I can’t say I really understand the resurgence of Agatha Christie, but she is coming back in a powerful fashion. Modern adaptations are trying to balance the camp of the older works with a darker, more realistic tone, and Rowan Wishart’s interpretation of And Then There Were None is a perfect example of this. It kept an even hand of fun and dark and managed to make a compelling, thrilling mystery out of an 80-year-old story. But there were technical inconsistencies throughout that kept it from being quite as exactly tuned as it could have been.
Student writing and science fiction are two things which are often underrepresented in St Andrews. A student-written science fiction show? Now that’s something we really don’t get a lot of.
Hedda Gabler is a very hard play to get right. Henrik Ibsen’s late play is about a recently married woman (the titular Hedda) who proceeds to destroy the lives of almost everyone around her for no other apparent reason than she is “bored.” This is where the difficulty comes in: if the tone of the play is misjudged, Hedda (here played by Misha Leggett) can seem like a petulant psychopath, while the play’s other characters come across as stupid. This production had a difficult job to do and it delivered.
Nick Payne’s Constellations goes up in the Stage this week, so I sat down with director Al Gillespie and actors Kate Kitchens (Marianne) and Jared Liebmiller (Roland) to chat about the show.
Jez Butterworth’s Parlour Song is a comedic, yet surprisingly tragic exploration of what lies under the surface of seemingly ordinary suburban lives – an engaging and almost voyeuristic look into the gradual breakdown of demolitions-man Ned (Noah Liebmiller), and the affair between his wife Joy (Hannah Raymond-Cox), and their neighbour, Dale (Louis Catliff). Being familiar with the play, I was highly impressed with how well co-directors Alexander Gillespie and Jamie Jones, and their cast, added even more amusement and dimension to the already rich characters and themes of Butterworth’s lesser-known work.
New Youth was odd. The adjective appears in my notes more than once. A translation of a modern Chinese drama, showing outside of that country for the first time, it follows the pursuit of happiness through multiple ages and worlds, grappling with political ideal and the role of the youth. Director Dominic Kimberlin’s production successfully brings this ambitious piece to the modest Barron, presenting it with stylish aesthetic and unyielding enthusiasm, but unpolished translation and performances somewhat dampened the experience.