Royal Court
Tom Fowler
Recently, having just shared the rehearsal draft of my current Royal Court play Hope has a Happy Meal with two close friends, I found myself slightly offended when one of them said, "you can tell you were playing the Nintendo Switch obsessively when writing this." They then proceeded to talk about the play and its structure in video game terms. The plot of my play [favourably reviewed last week on theartsdesk] revolves around a woman called Hope returning to the People’s Republic of Coca Cola to find the family she left behind 24 years ago. As my friend (rightly) pointed out, the play Read more ...
Aleks Sierz
The summer season at the Royal Court, London’s premiere new writing venue, features two plays which imaginatively explore the human condition using elements of the surreal and the dystopic as well as the real. Or, to put it more accurately, both Alistair McDowall (in All of It ****) and Tom Fowler (in Hope Has a Happy Meal ***) show us recognisable human emotions through the lens of highly original storytelling. The overall effect is an exciting contribution to contemporary playwriting – it’s art that seems to make your mind go woo-woo.The most mentally explosive experience, in the main Read more ...
Aleks Sierz
The act of idol worship is, at one and the same time, both distantly ancient and compellingly contemporary. Whether it is Superman, Wonder Woman or Black Panther, our love of the superhero is both an aspiration and an abnegation. Looking at a star, the fan sees both their own potential and feels their own inferiority. In Olivier award-nominated actor and activist Danny Lee Wynter’s Royal Court debut, the attractively titled Black Superhero, the ambitious theme of black queerness is explored through the conceit of hero worship in a show whose cast is led by the author.Wynter is David, an Read more ...
Aleks Sierz
Is new writing becoming increasingly literary? Recently, some of the language being used by younger playwrights seems to me to be becoming too subtle, something to be savoured on the page rather than strongly felt in live performance. Certainly, this is true of Ava Wong Davies’s Graceland, which was a winner of the 2022 Ambassador Theatre Group Playwright’s Prize, having been developed as part of an Introduction to Playwriting group at the Royal Court, where it gets a studio production. Although this 75-minute monologue has moments of perception and beauty, it is more writerly than raw.The Read more ...
Aleks Sierz
Ever been to a queer club? You know, drag cabaret night at Madame Jojo’s, or the Black Cap or Her Upstairs. No? Well, not to worry – the Royal Court’s latest provides a fabulously extravagant simulation of the experience with its staging of Sound of the Underground, a play written by Travis Alabanza – whose classic Burgerz is coming to the Purcell Room in March – and directed by his co-creator Debbie Hannan.Billed as having “haze, strobe, flashing lights, sudden light changes, sudden and loud noise, strong language, nudity and audience interaction”, so we certainly know what to expect. And Read more ...
Aleks Sierz
What is the best way of talking about the Middle East? Should plays take a documentary or verbatim approach, all the better to educate and inform, or is there another path, with includes entertainment, and that magic ingredient called theatricality?At the Royal Court the imaginative way has recently been explored in plays such as Sabrina Mahfouz’s dreamy A History of Water in the Middle East. Now, Jasmine Naziha Jones’s debut play, Baghdaddy, in which she also stars, also gets the magic realist treatment. But how successful is it?Beginning in 1991, this coming of age story is seen through the Read more ...
Aleks Sierz
The fictional world is our world, but at the same time it’s another place. We want our writers to invent interesting characters, gripping plots and to take us to unexpected places. We want them to delight us, and sometimes to fright us. We want to immerse ourselves in their inventions, lose ourselves in their fictions, and explore their newly created worlds. But are writers allowed to say anything they want? Is there a limit in our progressive and increasingly sensitive society on what they can invent? Would any theatre in Britain stage a play about young black women which was written by a Read more ...
Aleks Sierz
What is the Royal Court theatre for? Is it a space that stages innovative new writing, or does it prefer to do documentary theatre? Is it concerned with reaching out beyond its regular audiences, or is it more focused on its own internal problems? In November 2021, it made an appalling blunder by allowing an antisemitic stereotype – a money-grubbing billionaire called Hershel Fink in Al Smith’s Rare Earth Mettle – to get through the rehearsal process despite protests from several members of the company. Eventually the character was renamed, and you’d think that the venue would Read more ...
Aleks Sierz
What is the shelf life of a theatre gimmick? In April, the Royal Court announced that they were going to stage a debut play by an unknown writer, Dave Davidson, who has worked for decades in the security industry. His drama was hyped up, helped by Time Out magazine, and by fellow playwrights Simon Stephens and Dennis Kelly.Hooray! – this new writing venue had discovered an unknown talent. Not. In fact, if you buy a ticket you will not see That Is Not Who I Am by Davidson (who doesn’t exist), but instead you will experience Rapture by Lucy Kirkwood, who is an established playwright. It’s a Read more ...
Laura de Lisle
The title is so long that the Royal Court’s neon red lettering only renders the first three words, followed by a telling ellipsis. But lyrical new play For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy lives up to its weighty name.Writer-director Ryan Calais Cameron shows us Black masculinity in all its nuances and contradictions, presented by six actors so naturally charming it’s impossible not to fall in love with them. This is an odyssey through Black masculinity, a complex navigation of a sea of troubles and expectations and joy and love. Line by line, each man’s soul Read more ...
Aleks Sierz
Mike Bartlett’s Cock invites suggestive comments, but the main thing about the play is that it has proved to be a magnet for star casting. Its original production at the Royal Court in 2009 starred Ben Whishaw, Andrew Scott and Katherine Parkinson. Now, this West End revival is performed by Jonathan Bailey, Taron Egerton and Phil Daniels. Reports that Rocketman star Egerton fainted during the first preview have raised public interest in a play whose explicit title, with or without an asterisk, seems particularly provocative in a commercial theatre setting. So what’s it all about?John, Read more ...
Aleks Sierz
Irish teenager Saoirse Murphy has a dirty mouth. And she’s not afraid to use it when talking to the nuns at her convent school. But it soon emerges that her feistiness is a cover for some very disturbing problems in Sarah Hanly’s energetic debut monologue, Purple Snowflakes and Titty Wanks, which was first performed at the Abbey Theatre in Dublin last year and now visits London’s Royal Court for a short run. And although much of the material is familiar, it’s thrillingly performed by the playwright herself.Beginning with Saoirse explaining her discovery of the joys of masturbation to her best Read more ...