Chatterbox - still talking nonsense

  A man turns up at the door of an ex-UN Relief worker, asking what happened 45 years previously when he was a displaced child after WW2.  Juliet Stevenson plays Ruth, that relief worker, who was 20 years old in 1945, and Tom Wlaschiha plays the adult Thomas.  As well as the German and Slavic children left without families or carers after the war, there were also children (often from Slavic backgrounds) who met Aryan 'master race' criteria stolen from their families and placed with new families to grow up as Germans, attempting to wipe the memory of their previous lives, language and culture.  As the play also points out, after the war there was a concerted effort by the Soviet forces to do the same for all displaced Eastern European children (with the west doing something not so dissimilar).  This is all brought to life in the attachment that develops between Ruth and Thomas as they try to find his family; it is this little boy that has turned up at Ruth’s door...

It’s always interesting to see the ways that Greek tragedies are reworked for a modern audience.  The Bacchae are a bunch of women, followers of the god Dionysos who serve as the chorus but are the main characters this time.  They are back in Thebes to help Dionysos take revenge for his abandonment by his aunt Agave (Sharon Small) after the death of his mother.  The Bacchae are led by Vida (a fantastic Claire Perkins) who introduces the Bacchae to the audience as individual independent women who have all joined for different reasons, and are all living for pleasure without being ruled by men (except Dionysos that is - to be fair, they do call out for themselves!). When the women of Thebes hear about this, they all begin to join the Bacchae too.  Whilst Dionysos sneaks into Thebes and entraps his half brother King Pentheus (an absolutely fabulous James McArdle) the Bacchae take Agave hostage but she soon becomes the most fanatical of the group and blood thirsty in a w...

This latest play at the Donmar is a funny family drama but it is also full of knotty debates about how to live well.  Juniper Blood by Mike Bartlett opens on a family farm that needs renovating; Ruth (Hattie Morahan) and Lip (Sam Troughton) have just inherited and are full of ideas of how to be more sustainable.   With definite Chekovian undertones with the family farm under pressure and fraught family relationships I thought that might be where this goes, but alongside the entertaining family dramas this turns into a energetic and gripping debate  about what is a good and ethical way to live in a capitalist world gone bad.  Throw science at it or carry on regardless, make pragmatic changes around organic and sustainability, or go full survivalist and return to basics?   The characters represent and advocate the different approaches. Ruth is full of middle class guilt and compromise, so advocates organic farming and a few pigs, whilst Millie (Nadia Par...

At a puppet show in a town square, a deaf boy is shot dead by a soldier for not responding to his commands.  The next day the whole town wakes up deaf or pretending to be.  This play at the Royal Court is based on the 2019 book length poem by Ukranian poet Ilya Kaminsky.  Using signing, spoken and written word, it's also a multimedia work, making use of cameras and projection, puppetry and even a drone hovering intimidatingly over the audience at one point.   The set is deceptively simple in design, with the puppet stage staying central whilst other elements and the cast move around it. The sound design is excellent too, with white noise and low rumbling sounds, sometimes blurred speech, evoking a tiny bit of the deaf experience.  It sounds as if it will be bitty, but it does come together in something of a poetic tapestry.   This is a complicated play, a fable, with layer upon layer of metaphor and allegory, and despite light and moving moments, ...