It starts when a child called Joan sees something she shouldn't in the garden of the house where she is staying with her aunt Harper. View our Privacy Policy. There's her uncle and there are babies and blood. A Black woman (Eisa Davis), sitting in her kitchen, children’s drawings on the walls behind her, conducts a “memory exercise,” recalling the time in high school when she and a new friend tried drugs they found in Central Park.

On the night I watched several of the short plays that make up “Here We Are,” I was at my laptop in the living room while one roommate cooked dinner in the kitchen, just a few feet away, and my other roommate shuffled in and out, doing laundry. Joan, now married, is somehow on the run.

When he sees our planet come into view from his spacecraft’s window, he marvels at the sight. It needs direction of scalpel-like clarity and that's what Lyndsey Turner provides. Her point about the human destruction of the order of nature, about what happens when people turn a blind eye to man-made disaster, is so prescient and so far-reaching that Far Away, which premiered in 2000, feels less like a fantasy and more like a warning. In the short scenes that follow, we meet Joan as she performs a task that is the physical equivalent of that evasion of hard, chilling truth about the nature of evil: she makes enormous, fantastical, beautiful hats for beaten prisoners to wear in weekly parades. ( Log Out /  By the final scenes we are in a world at total war, the planet is consumed. Theatre; When evasions fail, she resorts to comfort, putting a good face on bad things.

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Sam Marlowe. Leaving a theatre disorientated with a lot to process may sound off-putting and more of a turn-off than a reason to see Far Away, but as my second experience of Churchill’s work after last year’s Glass. When the story takes an unfortunate turn, Davis wilts into the corner of the room. Doubt flickers across their faces even as they hope for the best and fail to oppose the wrong.

The direction from Lyndsey Turner who gives every character their own reaction in that moment; Lizzie Clachan’s design work; extraordinary hat designs; Christopher Shutt’s unsettling score and Peter Mumford’s blinding lighting design.

Though make no mistake that tonally, Lyndsey Turner masterfully captures the intrigue and intensity of Churchill, placing us on-edge in a way not too dissimilar from the play’s war-stricken characters. Lizzie Clachan's design of a red felt box allows for swift scene changes and for a shocking staging of the famous parade. You can't call it enjoyable, but it is impossible to ignore. 4. The elephants have gone over to the Dutch. I say this so you understand that when I tell you that “Here We Are” snagged my attention and held it, I’m not overstating things. Theater for One: Here We ArePerformances each Thursday evening through Oct. 29; theatreforone.com, Review: Four Intimate Screen Encounters (One From Far Away), Russell G. Jones is a space explorer determined to restart society by learning from past mistakes, in Nikkole Salter’s “Here We Are.”, Shyla Lefner discusses the history of voting in DeLanna Studi’s "Before America Was America. West End, Off-West End, fringe shows, exclusive members discount at top celeb hang out, post-show Q&As and meet and greets.

... Far Away is at the Donmar Warehouse, London, until 28 March. All the cast – which includes Aisling Loftus as adult Joan and Simon Manyonda as Todd, her husband – beautifully capture this moral myopia. Both plays are presented matter-of-factly, as though scenes from a conversation with friend. Peter Mumford's lighting and Christopher Schutt's sound both add to the horror, while remaining restrained. A young girl in a white dress walks on stage. In a very short snapshot, we see the exceptional talents of the creative team on parade. Kill. Her short dialogue with her aunt Harper (the ever-brilliant Jessica Hynes) is noticeably short and punchy, Hynes curiously stone-cold in her delivery. Learn how your comment data is processed.

1/9. I did not receive payment for this review and all opinions stated are honest and my own.

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Nottage’s writing feels relevant without being obvious; there’s no mention of pandemic or protests, but they’re pulsing between the lines.

Turner's attention to detail shows in the way that her feet and legs are dirty, covered in the mud and blood she has trampled through; it's a small thing, but a telling one. It transpires that the girl, named Joan, has ventured outside and now, like us, she has questions.

Mallards commit rape and are on the side of the elephants and the Koreans.

It begins with a sense of foreboding and ends in total dread. Disclaimer: I was invited to see Far Away for free in exchange for a review of the performance as a member of the press. Change ).

Johan Persson.

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In the meantime, Far Away, her visionary 2000 play about genocide and the war on terror, arrives at the Donmar Warehouse. ( Log Out / 

“Here it’ll be different,” he declares — loud, potty-mouthed and cynical, yet hopeful despite himself. It's a tiny play, but an immense one.

Far Away, Donmar Warehouse, review: ... (and why Far Away feels so pertinent) ... a poignant, gender-flipped reminder of far harsher times.

Last year, the National Theatre staged her Top Girls, and an upcoming production of A Number is coming soon to the Bridge Theatre.

Churchill’s 2000 play is, as with all her other work, wacky and abstract. Far Away is now playing at the Donmar Warehouse until 28 March. How to describe these one-on-ones? Far Away review – Jessica Hynes ... Far Away still feels like it was written some time in the future. This site uses Akismet to reduce spam. Or you could say each sweet morsel, delivered with charged intimacy in this time of isolation, is like a truffle: small, delicious, refined — and over in an instant. Only upon a second reading of the playtext was it made clear that Aisling Loftus’ humorous, novice hat designer is an older Joan, the series of scenes actually following her over several years.

Bluebeard. “What Are the Things I Need to Remember,” by the two-time Pulitzer Prize-winning playwright Lynn Nottage is similarly framed. Even in the first few minutes, a shock leaves us alert and invested, while flashing lights and crackling sound effects in between scene changes maintain a sense of urgency and pace for a play which is mostly dialogue and very little action. ( Log Out /  Change ), You are commenting using your Facebook account.

Johan Persson. The second grouping of these excellent “Here We Are” monologues includes a raucous report from outer space and a small gem from Lynn Nottage. Behind me, on the other side of our bay windows, the sounds of Brooklyn wafted in from the street: people chatting, cars going by, dogs barking. Caryl Churchill, Britain's best living playwright, is enjoying a spate of high-profile revivals of her classic work. In the same way, Jessica Hynes' harassed, evasive Harper is making a rug that shows a land of beauty and order; like the beautiful feathered and grass hat that grown-up Joan makes, it underlines the way that a longing for order enables people to gloss over darkness, to ignore what they don't want to see.

In “Before America Was America,” by DeLanna Studi, and directed by Tamilla Woodard, a Native American woman (played with radiant charm by Shyla Lefner) recalls how her grandmother taught her the importance of voting. Change ), You are commenting using your Twitter account.

Far Away at the Donmar Warehouse - in pictures. It is in its suggestiveness that Far Away is so powerful; it doesn't need to make its effects explicit.

But I like to think of each piece like a ship in a bottle, presenting an exquisite piece of architecture within the narrow confines of the form. My colleague Jesse Green, who favorably reviewed the first plays in the series (commissioned by Arts Brookfield), compared it to speed dating when you fall in love each time — agreed. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. Introducing Times Radio Listen to Times Radio for the latest well-informed debate, ... Far Away review — this Hell is terrifyingly close to home Donmar Warehouse, WC2.

Yet the director Tiffany Nichole Greene rarely keeps her stationary, urging Davis to fully occupy the kitchen. (Salter’s script, and Woodward’s direction, allow more space for improv than the other pieces, where audience responses are invited but not forced.). Imp.

The Earth is far behind us; our explorer tells us we robbed her of her beauty. It’s clear that there’s a conflict going on, but Harper doesn’t want Joan to know that. Chilling and thought-provoking.

It's already too much. Their conversation not only reflects the naivety and innocence of children in times of war, but demonstrates the gaslighting of a child which somehow feels all too uncomfortable to watch, despite every parent having to do it at some point – although not to excuse the occurrence of genocide, obviously. By signing up you are confirming you are 16 or over. 2/9.

Turner’s staging is an unnerving assault on the senses, Churchill’s script is mind-bending.

In less than an hour, Caryl Churchill's Far Away conjures a devastatingly bleak dystopia.

In her experimentation with Churchill’s ambiguity, Turner fails to cement key details.

The four that I watched realistically re-created the experience of a private, personal exchange — except for one surprising extraterrestrial outing — but all remained grounded in the politics of our current moment. Review by: Mark Shenton As ever, it is Caryl Churchill - theatre's greatest disruptor - that breaks that rule, with this tense, brooding and brilliantly incisive theatrical short that packs more into 40 minutes than most playwrights achieve in two or three hours.

3/9. The theme of war is made powerfully and hauntingly apparent in a scene involving a line-up of prisoners waiting to be executed, shuffling as music plays. It all manages to tap into the vivid, fantastical imagination of Churchill with overwhelming creativity in such a short running time.

at the Royal Court, I may finally be understanding her appeal. Churchill's language has a terrible simplicity and an implacable precision; every word, every half sentence paints a picture that would make you laugh if it didn't want to make you cry.

Far Away may sound bizarre or unpleasant, with the contemporary ideas beneath it needing some work to uncover, but once witnessed, it’s easier to understand that that is, essentially, Churchill’s genius – if, like me, you hadn’t realised that already. The charismatic Russell G. Jones is like a Black, expletive-spitting Captain Kirk — had Kirk ditched the Enterprise, loosened up and got woke.

Every living thing has taken sides. Pigs are slaughtered alongside musicians. There's a tarnished mirror that divides the scenes; Joan peers through it, at the horrors beyond, as if through a glass darkly.

Far Away may sound bizarre or unpleasant, with the contemporary ideas beneath it needing some work to uncover, but once witnessed, it’s easier to understand that that is, essentially, Churchill’s genius – if, like me, you hadn’t realised that already. Is Harper and Todd’s (Simon Manyonda) discussion on nature taking sides a commentary on our need to see things in opposing binaries, for example?



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