2022 – The Week in the Theater: The Father and the Killer; Famous Virgins Are Naturally Blonde | stage

WIt was a touching moment for the National. Indhu Rubasingham’s wonderful production of father and killer He brings to the stage an important historical piece, a compelling personal story and a vibrant and distinctive theatrical language.

Anupama Chandrasekhar, author of Explosives When the crows come to visitHe wrote the story of Nathuram Godse, the man who killed Gandhi. Or rather, a version of the story: This is a first-person story that comes with bias and flourishes. The mighty Sibham Sarraf – moving with easy fluidity, with amazing fluency – speaks to the masses like a loudmouth: caresses, teases, sets out to deceive. His magic conflicts with increasingly toxic beliefs as he tries to convince us and himself that he has the right to kill.

Ghodsi was raised as a girl in the early years of his life, and his Brahman parents believed that their male children were doomed. As a young man, he was believed to have prophetic powers, and was consulted as a regent. He worked as a tailor. He fell under the influence of Hindu nationalist Vinayak Savarkar, who was portrayed by Sagar Arya as a diamond figure whose voice reverberates like the chatter of doom.

It is extraordinary how fast and how large the effect can be. The teller is direct, private, personal, but appears before a vast panorama; A sense of diversity is invoked without resorting to a pantomime audience. Raja Shakiri (design and fashion), Alexander Kaplin, Siddharta Khosla, David Shropsol (sound) and Oliver Fenwick (lighting) work together to create an attractive and captivating design. Here is the shock of the oppressed. The board is smooth: grayish brown and sandy brown. An evocative picture hangs over the undulating curve of the stage: large strands of string start on one side; On the other side is a woven piece of cloth. In the middle is a semi-finished substance – does it melt or does it appear?

a low drum and a distant hum rising and falling; The action step is soft, and becomes even more egregious when it culminates in violence. Gestures dance all the time, giving each event a distinct look and movement. I have never seen hands move with such an expression: twisting, pushing, opening and closing like shells in water, sometimes emphasizing, sometimes arguing in the speaker’s words. Was there a special choreographer?

Other slightly explored biographies appear at Katie Elin-Salts Celebrated maidens. In 1778, teachers and students Eleanor Butler and Sarah Ponsonby flee their extended families and Irish community to find a home together in Langollen. They sought solitude in order to pursue their passion for one another and build an ideal life for themselves. They read with fondness, planted gardens extensively and cultivated a special fervor: for the aeolian harp (the sounds of the other world flow through the evening), snake charmers and underground passages. Her “Fairy Palace of the Vale” soon became less than secluded, as the Dukes of Wellington Wordsworth and Josiah Wedgwood visited her; They were called out and ridiculed and they stayed together until death.

Victoria John and Heather Ajibong in Famous Virgins: “Reveals a Hidden History.” Photo: David Owen

In her wonderful 1971 book, langolin womenElizabeth Mafur explored this life as “romantic friendship”. Eileen Salt’s playing is more heartfelt, emphasizing more sexual longing and the importance of acknowledging the once-forbidden exchange. Notably directed by Ellery B. Jones, with Victoria John as poignant Eleanor (glasses, jacket, self-aware) and Heather Ajibong as sharp Sarah, the play reveals another hidden story: The Handmaid’s Story. Emma Palante delivers a adorable speech that raises a tender eyebrow at the couple’s sensibilities: “Who carried their bags?”

Holly Pigott’s design embodies the expansion of women’s lives as they create their own world. The dark, narrow and unshakable place turns into a paradise full of roses and greenery. All this in a temporary space that is vaulted like a tent while the main Clwyd building is being redeveloped. The ladies’ cottage is about 20 miles from Mold: its story sounds local. As is often the case: the more specific and local the resonance.

Courtney Bowman (Elle), center, and the gang in Legally Blonde. Photo: Pamela Wraith

Who would have thought that the quiet Regent’s Park Open Air Theater in Sylvan would become a place of change? Who would have thought it would be full of pink squeaks? Lucy Moss, co-founder of sixMake it bend and the new snap does it naturally blonde (Music and lyrics by Lawrence O’Keefe and Neil Benjamin, Heather Hatch book). Her delightful play fills the stage – liberation – not with her slender white limbs, but with round, brown, black, gay and transgender bodies.

What is the best offer to make a traditional chorus font look dull and unchanging? After all, this is the musical in which the golden-haired heroine appears mocking “Is this the face of Harvard Law School?” She triumphantly proves that what is considered stupidity in a woman conforms to legal acumen as in a boy’s routine acceptance of stupidity (throwing bread, anyone?).

Musically, this is monotonous, with no tone that slips into a small purse, but the words and dialogue are bubbly and witty: a girl spins around and smells like a ‘Subtext’; Our heroine makes the legal argument that jerking is “sperm surrender”. In the role best known for Reese Witherspoon in the 2001 film, Courtney Bowman hit the numbers and made a great comedic promise for her performance as Anne Boleyn. six. Lauren Drew delivers an amazing vocal performance and Nadine Higgin has an amazing voice. Ellen Kane’s choreography turns movement into non-stop campers, as swaying humans play decisive little dogs. Everything is bright and pink as chewing gum.

Star rating (out of five)
father and killer ★★★★★
Celebrated maidens ★★★★
naturally blonde ★★★★