Tag Archives: Yarit Dor

Love and Other Acts of Violence


Donmar Warehouse

Love and Other Acts of Violence

Donmar Warehouse

Reviewed – 15th October 2021



“it’s essential to remind ourselves that theatre isn’t just about feel good musicals and revivals of the classics”


Cordelia Lynn’s new play, Love and Other Acts of Violence, is an unsettling look into how intimate relationships can be haunted by the past. In Lynn’s hands, it’s a clever premise. It’s multi-layered, complex—and yet, predictable in its unraveling. It looks back into the past and—just as unsettling—suggests a bleak future which, at this time of writing, doesn’t seem all that impossible. It is a timely reminder how quickly educated, civilized communities can be destroyed in a moment, if malign forces converge to set them against one another and tear them apart. Even more heartbreaking are the fates of the people caught in the middle. People just trying to live their own lives, to be true to their own cultural values, and not get drawn into fights that mean nothing to them.

It helps, then, to see the contemporary relationship between a Jewish physicist/Her and a poet of Polish descent/Him in this play as—broadly speaking—a series of echoes from the past that destroyed Her’s family in 1918 in what had just become Poland. We don’t learn the details of this past tragedy until the lengthy epilogue of the play, but Lynn sets about creating the inevitable revelations from the very first encounter between this ill-matched pair. He’s the idealistic firebrand at a party, invading her space as he rants passionately about poorly paid workers at the university where she is a graduate student. He notes with disdain the nice flat that he has snooped around during the party, and makes some unflattering comments about the likely owner. It turns out that it belongs to Her, the woman he is trying so hard to impress. Luckily for Him, and not so luckily for Her, she’s also kind, sensitive and intelligent, willing to forgive. This dynamic sets up the encounters that follow, becoming more intense, and violent, as the pair become lovers, then partners. The audience can only wonder why she doesn’t walk away. It’s painful to watch. And that is the point.

If we expect Lynn to stop there, however, Love and Other Acts of Violence has a couple more surprises for us. The first is a trip to a harrowingly imagined future, as the couple’s relationship deteriorates. At every point, the relationship echoes the slow, but insidious erosion of civil rights in the world around them, and hints of civil war. And then, in a magnificent moment, a coup de théâtre indeed, Basia Bińkowska’s bleak set converts from a bare space in the twenty-first century British Isles, to a meticulously detailed room in twentieth century L’viv (also Lwów, or Lemberg). In the epilogue, we see how events playing out during a struggle between Poles and Ukrainians for a small piece of contested territory sets the stage for the relationship we have just witnessed. Powerful, and tragic, stuff.

The newly refurbished Donmar Warehouse is a good place for a play like this. The austere brickwork and stark lines of the auditorium focus our attention squarely where it should be—on the stage, and the actors. Tom Mothersdale (as Him/Man) has the thankless task of playing the unsympathetic protagonist, and it’s to his credit that he goes for it so unstintingly. It’s easy to sympathize with Abigail Weinstock’s Her, but there’s not much for her to do except to react to His goading in the first part of Love and Other Acts of Violence. Baba (the role she takes on in the epilogue) is in some ways, a more interesting, nuanced role, and Weinstock makes the most of the opportunity. Richard Katz as Tatte is the charming, yet dolefully prescient father in the epilogue, who explains to his daughter why they have not taken the opportunity to escape to America. Director Elayce Ismail’s assured direction holds the play together, and sets the stage for each feature of this production to shine. I’ve mentioned the brilliant set design, but the sound (Richard Hammarton) and lighting (Joshua Pharo) are also noteworthy. And although there is no dramaturgy credit, the programme notes by Professor Michael Berkowitz are an absolutely essential part of understanding how this complex play fits together.

While a play like Love and Other Acts of Violence might not be everyone’s idea of how to spend a Friday night in the theatre, it’s important to remind ourselves that theatre isn’t just about feel good musicals and revivals of the classics. There are times when playwrights have to be the Cassandras of their generation, and fortunately for us, Cordelia Lynn knows how to rise to the challenge. I urge you to see this show.


Reviewed by Dominica Plummer

Photography by Helen Murray


Love and Other Acts of Violence

Donmar Warehouse until 27th November


Previously reviewed this year by Dominica:
Public Domain | ★★★★ | Online | January 2021
The Sorcerer’s Apprentice | ★★★ | Online | February 2021
Adventurous | ★★½ | Online | March 2021
Overflow | ★★★★★ | Sadler’s Wells Theatre | May 2021
Stags | ★★★★ | Network Theatre | May 2021
The Sorrows of Satan | ★★★ | Online | May 2021
Doctor Who Time Fracture | ★★★★ | Unit HQ | June 2021
In My Own Footsteps | ★★★★★ | Book Review | June 2021
L’Egisto | ★★★ | Cockpit Theatre | June 2021
Luck be a Lady | ★★★ | White Bear Theatre | June 2021
Wild Card | ★★★★ | Sadler’s Wells Theatre | June 2021
Starting Here, Starting Now | ★★★★★ | Waterloo East Theatre | July 2021
The Game Of Love And Chance | ★★★★ | Arcola Theatre | July 2021
The Ladybird Heard | ★★★★ | Palace Theatre | July 2021
Rune | ★★★ | Round Chapel | August 2021
Roots | ★★★★★ | Wilton’s Music Hall | October 2021
The Witchfinder’s Sister | ★★★ | Queen’s Theatre Hornchurch | October 2021
Rice | ★★★★ | Orange Tree Theatre | October 2021


Click here to see our most recent reviews


A Midsummer Night’s Dream

Arundel and Ladbroke Gardens

A Midsummer Nights Dream

A Midsummer Night’s Dream

Arundel and Ladbroke Gardens

Reviewed – 25th June 2019



“this setting could have been made for A Midsummer Night’s Dream, with Tatty Hennessy born to direct”


Stepping into a normally locked, private garden a few long days after the Summer Solstice is the perfect entry to Shakespeare’s fantastic interplay of human passions and fairy spells. Arundel and Ladbroke Gardens supplies a cluster of trees and shrubs, to be adorned with bunting and soft lighting and it’s not long before this Shakespeare in the Squares production transports you sufficiently to block out the Notting Hill noise beyond the hedge.

This is Tatty Hennessy’s third production with the company, her last being a 1970s Music Festival setting for As you Like It, an interpretation that played better than most because it followed the cultural, fashion and musical spirit of the work rather than indulging a historical theory. Indeed, the idea of a 1920s Midsummer Night’s Dream initially suggests some convoluted connection being made, between two eras of post-war fallout. Thankfully, it is again the decade’s cultural resonances that are reflected, with costume (Emma Lindsey) and music (Richard Baker) bringing out the play’s themes of attraction, love, magic and bacchanalia with effortless aptness. The aesthetics of burlesque and 1920s Music Hall are a fine fit for the lusts and jealousies of Hermia, Lysander, Demetrius and Helena, just as suited to the Mechanicals’ ham-fisted style of entertainment and afford the fairy characters a louche, decadent manner whether carelessly casting spells or settling back with popcorn to enjoy the emotional carnage they’ve caused.

The casting for this troupe of players, most of whom must double up as musicians and singers as well as other characters, is a triumph of talent logistics. Paul Giddings trisects Theseus, Oberon and Quince, bringing a quizzical authority that plays differently but superbly to each. Gemma Barnett’s combination of delicacy and bravery works as well to fair Hermia as to the Fairy as to Snug’s hilariously pathetic lion. Yet the versatility comes with no loss of individual stamp as Hannah Sinclair Robinson elevates Helena to a point where she competes for notional title of Comedy Lead with James Tobin’s left eyebrow, which cocks winningly as it brings some drag queen insouciance to Puck.

Ensemble playing is hearty and energetic with the cast’s movement (Yarit Dor) reaching into and around the audience, enhanced by the cast’s ad libs and some witty design details (Emily Stuart with Eleanor Tipler). If sometimes laughs are pursued too ardently it’s an understandable side-effect of the show’s mission to help even a child in the back row enjoy Shakespeare.

Finding new ways to access Shakespeare never grows old and, aside from the Portaloos and sirens, this setting could have been made for A Midsummer Night’s Dream, with Tatty Hennessy born to direct.


Reviewed by Dominic Gettins

Photography by James Miller


A Midsummer Night’s Dream

Various London Squares and Gardens until 11th July


Last ten shows covered by this reviewer:
Fool Britannia | ★★★ | The Vaults | January 2019
Cheating Death | ★★ | Cockpit Theatre | February 2019
The South Afreakins | ★★★★★ | The Space | February 2019
Tobacco Road | ★★★★ | Network Theatre | February 2019
How Eva Von Schnippisch Won WWII | ★★★★ | The Vaults | March 2019
Butterfly Powder: A Very Modern Play | ★★★★ | Rosemary Branch Theatre | April 2019
The Fatal Eggs | ★★★★★ | Barons Court Theatre | April 2019
Tony’s Last Tape | ★★★★ | Omnibus Theatre | April 2019
Fuck You Pay Me | ★★★★ | The Bunker | May 2019
Much Ado About Not(h)Ing | ★★★ | Cockpit Theatre | June 2019


Click here to see more of our latest reviews on thespyinthestalls.com