Tag Archives: Trafalgar Studios

East is East, Trafalgar Studios

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I have never seen the film East is East, so I couldn’t compare this stage version to the original motion picture like everyone else was on press night. Currently on stage at the boutique theatre Trafalgar Studios, this revival of Ayub Khan-Din’s play offers an insight into the multicultural issues which arise in a joint faith marriage and consequently affect the mixed race Pakistani-English children.

The audience quickly get to know George and Ella Khan and six of their seven headstrong children. Brought up in 1970s Salford with a strict Pakistani father, the kids witness a cultural clash between their surroundings and their heritage, eager to please their tyrannical dad whilst still making their own life decisions. Pakistan’s troubles at the time are often mentioned and are of paramount importance to George’s running of the family. Back in his hometown his first wife receives regular gifts of material from him, and we hear about the political upheaval from TV and radio updates.

The cast work together immaculately to form the volatile Khan family. Jane Horrocks is delicate but daring as the mother stuck between her aggressive husband and demanding children, and I particularly warmed to Sally Bankes as Auntie Annie, Ella’s much needed friend. Also memorably impressive is Michael Karim who plays Sajit the youngest and most disturbed child hidden under his Parka hood.

The dusty brick stage remains in place throughout the play despite the changes in location. It became a little confusing when they attempted to transform the homely space into a chip shop. It is thoughtfully directed by rising star, Sam Yates who manages to create an evocative home environment, and finds excitement in the mundane.

East is East is a beautifully acted play which remains harshly relevant today. An intelligent comedy which leaves one questioning the society we live in.

Continues until 3 January 2015, book tickets here.

THOROUGHLY MODERN MINI: Richard III, Trafalgar Studios

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Director Jamie Lloyd seeks to make Shakespeare accessible, bringing it to new and younger audiences. This thrilling account of the historical play, Richard III does that brilliantly, it is a gripping theatrical experience from start to end.

Bringing Martin Freeman into the lead role attracted much attention, many people doubted whether the famous Hobbit and Sherlock actor could break his nice guy persona. What Martin Freeman does in this play is to create a cold, calculating, almost inhuman character. He pulls it off with such confidence that we still feel the raw, broken side to the cruel King, making him seem genuine and believable. I particularly enjoyed watching Freeman continuously slip further into madness and villainy throughout the play, and he showed real skill illustrating the extremity of the King without over exaggerating.

There has been some criticism for the set, which remains constant throughout the show. The static set occasionally restricts movement but effectively adds a claustrophobic tension and feeling of no escape to the play which worked in favour of the actors, giving a sense of relentless closeness as well as intensity to the scenes.

A brilliant aspect to Richard III is the dark comedic side to the work which has been heightened by the cast in this production, creating many sinister yet hilarious moments which are contrasted with the ruthless violence that accompanies them. This works very well, with the tragedies and losses in the play remaining serious despite the comedy.

The cast is a myriad of great acting with a fantastically charismatic Buckingham (portrayed by Jo Stone-Fewings) and a desperate Queen Elizabeth (portrayed by Gina McKee) acting alongside Freeman.

This production of Richard III is fascinating, funny and dark with a chilling soundtrack and one that has countless positive attributes. The 70s aesthetic added another layer of twisted surrealism which I loved, and I find it pointless to delve too deep into what the original thoughts were behind the concept, even if they were connected with ‘The Winter of Discontent’ in the 70s or otherwise.

I found this piece of theatre incredibly unique and so well executed (no pun intended) that I would love to pop down to Trafalgar studios and see it for a third time!

Continues until Saturday 27 September. More information and book tickets here.

Written by Thoroughly Modern Mini, Eloise Kenny-Ryder.

The Pride, Trafalgar Studios

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After a series of musical theatre trips, it is perhaps unsurprising that I found The Pride to be so hard-hitting. Writer Alexi Kaye Campbell’s first play won a variety of awards in 2008. This Royal Court original graduated to the West End after rave reviews; it is a niche production that is perhaps better suited to the smaller boutique stage… but nonetheless makes a lasting impression at Trafalgar Studios.

On press night Trafalgar Square was buzzing, a petite red carpet flattered the egos of the celebrities in attendance and paparazzi flashed away. PR-wise this play could not arrive at a better time, poignantly outlining the injustices homosexuals have had to overcome, as Russia struggles with similar issues. There was certainly a feeling of protest in the air, cemented when the cast took their final curtain call with ‘To Russia With Love’ placards.

Sitting in the third row of the stalls I found the action on stage startlingly painful at times, and noticed myself audibly gasping… testament to the effective writing and powerful acting. The play alternates between 1958 and 2008, leaping between the two wildly different eras harshly addressing the changes in attitude to homosexuality. We are immediately thrown into the love triangle of ‘happily married’ Sylvia and Philip and their creative friend Oliver. It is intense from the very start, we soon learn that Philip is a deeply closeted gay man while Oliver is more comfortable with his orientation. It is a story of discovery and denial as the characters battle with their situations and complicated feelings.

Soutra Gilmour’s stark set allows the characters to always be the focus of our attention. A vintage glass wall is the only permanent feature, reflecting the ever changing sequences on stage. Hayley Atwell is stunning as Sylvia giving a piercing but nuanced performance, Al Weaver is natural and confident on stage, Harry Hadden-Paton is alarmingly sensitive and convincing and Mathew Horne is utterly hysterical, they make a great team and seem to genuinely enjoy interacting together.

If the topic doesn’t interest you particularly still go and see The Pride for the brilliant acting, wonderful direction and beautiful writing.

Continues until 9 November, book here.

www.thepridewestend.com