2022 – The Week in the Theater: That’s Not Me; False servant | stage

THis latest Royal Court production has already raised eyebrows. It was revealed that the playwright was telling the truth in the play’s title. this is not me Not from Dave Davidson who “worked in the security industry”; by a well-known playwright. Some thought it wrong to reveal this new writing house as a new sound. Some saw discord as a distraction from work. In fact, the shots are double-edged: they attract the audience to the theme of the play, but also narrow it down. this is not me Broader than the identity theft ad suggests.

There’s brilliance here (as you’d expect from a writer whose name is easy to find but I won’t reveal), although it’s partially obscured. At its best, Lucy Morrison’s production oscillates between many types of vision and manufacturing. Here are lies from the government and from lovers, crazy theories (get rid of HIV by making a dog ramp) and insight fears. Mental distress fuses with appropriate fear: “Just because it’s in your imagination doesn’t mean it’s not real.”

First, this is presented as a true crime movie. The character who plays the playwright begins the event (the real author eventually appears on stage). The impressive Naomi Dawson group features a structural flat in front of the rehearsal room where technicians practice.

The documentary claim is quickly filled with holes, but the play provides an impressive record of Lockdown life. It’s already easy to forget how important tin washing seemed to be and how not everyone was happy to rush out to celebrate (but not pay for) the NHS; A nurse winces when she hears the doorstep slap for the nurses.

As a doomed couple, Jake Davis and Sienna Kelly are extremely natural and meticulous, shrugging off between affection, daily anxiety and horrific alarm. Their romance—with the visions and mists of falling in love—adds a subtle layer of comedic mystery. Davis, a master of big stories, gives a great description of how he took him to Eaton as one of the “mutual friends” of Prince William and Harry and helped them see “normal” by tuning in to Capital FM and stepping into a mall with Mini Donuts. The exciting examination of current life is a real announcement. The less revealing the traditional and outright horror about surveillance. They shortened three quarters of the hour and discovered a masterpiece.

Just before going up wrong server (sitting on the sidewalk in front of the stage) I had a magnified conversation with Leslie Strawan who gave me my opinion of Paul Miller’s production. Leslie, Head of Movement Department at the Royal Welsh College of Music and Drama, noted this when discussing skillful finger dances in one review. father and killer Last month at the National Theater I forgot to mention motion director Lucy Collingford, who wrote as though these gestures might have been unintended.

Lizzie Watts and Will Brown in The False Servant. Photo: Richard the Other

Miller opened the 18th century drama Marivaux with a silent dance of the six actors weaving up and down. Dies beschwor eindeutig die Intrigen und Anspielungen der Handlung herauf, die sich um eine als männliche Dienerin verkleidete reiche Frau dreht, aber Leslies Bericht über die Verflechtung von Rhythmen in Versen und mus und Körhyur Look .

Indeed, on the small Orange Tree stage—which is elegantly topped with Simon Daw’s wrought-iron Art Nouveau canopy and dressed in 1920s style—much of the action (directed by Christina Fulcher) was cramped. Although Countess Phoebe Price’s shivering could be enjoyed up close, Will Brown’s admirably drooling villain nearly exploded from the stage; Dressed as a Chevalier girl, Lizzie Watts wears luxury and fits every word with a gesture.

The Shining Light has been translated by Martin Crimp, who recently penned the script for one of the best inventions of the past 20 years. Cyrano of Bergerac. Quick and clever, Crimp brings a contemporary joke to the table: When they are challenged to a duel, the chevalier-clad-clad admits his bravery and explains that “I see blood regularly.” Dialogue is the perfect encounter between past and present: a confluence that Miller himself, on the verge of resigning as Artistic Director of Orange Tree, did so much to honor.

Star rating (out of five)
this is not me
★★★
wrong server ★★★

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