Billie Piper (with Jonjo O’Neill) in The Effect, the last National Theatre production she appeared in. Photo Ellie Kurtz
In an infrequent series of posts, these are the theatre news that got me excited in recent weeks:
– Word is Billie Piper is in rehearsals for the new Richard Bean play at the National. The play – with the provisional title Hacked – is directed by Nic Hytner, revolves around the phone hacking scandal and should start performances at the Lyttelton as early as June. As there is no official announcement regarding performance dates or tickets yet, the National Theatre is cutting it very fine with this one.
– Another company cutting it fine is the new Jamie Lloyd season at the Trafalgar studios: after the announcement a month ago that Martin Freeman will be playing Richard III with performances starting in July, no further information has been forthcoming. I loved the trio of plays produced last year and I look forward to the new season with – hopefully – a full programme announced soon.
– In other exciting news, Ivo Van Hove will be directing Juliette Binoche in Antigone, with performances at the Barbican next year. Continue reading
In all the best productions there is always a moment when I, in the audience, feel this is the best place in the world to be. In The Effect, the new play by Lucy Prebble as directed by Rupert Goold, that moment came half way through the first part when, in a surprising turn, Jonjo O’ Neil displays some unexpected talents. For a play grappling with serious and fascinating questions, this was a moment of uncomplicated bliss.
But can I trust this feeling? If my feelings can be traced to and manipulated by chemical changes, are they mine? Does it matter? The four characters in the Effect struggle with these questions with various degrees of passion, desperation and urgency. At the same time, life relentlessly moves forward without waiting for the answers. Things happen faster than people can process. And Lucy Prebble’s play, sparkling with humour, wit, ideas and warmth, finds a way to capture the emotional and physical bewilderment and joy as well as the scientific questions. This is science sitting squarely in the middle of everyday life as it should be.
It’s hard to find enough words to praise the performances: Continue reading