Whatever I imagined saying about The Mistress Contract, this was not it: it’s a love story. There. I said it. Abi Morgan’s new play – based on a real life couple whose relationship (sexual and otherwise) is defined by a contract, complete with terms and conditions and clauses for services provided – doesn’t inspire romantic thoughts. But in an unexpected way the absence of romance – a mythical beast of misguided expectations – forges new connections of love and tenderness.
The script is based on conversations the couple recorded over 30 years. We catch up with them in various moments of their common life, always in the same house, often under the same circumstances Continue reading
From left: Laura Elphinstone, Natasha Gordon, Angela Terence, Debbie Crazen, Anna Calder-Marshall. Photo Helen Murray
The Royal Court Weekly Rep continues, we are at number five of six plays in six weeks. The Untitled Matriarch Play (or Seven Sisters), written by Nicole Beckwith and directed by Vicky Featherstone, doesn’t hold any mysteries in its title. Seven women, related to each other in different ways, or not at all, grudgingly come together to argue, undermine and occasionally support each other. Men are largely absent. Apart from a boy who died as a child, Ted whose best quality is he is irrelevant and a father who looks like the captain from Love Boat (you need to be of a certain age to appreciate this reference). Continue reading
New artistic director, new bar. New adventures. Last night was my first time at the Royal Court since Vicky Featherstone took over and some of the changes were immediately apparent. Nice use of space at the bar, mismatched furniture, greater variety at the menu and food served till late. I heartily approve. I can see many more theatre friendships forged there.
New adventures, new rules. The President Has Come to See You, by georgian playwright Lasha Bugadze, is the first of six new plays performed by the same cast who only has a week to rehearse and perform each play. It’s fast, exciting, a little bit messy, and there is not enough time to feel the panic.
The play, with an exceptionally interesting premise, certainly lived up to all of the above. The story skids along the public and the private, the historical and the fictional: it’s August 2008, Georgia is at war with Russia, the BBC news readers sound as grave and as urgent as the circumstances demand. The georgian president has a nervous breakdown (who wouldn’t?), and takes to the streets. He meets people even more stressed than he is: reality tv contestants, young men forced to join the army, a dog owner who looks more unhinged than his savage dog. His chief of police bursts into tears. A (pregnant) man in a dress starts to look positively serene. Continue reading