainty with Brexit, and especially what’s happening across the pond with the other guy…” she continues, “mankind needs to wake up. We seem to have forgotten that we’re all here sharing this planet.”

Death of a Salesman Trailer

Death of a Salesman is at the Piccadilly Theatre, London until 4 January 2020 

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New cast members announced to star alongside Wendell Pierce & Sharon D Clarke in West End transfer of Miller’s DEATH OF A SALESMAN

Death of a Salesman

Elliott & Harper Productions and Cindy Tolan today announced new cast members joining Wendell Pierce and Sharon D Clarke in the West End transfer of the highly acclaimed, sold-out Young Vic production of Arthur Miller’s Death of a Salesman at the Piccadilly Theatre from 24 October 2019.

Two of Britain’s hottest young actors join the company to play Willy Loman’s sons.  Sope Dirisu will play Biff Loman and Natey Jones will play Happy Loman.  Sope’s theatre credits include the title role in Coriolanus for the RSC, Ogun in The Brothers Size for the Young Vic and Mohammed Ali in One Night in Miami for the Donmar Warehouse.  His screen credits include Black Mirror for Netflix and the upcoming film Gangs of London.  Amongst Natey’s recent theatre credits are Small Island for the National Theatre,Doctor Faustus, Don Quixote and The Alchemist for the RSC and Tina: Tina Turner, The Musical in the West End.

Victoria Hamilton-Barritt joins the company to play The Woman and Jenny and Carole Stennett joins to play Miss Forsythe.

Reprising their roles performed at the Young Vic alongside Wendell and Sharon are:  Ian Bonar as Bernard, Trevor Cooper as Charley, Joseph Mydell as Ben Loman, Matthew Seadon-Young as Howard Wagner and Stanley, Nenda Neurer as Letta andFemi Tomowo as Willy Loman’s father and musician.  Emmanuel Ogunjinmi will understudy Biff and Happy with further ensemble members to be announced shortly.

Following her recent award-winning successes on Company and Angels in America, Marianne Elliott co-directs Death of a Salesman with Miranda Cromwell, who worked as Associate Director on both
shows. Together, they bring a unique vision to one of the greatest plays of the twentieth century, seen through the eyes of an African-American family.

Wendell Pierce, who is best known for his roles in The Wire, Suits and Tom Clancy’s Jack Ryan will reprise his revelatory performance as Willy Loman with the Olivier award-winning Sharon D. Clarke, who is currently wowing audiences at London’s Kiln Theatre in Blues in the Night, reprising her heart-rending performance as Linda Loman.

Joining directors Marianne Elliott and Miranda Cromwell on the creative team are designer Anna Fleischle, lighting designerAideen Malone, sound designer Carolyn Downing, composer and musical director by Femi Temowo; with fight direction by Yarit Dor and casting by Charlotte Sutton CDG.

Arthur Miller – playwright –  was born in New York City and studied at the University of Michigan.  His plays include All My Sons, Death of a Salesman, The Crucible, A View from the Bridge, After the Fall, Incident at Vichy, The American Clock, Broken Glass, Mr Peters’ Connections and Rescurrection Blues.  He received the Pulitzer Prize for Drama in 1949.  Other works include the novelFocus, the screenplay Misfits, the memoire Timebends and texts for the books In Russia, In the Country and Chinese Encounters, in collaboration with his wife, photographer Inge Morath.  Recently published collections include Collected Plays, Collected Essays andPresence: Collected Stories.

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Full Company announced for Blues In The Night

Blues in the Night

As rehearsals begin for Blues in Night, Artistic Director of Kiln Theatre, Indhu Rubasingham announced the full company. Joining the previously announced Sharon D Clarke (The Lady), Debbie Kurup (The Woman), Clive Rowe (The Man) and Gemma Sutton (The Girl) are Aston New (The Hustler) and Joseph Poulton (The Barman) to complete the company for the first major London revival in 30 years. Susie McKenna’s production opens on 24 July, with previews from 18 July, and runs until 7 September.

 ‘A man is a two-face, a worrisome thing

Who’ll leave you to sing, the blues in the night.’

Chicago 1939. One man, three women, their lives, memories and the sweet music that gets them through the night.

The Olivier and Tony Award nominated musical is a scorching compilation of 26 hot and torchy blues numbers that frame the lives and loves of four residents of a downtown hotel. Featuring soul-filled songs by blues and jazz icons Bessie Smith, Duke Ellington, Johnny Mercer, Harold Arlen and many more, this will be a sizzling night to remember.

GALA PERFORMANCE

5 September 2019, 7pm

To celebrate a year to the day since the Kiln Theatre came into being, the company are hosting a Gala Performance of Blues in the Night on 5 September 2019, 7pm.

Every ticket includes a glass of sparkling wine or a specially conceived Blues in the Night cocktail upon arrival, plus a signed programme. All proceeds from the evening are in aid of Kiln Theatre.

www.KilnTheatre.com

Twitter: @KilnTheatre / @KilnCinema

KILN SEASON AT A GLANCE

WIFE

Until 6 July

Audio Described: 4 July

 

BLUES IN THE NIGHT

18 July – 7 September 2019

Press night: 24 July at 7pm

Captioned performance: 22 August

Audio Described performance: 8 August

A FRIENDLY SOCIETY (WORKING TITLE)

26 – 29 September 2019

 

WHEN THE CROWS VISIT

23 October – 30 November 2019

Press night: 29 October at 7pm

Captioned performance: 21 November

Audio Described performance: 14 November

SNOWFLAKE

10 December 2019 – 18 January 2020

Press night: 16 December at 7pm

For full schedule over Christmas, please see the website

Captioned performance: 9 January

Audio Described performance: 14 January

Priority Booking onsale: 24 June 10am

Public Booking onsale: 25 June 10a

 

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Death of a Salesman – God I love this show

Wendell Pierce

Marianne Elliott and Miranda Cromwell have treated us to a mesmerising evening that is overflowing with suspended furniture, sliding door frames, live music, Arinzé Kene in a vest and a inspired new version of Death of a Salesman, at the Young Vic. 

Inspired as in the Loman family are black, which casts their drudgery in pre-civil rights America in a whole different light. This Salesman stars Sharon D Clarke and Wendell Pierce as Linda and Willy Loman. 

Elliott and Cromwell co-direct with attention grabbing pace. And 70 years on, Arthur Miller’s play has chilling resonance. And it’s all here: the pathos, time bending and drama of intense despair. This revival illuminates the classic as the past haunts the present time and place majestically. 

Memory and reality are never overplayed.

Wendell Pierce

Wendell Pierce

It may demand a lot from audiences and take risks, but that’s what all great theatre should do. And if some don’t come off, it’s one of the few classic tragic plays that can usually fall back on its script or the astonishing performances of its cast.

Particular plaudits with Elliott & Harper’s impressive production, of course, go to Sharon D. Clarke who’s turned loyal wife Linda Loman into a thing of very slow-burning, bluesy pain. 

Wendell Pierce leads the collapse of the Loman family as the deluded Salesman: out of time. His Willy is lofty, pathetic and explosive. 

Sharon D Clarke

Sharon D Clarke

The design by Anna Fleischle is a beautifully fragmented and disjointed shell of a home: The Young Vic shimmers in rich primary colours through short sharp bursts of light through a prism or wooden frames. Hats off to the glorious sound by Carolyn Downing and clever music by Temowo. 

Halfway through Act 1, though, I felt this was Marianne Elliott on both autopilot and at the peak of her powers: standing, at times, in the shadow of huge successes on both revivals of musical Company and Angels in America.

But Act 2 left me reeling and emotionally shattered. Make of that what you will. 

The final scene is 10/10. 

Personally, I thought the whole thing was so brilliantly executed that it should become a permanent fixture on The Cut. 

A perfect revival. 

Death of a Salesman runs at the Young Vic from May 9-June 29, youngvic.org

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Sold out DEATH OF A SALESMAN run extended, £10 ‘Rush’ Tickets to be released

Wendell Pierce

Due to public demand, the Young Vic today announces that the currently sold-out production of Death of a Salesman will extend for an additional two weeks of performances until Saturday 13 July. These additional performances go on sale at 10.30am today, Wednesday 1 May, with tickets priced £10 – £40.

As part of its commitment to accessible tickets, the Young Vic also announces that every Thursday at midday a limited number of £10 ‘Rush’ Tickets will be released online for the following week’s performances. The scheme will begin from Thursday 2 May and will be limited to two tickets per customers, available online.

Following her recent award-winning successes on Company and Angels in America, Marianne Elliott co-directs Death of a Salesmanwith Miranda Cromwell, who worked as Associate Director on both shows. Together, they bring a unique vision to one of the greatest plays of the twentieth century, seen through the eyes of an African-American family.

Wendell Pierce makes his UK stage debut as Willy Loman, with Sharon D. Clarke as Linda Loman, Arinzé Kene as Biff Loman and Martins Imhangbe as Happy Loman. The full cast also includes Ian Bonar as Bernard, Trevor Cooper as Charley, Joseph Mydellas Ben Loman, Nenda Neurer as Letta, Jennifer Saayeng as Miss Forsythe, Matthew Seadon-Young as Howard Wagner and Stanley, Maggie Service as The Woman and Jenny and Femi Temowo as Willy Loman’s Father and Musician.

Death of a Salesman is directed by Marianne Elliott and Miranda Cromwell, with design by Anna Fleischle, lighting design byAideen Malone, sound design by Carolyn Downing, composition and musical direction by Femi Temowo, fight direction and additional movement support by Yarit Dor and casting by Charlotte Sutton CDG.

 

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Full cast announced for Blues In The Night

Kiln Theatre

With the critically acclaimed The Son currently running at Kiln Theatre, and with Inua Ellams’ The Half God of Rainfall in rehearsals, Artistic Director Indhu Rubasingham today announced the full cast for Blues in the Night – Susie McKenna directs Sharon D Clarke (The Lady), Debbie Kurup(The Woman), Clive Rowe (The Man) and Gemma Sutton (The Girl) the first major London revival in 30 years. The production opens on 24 July, with previews from 18 July, and runs until 7 September.

 ‘A man is a two-face, a worrisome thing

Who’ll leave you to sing, the blues in the night.’

Chicago 1939. One man, three women, their lives, memories and the sweet music that gets them through the night.

The Olivier and Tony Award nominated musical is a scorching compilation of 26 hot and torchy blues numbers that frame the lives and loves of four residents of a downtown hotel. Featuring soul-filled songs by blues and jazz icons Bessie Smith, Duke Ellington, Johnny Mercer, Harold Arlen and many more, this will be a sizzling night to remember.

Sharon D Clarke returns to Kiln Theatre to play The Lady – she previously appeared in The Wolf in Snakeskin Shoes. Her theatre work includes:Death of a Salesman (Young Vic), Caroline, or Change (Chichester Festival Theatre, Hampstead Theatre, Playhouse Theatre), The Life (Southwark Playhouse), Sleeping Beauty,  Vagina Monologues, Sleeping Beauty, Mother Goose, Puss in Boots & Cinderella (Hackney Empire), Pigs and Dogs(Royal Court Theatre), Ma Rainey’s Black Bottom, An Oak Tree, Everyman, Amen Corner, Guys and Dolls (National Theatre), Romeo & Julie (Rose Theatre Kingston), Porgy & Bess (Regent’s Park Open Air), Ghost, Hairspray, Vagina Monologues, Chicago, We Will Rock You, Disney’s The Lion King, Fame, Rent and Mama I Want to Sing (West End). Her television work includes Holby City – as series regular Lola Griffin, Informer, Doctor Who, The Forge, Unforgotten, Death in Paradise, New Tricks, Psychobitches and The Shadow Line; and for film, Untitled Girls Film, Rocketman, Tau, Sugarhouse, Secret Society, Beautiful People, Broken Glass and Tumble Down.

 Debbie Kurup returns to Kiln Theatre to play The Woman – she previously appeared in Poison. Her theatre work includes Sweet Charity (Donmar Warehouse), Girl From The North Country (The Old Vic/ Noël Coward Theatre), The Threepenny Opera (National Theatre), Anything Goes (Sheffield Theatres/UK Tour), The Bodyguard (Olivier Award nomination for Best Performance in a Supporting Role in a Musical – Adelphi Theatre), Chicago(Cambridge Theatre/ Adelphi Theatre), Sister Act (London Palladium), West Side Story (Prince of Wales Theatre), Tonight’s The Night (Victoria Palace), Rent (Prince of Wales Theatre/UK tour), Fame (UK tour) and Guys and Dolls (Sheffield Theatres). Her film work includes The Two Wolves, Hollow, Making of a Musical – West Side Story and 28 Weeks Later.

Clive Rowe plays The Man. His theatre work includes The Wind in The Willows (UK tour), Guys and Dolls (Royal Albert Hall), Me and My Girl(Chichester Festival Theatre), Jack and the Beanstalk (Wimbledon Theatre), The Light Princess (National Theatre), The Hothouse (Trafalgar Studios),The Ladykillers (West End and UK tour), Kiss Me Kate (Chichester Festival Theatre/The Old Vic), No Naughty Bits (Hampstead Theatre), The Wiz (Birmingham Rep/West Yorkshire Playhouse), Company (Donmar Warehouse), The Fantastics (Duchess Theatre); Twelfth Night, Gentlemen Prefer Blondes, Trolius and Cressida (Regent’s Park Open Air Theatre), Chicago (Adelphi Theatre), As You Like It (Wyndham’s Theatre), Simply Heavenly (Young Vic/Trafalgar Studio); and for the National Theatre, The Light Princess,  Carousel, Fuente Ovejuna, Caroline or Change, The Villains’ Opera, Money, Candide, Peter Pan, Guys and Dolls, Trackers (Olivier Award for Best Supporting Actor in a Musical for Guys and Dolls and Olivier Award nomination for Best Supporting Performance in Carousel). Rowe has returned to the Hackney Empire on numerous occasions to play The Dame in their Christmas pantomime for which he was nominated for an Olivier Award for Outstanding Achievement in an Affiliate Theatre forMother Goose. For television, his work includes Will, So Awkward, Evermoor, The Kennedys, The Fun Police, All the Small Things, Doctor Who, Networked, Bloodrights, Say it with Music, American Voices, Paper Mask, After the War, Snakes and Ladders and Entertaining Angels Aware; and for film, Beauty and the Beast, Manderlay and Crime Strike.

Gemma Sutton plays The Girl. Her theatre work includes Follies (National Theatre), Sweet Charity (The Watermill Theatre), The Rink (Offie Award for Female Performance in a Musical – Southwark Playhouse), A Christmas Carol the Musical (LMTO), Strictly Ballroom (West Yorkshire Playhouse/ Royal Alexandra Theatre, Toronto), The Go Between (Apollo Theatre), Gypsy (Chichester Festival Theatre/Savoy Theatre), Carousel (Arcola Theatre),Chicago (Leicester Curve)Drunk (Leicester Curve/The Bridewell), Hairspray (UK tour), Me and My Girl (Kilworth House), Legally Blonde – The Musical (Savoy Theatre), Gone with the Wind, Imagine This (New London Theatre), A Midsummer Night’s Dream, Macbeth, Lady Be Good, The Boy Friend (Regent’s Park Open Air Theatre) and Children Will Listen (Theatre Royal Drury Lane). For television, her work includes West Side Stories, Gypsy: Live at the Savoy Theatre and Cilla.

Susie McKenna directs. She is currently Creative Executive Producer at Hackney Empire with the remit to develop new musical theatre for the venue – having left her role as Creative Director in January 2017. Her credits for Hackney Empire include Cinderella, Rudy’s Rare Records, , Beau Jest, Sit and Shiver, Kat and Tameka Show, La Variété, Sing Out, Alter Ego, Once on this Island and Ha Ha Hackney. Other credits include Oranges and Elephants (Hoxton Hall), A Midsummer Night’s Madness (National Black Theatre of Harlem, Hackney Empire Edinburgh Festival), A Christmas Carol (Arts Theatre London) and The Silver Sword (Coventry Belgrade Theatre, UK tour). Acting credits for theatre include Cats (Ambassadors Theatre), Ragtime (Piccadilly Theatre), Chicago (Cambridge Theatre), The Witches of Eastwick (Theatre Royal Drury Lane), Hair, The Rocky Horror Show, Jesus Christ Superstar and In The Midnight Hour (UK tour). For film her credits include Jack and Sarah.

KILN SEASON AT A GLANCE

THE SON

Until 6 April

 

THE HALF GOD OF RAINFALL

25 April – 17 May

Press night: 30 April at 7pm

Audio Described: 16 May

Captioned: 9 May

 

WIFE

30 May – 6 July

Press night: 4 June at 7pm

Audio Described: 4 July

Captioned: 20 June

 

BLUES IN THE NIGHT

18 July – 7 September 2019

Press night: 24 July

Audio Described: 8 August

Captioned: 22 August

A FRIENDLY SOCIETY (WORKING TITLE)

26 – 29 September 2019

 

WHEN THE CROWS VISIT

23 October – 30 November 2019

Press night: 29 October

Audio Described: 14 November

Captioned: 21 November

www.KilnTheatre.com

Twitter: @KilnTheatre / @KilnCinema

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Pigs and Dogs – Caryl Churchill communicates with vigour, that socially, politically and historically – we’ve got a long way to go

‘You Western-backed goats,
They forced us into slavery and killed millions. Now they want us to accept the sinfulness of homos.It shall not work.’

Pigs and Dogs at The Royal Court Theatre.

Pigs and Dogs at The Royal Court Theatre. © Alastair Muir

Both excitingly well made and strikingly formulaic. The three highly diverse leads are uniformly excellent. Sharon D Clarke is effortless in Caryl Churchill’s pertinent new play.

The title of the play is borrowed from  President Mugabe of Zimbabwe, who said, “If dogs and pigs don’t do it, why must human beings?”

Pigs and Dogs boasts fine performances and nimble direction by Dominic Cooke. It doesn’t entirely evade the issue at its core – a brief history of homophobia and anti-homosexuality laws – instead it efficiently embraces the subject. Characters collide regardless of race or gender in a thrilling fifteen minutes.

This engaging piece succeeds well at what it sets out to do: wrapping an important message in a story told by rich voices. Nevertheless, both excitingly well made and dispiritingly formulaic; the actors pace the stage. The play is substantially based on material from ‘Boy-Wives and Female-Husbands’ by Stephen O. Murray and Will Roscoe.

A riveting short which, were it fiction, might be disbelieved as dystopia. For me, Churchill communicates, with vigour, that socially, politically and historically – we’ve got a long way to go.

Cast (in alphabetical order)
Fisayo Akinade
Sharon D Clarke
Alex Hassell

Director: Dominic Cooke
Lighting Designer: Jack Williams
Sound Designed: David McDeveney
Costume Supervisor: Lucy Walshaw
Stage Manager: Caroline Meer
Dialect Coach: Hazel Holder

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