Tag Archives: Daisy Blower

Square Rounds – 3 Stars

Square

Square Rounds

Finborough Theatre 

Reviewed – 6th September 2018

★★★

“this play about war and the devastating impact of chemical warfare and weapons of mass destruction has never been more timely”

 

This year British theatre has been marking the centenary of the ending of World War One by staging a number of new and revisited productions that pay homage to those involved in the terrible events between 1914 and 1918. One such play, based on true events, is the final production in the Finborough Theatre’s THEGREATWAR100 series. Square Rounds written by Tony Harrison and last performed almost thirty years ago at the National Theatre, is an epic exploration of the devastating effects of technology in the build up to the Great War. The play runs concurrently with the celebration of the venue’s 150th birthday.

The all women play opens with a three screen projection, on an otherwise black and white set, stating ‘I will give my life for peace’ and oddly, against an overall theme of death and destruction, it is this positive statement that runs through the content of the evening.

We are initially taken back to England 1915. With many men away fighting at the Front, six women in a munitions factory decide to play some of the inventors of the then modern technology warfare. We are introduced to Sweeper Mawes and the Munitionettes who in turn represent six very influential people who had both a positive and negative influence during that era.

Amongst those whose story we learn more of is American inventor Hudson Maxim (Amy Marchant) who is concerned for his country and the frightening technological advances employed by America’s new European enemies. But he is also jealous of his brother Sir Hiram Maxim (Letty Thomas) who invented the horrifically destructive Maxim machine gun. 

Fritz Haber (Philippa Quinn) was a German Jewish chemist whose invention is still the basis used for producing nitrogen fertilisers of which approximately half of the world’s food is produced using. Sadly he is also considered the ‘father of chemical warfare’ for his pioneering work producing poisonous gases during WW1. We see an interesting interaction between him and his chemist wife Clara Immerwahr (Gracy Goldman) unhappy with her husband’s venture into developing a deadly gas.

Designer Daisy Blower has created a basic, though effective set, that is complimented by thoughtful sound design (Dinah Mullen) and sympathetic lighting (Arnim Friess). Direction from Jimmy Walters keeps the action moving well though on some occasions the rhyming verse was a little too fast to take in the necessary information.

With a mix of tragedy and parody covering themes of race and ethics, this play about war and the devastating impact of chemical warfare and weapons of mass destruction has never been more timely. Sadly some one hundred years later we still hear and see horrific stories of the gassing of innocent people.

Whilst I found the first half slightly difficult to follow because of the detailed historic and chemical references, the second half became much clearer and more enjoyable to watch. An interesting show and for those with a keen interest in World War One history, this is likely to be unmissable.

 

Reviewed by Steve Sparrow

Photography by  S R Taylor

 


SQUARE ROUNDS

Finborough Theatre until 29th September

 

Related
Recently reviewed at this venue
Finishing the Picture | ★★★★ | June 2018
But it Still Goes on | ★★★★ | July 2018
Homos, or Everyone in America | ★★★★ | August 2018

 

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Checkpoint Chana – 4 Stars

Chana

Checkpoint Chana

Finborough Theatre

Reviewed – 5th March 2018

★★★★

“Somerville’s command of the stage is exemplary and brings an added intensity to an already complex terrain”

 

Stepping into the intimate and distinguished Finborough Theatre, we are immediately transported to the milieu of poet Bev Hemmings, under public scrutiny for an apparently anti-Semitic comparison in a recent poem. Jeff Page’s ‘Checkpoint Chana’ not only questions the grey area between pro-Palestinian criticism of Israel and anti-Semitism but also manages to emphasise the creative questions of self-expression and individual interpretation within sensitive boundaries.

Before the play begins, Daisy Blower’s artfully designed room, scattered with carefully selected props and evocative seventies music do more than simply set the scene; the details cleverly hint at the poet’s past and paint a picture of the seemingly carefree, bohemian life she leads. The lighting (Jamie Platt), subtly used throughout the play to intensify but not intrude, adds a warm, comfortable glow.

Out of this evolves the agony of being misunderstood and fear of losing everything, with a brilliant performance by Geraldine Somerville as Bev, whose emotions sway from disbelief to anger, frustration and resignation, deepened by the guilty grief over her dying father. Her command of the stage is exemplary and brings an added intensity to an already complex terrain. Ulrika Krishnamurti (Tamsin) portrays Bev’s PA who has the difficult job of persuading her to apologise as well as managing her erratic behaviour. However, her youth and the strength of her personality show as nervous earnestness which consequently depicts a detached working relationship, lacking plausible closeness, rather than a strong, familiar bond built up over the years. David, played by Matt Mella, the journalist prepared to help with the recovery of Bev’s reputation, surprises us with his twists of character and a moving account of painful memories. Nathaniel Wade is excellent as Michael, establishing an identity from the moment he appears, and building a rapport with the poet from very little interaction.

The script is an interesting comment on tiptoeing around political correctness by doing just that. With a pointedly politically-correct cast it lays down the various opinions as a debate with no conclusion, as opposed to a standpoint. Apart from a few unneeded jokes the drama works well as layers of complication thicken the argument. Director, Manuel Bau, concentrates on the trauma Bev is going through, leaving the changes of scene as subtle as possible and showing how one wrong step could turn her world about.

Thoughtful writing, a beautifully detailed set and some powerful performances make this a compelling production intellectually, aesthetically and emotionally.

 

Reviewed by Joanna Hetherington 

Photography by Samuel Kirkman

 


Checkpoint Chana

Finborough Theatre until 20th March

 

 

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