Review: Children of the Sun, National Theatre, 18th April 2013

Most of us have been there, stuck at a dire party surrounded by people who should be interesting, yet are sufficiently self-absorbed that they’ve failed to realise they’re about as enticing as a flaky scalp. The trivial, at times banal chatter of the first half of ‘Children of the Sun’ triggered similar, best forgotten memories, and, in all honesty, the first half isn’t the most exciting, yet the reasons for this gain clarity after you leave. And who doesn’t like a grower?

Though written in 1905, Gorky’s plot remains strikingly relevant in an age similarly punctuated by rapid technological advancements and growing social tension, though admittedly, translator Andrew Upton’s preference for modern vernacular has the tendency to make one cringe, I nearly walked out when Protasov started reminiscing about his time at “uni”.

There’s a strong social message of the potentially destructive effects of self-absorption and ignorance. A scientist conducting non-specific yet financially wasteful experiments, fashionable clothes, food fights and works of art all constitute as worrying reminders of the tendency to value material possessions and base satisfaction over compassion and empathy. The brief glimpses of grubby, sore-ridden members of the impoverished townsfolk who occasionally burst into Protasov’s front room serve as a heady reminder that pretending that problems don’t exist is the route to destruction rather than resolution.  And, think what you will of the National’s latest offering, there’s no arguing that the ending’s pretty banging. 4/5

Review: ‘Can We Talk About This?’, DV8, National Theatre, 9th March 2012

Punching in with Martin Amis’ weighty question, ‘do you feel morally superior to the Taliban?’ is DV8’s latest production, ‘Can We Talk About This?’. With only around 10-20% of the audience raising their hands in response, the titular question is thrust into debate from the outset in a production that uses real voices and factual evidence to confront the issues of censorship, freedom of speech and oppression within extremist Islam.

A sense of danger is played on throughout, yet this is frustratingly hampered by the choice of the 900 seat Lyttleton. The shock factor of the (planted) audience member who hurls fecal matter at the stage condemning the performance as ‘Islamophobic shit’ is a device that may have audiences releasing their bowels in the Cottesloe, yet it is commuted to the league of minor disturbance in this bigger venue.

Undoubtedly one of the most memorable moments of the performance is Joy Constantinides’ speech, delivered whilst she sits on her co-performer who transports her in all manner of angles using his body, allthewhile never unsettling her cup of tea, fantastic stuff. Yet, asked to recall what Constantinides’ was talking about, I draw a blank, (my research reveals it was Shirley Williams’ parliamentary speech on forced marriages and honour killings, pretty important stuff). Whilst performances are strong, it feels as though at times the physicality eclipses the message. With many audience members leaving the theatre ‘oohing’ at the physical prowess of the performers rather than musing on the subject matter, it feels as though this production is a classic case of style over substance.

Political agenda aside, as a piece of theatre ‘Can We Talk About this’ was dynamic and entertaining, a visually stimulating and tightly choreographed performance, and irrespective of any nitpicking one can provide on the end product, it is encouraging to see companies confronting issues which spark controversy and debate. The coherency of the message is blurred through the medium, but credit is due for tackling subject matter that others afraid to ‘talk about’. 3/5.