'The Crucible' at Bristol Old Vic

Cast photo by Geraint Lewis

Arthur Miller’s famous 1953 play The Crucible made its British debut at Bristol Old Vic in 1954, so it is only fitting that it returns to this famous stage to mark 100 years since Miller’s birth (and 10 years since his death).

This is my second viewing of The Crucible, having previously seen a very dry production at the Nottingham Theatre Royal in the late 1990s. I’d be lying if I said I had enjoyed that one back then. But the opportunity to see this production directed by Tom Morris - the theatre’s executive director - was too good to pass by.

Morris wisely chose to present a ‘straight’ production of The Crucible, with none of the puppets or other distractions some of his other shows have become known for. When the script and cast are as tightly knit as they are for this performance of The Crucible at Bristol Old Vic, there is really no need for anything extra.

Centred around the moral backbones of John (Dean Lennox Kelly) and Elizabeth Proctor (Neve McIntosh), the entire and expansive cast is faultless. Particular praise must go to Rona Morison whose performance as teenage troublemaker Abigail Williams is outstanding - and whose narrative threads the whole show together into a disaster of literally biblical proportions for the town and the Proctors.

We open on Rev Parris (Jude Akuwudike) and his niece Abigail fretting about Parris’ daughter Betty (Zoe Castle) who has apparently been struck dumb and motionless after a night of revelry in the woods with Abigail and some of the town’s other young girls. Rumours quickly spread that the girls were engaged in witchcraft and this escalates to suggestions the girls were conjuring the spirits of dead babies, drinking blood, dancing naked and flying through the air like spectres. The town is divided between those who are quick to gleefully believe such scandal and those who think the girls are just playing for attention. But Abigail’s devious past leads her to guide the girls into truly terrible behaviour… while the illogical actions of the religious zealots and Governor Danforth (Jeffrey Kissoon) is spine-chillingly horrific.

Famously inspired by the metaphorical Communist witch hunts that informed Miller’s experience of life in America in the early 1950s, he uses the actual Salem witch trials of 1692 as an allegory for the horror of publicly - and falsely - accusing innocent people of all manner of evils with not a care for evidence, proof or reason. As has been noted by many, the message of The Crucible can be applied to any era you care to mention and this is doubtless part of the play’s resounding power.

For a contemporary spin, just consider the current trend for social media shaming. Where interfering people illicitly take photos of strangers doing perceived wrong acts, and post them online for others to share, name, shame and compulsively vilify. At times this has even resulted in people losing jobs and relationships with no course of action to defend themselves… and even if they did, nobody would listen because it is much more ‘fun’ to believe the salacious rumours than to listen to facts and reason.

The haunting refrain of “There’s a beautiful home of the soul … ‘Tis a land where we’ll never grow old” through this production of The Crucible is heartbreaking in its truth and simplicity. There’s a reason why Miller’s play has survived for so long and with its timeless message it will surely survive for generations to come.

The Crucible is performed at Bristol Old Vic until 7 November. Click here for more information and to book tickets.

"The Amazing Equal Pay Show", 1974

From out of the second wave Women’s Liberation movement in the 1970s and 1980s there came a powerful surge of feminist theatre and film groups. One such collective was the London Women’s Theatre Group, formed in 1972 when Midge MacKenzie placed an advert in a newspaper looking for women to join her in forming their own filmmaking collective. In a pre-punk spirit, they forged on regardless of whether or not they knew how and taught themselves the required skills as they went along.

The sixth film to come out of the London Women’s Theatre Group (LWTG) was The Amazing Equal Pay Show in 1974, which worked with the Women’s Street Theatre Group (WSTG) to turn some of their feminist street performance into cinematic film. The result is a chaotic, anarchic and “political burlesque” (according to the BFI) about women’s fight to be paid the same as men for doing the same work. Watching it in 2015, I am again reminded of the punk DIY spirit, even though the main UK punk heyday was still around the corner waiting to explode in 1976.

The LWTG filmmaking styles foreshadow the work of punk directors such as Derek Jarman and Julien Temple, particularly in the later’s 1980 film about The Sex Pistols: The Great Rock’n’Roll Swindle. Aside from both films being superficially concerned with money, they are both films led by a duo of chaos-creating grotesques.

In The Amazing Equal Pay Show, the Machiavellian and upside-down moustachioed male villain (played by a woman, of course) parades around as a top-hatted circus leader who manipulates the women into doing what he wishes in the interests of boosting his capitalist purse. And at his side is the grody Poodle - a dollybird puppet trussed up in stockings and suspenders, pink wig and with a mask covering her true features; a woman who is routinely reminded to dance and distract the masses from their misery. The age old trope of man pitting women against women and hoping for a fight.

Meanwhile The Great Rock’n’Roll Swindle has the Cockney pantomime villain of guitarist Steve Jones lording it around the UK in a Rolls Royce as he hunts down the unscrupulous Malcolm McLaren who is delivering his step-by-step guide to generating cash from chaos while on the run from the establishment… with dwarf Helen Wellington-Lloyd and punk matriarch Jordan bringing up the rear in bondage wear.

The overriding message of both films is "no future". For the Sex Pistols there was no future for the working-class youth, and for the London Women’s Theatre Group and Women’s Street Theatre Group there was no future in a capitalist society that was determined to keep women in the kitchen, dependent on men for every single penny. Neither film ends hopefully, but both show the underdogs kicking against the system and fighting for a voice.

The Amazing Equal Pay Show is clearly a consciousness-raising tool, drawing women’s attention to the gross financial inequalities they endured at the hands of men, but doing so in a carnival manner incorporating circus ringleaders, song, pantomime, drama and horror. With no clear narrative, and the cast swapping characters and genders, it’s not surprising to learn filmmaker Midge MacKenzie had spent time in the 1960s with the likes of Francois Truffaut and Jean Luc Goddard. 

What stands throughout The Amazing Equal Pay Show is the LWTG’s burning desire to speak on behalf of all women and to give them the voice that patriarchy and capitalism denied them.

In an era where women couldn’t buy anything expensive without finding a man to stand as guarantor for them, an era with no social media and many homes still not even having a telephone, a voice was one of the many things that a lot of women were denied.

Postscript:

In 1975, Midge Mackenzie would go on to devise, develop, co-produce (and author the accompanying book to) the BBC’s groundbreaking TV drama Shoulder To Shoulder about the suffragette movement, which remains the only televised drama of this important time. While director Linda Dove would win awards for her feminist film-making in subsequent years.

This film event was part of the Bristol Radical Film Festival 2015.

'Orpheus' at Bristol Old Vic

Photographer: John Hunter

Never has a production about death and loss been so enjoyably silly and uplifting. It is safe to say that I enjoyed every last second of the Little Bulb Theatre’s production of Orpheus - from the exquisitely designed poster to the joyously beautiful music.

Billed as the most haunting love story ever told, Orpheus is based on the ancient Greek myth of the talented musician and poet who attempts to convince Hades, the king of the underworld, to return to Orpheus his beloved wife Eurydice, who died following a snake bite.

In essence, the Little Bulb Theatre has conveyed the whole story to us within the first quarter of an hour via an enchanting musical interpretation of the poem performed by the supremely talented Triplettes De L’Antique. But really, that’s by the by. Because audiences are urged to sit back and let the two hours that follow wash over you like a celebratory tide of ridiculously silly fun.

For this production of Orpheus, the company creates a silent film effect with titles projected onto the back screen to replace any need for spoken words during the whole show. The result is very effective, meaning the cast relies strong on music, song and mime. And since the audience was already told the story at the top of the show, we simply sit back and watch it unfold before our eyes.

We’re transported to 1930s Paris where Django Reinhardt is performing as Orpheus in a play, with Yvette Pepin as his Eurydice. But don’t worry if you think the play-within-a-play idea is confusing, it’s not. Whether as Django or as Orpheus, actor Dominic Conway is quietly serene in his stillness as the magical but lovelorn musician. And whether we see her as Yvette or Eurydice, Eugenie Pastor holds the whole show together with her bubbling enthusiasm and joy.

But more than anything, the supporting talents of the Triplettes (Clare Beresford, Miriam Gould and Shamira Turner), the Stage Hands (Tom Penn and Alexander Scott) and the pianist (Charlie Penn) transport the production to a fantastic new level. The woodland scene (pictured top) of the cast appearing as rabbits, bears and donkeys seduced by Orpheus’ playing is an absolute treat, but the vocal talents of all six is truly impressive.

I truly enjoyed every moment of this show. It combined the simple measures of a classic story with fabulous music and a strongly talented cast. I can’t urge you enough to go and see this for yourself.

Orpheus runs at Bristol Old Vic’s main theatre until Saturday 26 September. Click here for more information and to buy tickets.

'Significance' by Jo Mazelis

With books such as Gillian Flynn’s Gone Girl and Paula Hawkins’ The Girl On The Train having breathed new enthusiasm into the thriller market, Jo Mazelis’ equally infectious novel Significance is hopefully in a good position to benefit from this buoyant end of the bookshelf. And in many ways I’d say that Jo’s book is far superior to the other two. 

With her background in poetry and short stories, Jo has produced what is easily the most literate of the three thrillers I’ve mentioned. With imaginative metaphors, picturesque turns of phrase and a joyful use of vocabulary, Significance is a much more indulgent read than either Gone Girl or The Girl On The Train – both of which, while having captivating plots, are much more light weight books.

Although that’s not to suggest that Jo’s style is overbearing or alienating – I found Significance just as attention grabbing and sailed through the whole book in three days. Including standing at the stove some evenings, stirring pots with one hand and holding her book in the other hand, unable to tear myself away from the plot.

And the plot of Significance is cleverly slight considering the depth of detail and wealth of characters. All of whom play integral parts in a sad event of seemingly no significance. And that’s the beauty of the book.

Our protagonist Lucy vanishes from her London life and reinvents herself in a small French town hoping to escape her boring old life and start again. But a simple bad decision on an otherwise unremarkable evening out soon puts a stop to that. And the rest of the book sees the many characters she has interacted with, however briefly, becoming woven into her story and implicated in her disappearance, cascading into a catastrophic effect.

Jo’s skill at bringing all of these seemingly tiny elements together and tying up every loose end is astonishing, and while reading the book I was going cross-eyed trying to imagine how an author would even begin to map out such a novel. To achieve a multi-character thriller that swaps from narrator to narrator yet remains true to every nuance is extremely impressive – well, it certainly is to my mind!

I’m sure it’s annoying for Jo to have her book compared to those like Gone Girl and The Girl On The Train, and it’s maybe lazy of me to make such a comparison. But I do it as someone who doesn’t often read thrillers but read the first two to see what the fuss was all about, and was drawn to Jo’s after it was suggested to me by someone who works at her publisher, Seren. Having now read Significance, I can only agree with him that her book deserves a wider audience of the kind the first two have achieved. So if you enjoyed either or both of those, please do pick up Significance as I know you will love it as much as I did.