Author Archives: Drneevil
We have our next few months choices in!
LBC 3 Reads (#LBC3Reads)
- NOTE – moved to August – venue TBA
- High Rising – Angela Thirkell
LBC Horsforth (#LBCHorsforth)
- 9 August – The Good Immigrant – Nikesh Shukla
- 13 September – The Lemon Table – Julian Barnes
LBC White Swan (#LBCWSwan)
- 13 August – The last condo board of the Apocalypse – Nina Post
- 10 September – Pirate Cinema – Cory Doctorow
A quick update on what our next few reads shall be! As always, if you spot any corrections, don’t hesitate to let me know!
- 8th – Horsforth – God help the child – Toni Morrison
- 12th – White Swan – The Three Body Problem – Cixin Liu
- 12th – Horsforth – TBA
- 9th – White Swan – Hagseed by Margaret Atwood (if available) or The Left Hand of Darkness by Ursula L Guin
- 22nd – LBC3 Reads – Whit by Iain Banks
Just wanted to let anyone heading down south know that the superb production of The Kite Runner is currently running in the West End!
Visit the Wyndham’s Theatre website HERE to get all the details on how to catch this very impressive production.
‘For you…a thousand times over…’
Afghanistan, 1975: Twelve-year-old Amir is desperate to win the local kite-fighting tournament and his loyal friend Hassan promises to help him. But neither of the boys can foresee what will happen to Hassan that afternoon, an event that is to shatter their lives. After the Russians invade and the family is forced to flee to America, Amir realises that one day he must return to Afghanistan under Taliban rule to find the one thing that his new world cannot grant him: redemption.
This should be an impossible book to adapt. Afghanistan is a changing place in 1975. Religion and politics are evolving the landscape further. It is in this background that two boys attempt to navigate their path, which happens to be an emerging family tragedy. The book covers a span of 30 years. That Matthew Spangler succeeds and succeeds beautifully in distilling the essence of this tale into a mere two acts – well it ought to be an impossible feat.
On a sparse stage, populated only by a musicians mat; a flowing backdrop and a carpet with a thousand interpretations; an intensely emotional story unfolds. The lack of clutter, heck, the near disdain of props merely served to emphasis the interpersonal focus of this play.
The hero of this production has to be Ben Turner. Aside from being the only constant presence on the stage; he manages to pull off a difficult task with aplomb. At no point is he ever in denial that he is portraying Amir as a deeply flawed person – indeed for much of the play the character appears to be cowardly, unlikeable with few redeeming features. He flies a kite, embodying enthusiastically a 12 year old and brings equal weight to his reflection as an older narrator. However, as time passes, Ben makes the audience aware of something that Amir never quite realises. He is as much a victim (albeit to a far lesser degree) of Assef’s violence as Hassan and certainly of his father’s coldness and – as becomes apparent – lies.
In a stellar cast of consummate professionals – it is impossible to understate the menace that Nicholas Karimi brings to the bully Assef. From the second he appears, spitting out insults and swaggering a la John Wayne; he dominates and intimidates. His interactions with Andrei Costin (in the dual role of Hassan and Sohrah) in particular are just harrowing.
One of the most lovely and touching aspects of a play that confirms, defies and compounds expectations (frequently in the same passage of dialogue!) is a character that emerges intact from the pages of the book. The sole (significant) speaking female role is that of Soraya, portrayed by Lisa Zahra. Though she only appears in the later sections of the play; she is the most honest and brave character – following her heart and owning her mistakes. On a male dominated stage; her every interaction with Amir is refreshing and cleansing – not necessarily what one is led to expect from a story set mostly in Taliban ruled Afghanistan.
The music throughout the play plays a powerful role and is primarily provided by Hanif Khan; an internationally renowned classically trained Indian musician and performer, who – like Ben Turner – remains on stage for the bulk of the performance. The melodies he provides both inform the story and provide emotional context. The music and sounds created by the cast provide an atmospheric backdrop; at once unobtrusive yet pervasive. A constant and haunting refrain throughout that serves as a reminder that while the story may be set in lands far away; the ultimate search for redemption is a universal one. That the sheer act of being human makes us strive to better ourselves, to make up for those things that we have done wrong, to seek to make amends…even when it is too late.
Adapted by Matthew Spangler from the novel by Khaled Hosseini
Music: Jonathan Girling
Director: Giles Croft
The Kite Runner at the West Yorkshire Playhouse
Buy tickets HERE
Visit the Nottingham Playhouse Theatre website HERE
Visit the Liverpool Everyman & Playhouse website HERE
Visit the Wyndham’s Theatre website HERE
As I’ve been a bit out of things, I’m only just getting around to finding out what books are when. Please do let me know if I get the books in the wrong order, the dates muddled and so on!
Shall be aiming to catch up with emails and admin over the next fortnight – apologies if you’ve been waiting ages!!
- 8th – Horsforth – The Tale of the Duelling Neurosurgeons – Sam Kean
- 12th – White Swan – The Long Way to a Small Angry Planet – Becky Chambers
- 8th – Horsforth – God help the child – Toni Morrison
- 12th – White Swan – TBA
- 12th – Horsforth – TBA
- 9th – White Swan – TBA
- 22nd – LBC3 Reads – Whit by Iain Banks
When we asked our Brownies what they really wanted to do this year, they told us they wanted to visit London.
We’re a Leeds Brownie unit, based in LS4/LS6, for whom money is tight, and we’d love to give our girls, aged 7-11, the trip of their lives. For most of them it will be their first time visiting London, for some their first time away from home.
We’d love to make this as cheap a trip as possible so that ALL our Brownies can join us, and for that to happen we need your help!
Funds will go initially to cover transport and accommodation costs, and to buy food for the girls. If there is any left over we’d love to have some thing special to look forward to, any suggestions let us know!
We’re travelling down in February. The girls are planning a fundraising Christmas Fair (more details as and when) and our plucky Eagle Owl Jess is going to complete the Leeds Country Way-a 63 round trip all around Leeds-all to raise money.
If you can spare a fiver, that would pay for tea for one of the girls. We’re grateful for every penny and will keep updates on things we’re planning, and let you know how the trip goes!
You’ll be making twenty little girl’s wishes come true with every donation-on behalf of them all THANK YOU for your very kind donations.
If you have a moment, please check out the JustGiving page here!
Convinced? Donate HERE!
Or ‘ that time I saw Magneto and Cap’t Picard on stage together’
No Man’s Land blurb
Following their hit run on Broadway, Ian McKellen and Patrick Stewart return to the UK stage in Sean Mathias’ acclaimed production of No Man’s Land, one of the most brilliantly entertaining plays by Nobel Prize laureateHarold Pinter.
One summer’s evening, two ageing writers, Hirst and Spooner, meet in a Hampstead pub and continue their drinking into the night at Hirst’s stately house nearby. As the pair become increasingly inebriated, and their stories increasingly unbelievable, the lively conversation soon turns into a revealing power game, further complicated by the return home of two sinister younger men.
What a strange, intense, odd play. I’m not sure that I ‘got it’ necessarily, but I was enthralled throughout!
Harold Pinter wrote this absurdist play in 1974 and it has either delighted or confused all who have watched it ever since. Hirst – portrayed by Patrick Stewart – is a wealthy, aristocrat, patron and poet. His former Oxford friend Spooner – brought to life by Ian McKellen – is also a poet, but one who has fallen on much harder times. In the initial stages, Hirst is cold and almost rude to his guest, sometimes appears confused as to where he is and who he is with; while Spooner is a long winded, obsequious leach. However, as the show progresses, Hirst has a second wind and the two alternate between reminiscing and baiting one another.
RANDOM FACT – Each character is named after an English cricketer.
The stage setting managed to be both lavish and minimal. It is obviously a very grand room, high ceilings, a well stocked bar discretely placed at the back. However, there is only one comfortable chair – at all times reminding us of Hirst’s status and only two less comfortable chairs scattered throughout the room. I found the negotiation for the chairs – when all four character all onstage, one is conspicuously left standing – to be particularly interesting.
It feels almost unnecessary to speak to the quality of the players. From the second that the (somewhat creepy) moving forest backdrop lifts and Sirs Ian and Pat presented, I was locked into place, utterly focused on the stage. Due to their characters ancient competition and utter inebriation, Spooner and Hirst attempt to one up one another, with increasingly ridiculous assertions and anecdotes. The sheer verbosity of the characters – let alone their ability to articulate some really peculiar lines – and that they remain compelling throughout – well, I personally did feel like I was watching two grand masters of the stage at work. Even though I’m not sure I was following the Pinter side of things at all; it was a privilege to watch.
Owen Teale and Damien Molony in their supporting roles of Briggs and Foster were equally impressive. Their motives – heck, even their relationship with Hirst – is never really clearly delineated and each appears to regard Spooner as a nuisance and a threat. Their presence alone ups the tension levels, as well as introducing a physicality previously lacking. For the first time, there is an undercurrent of violence – it directly ties into Hirst and Spooner’s history, but is separate from it. Really odd, but quite powerful. That the actors managed to apply such nuance to their characters (a few of us speculated about their characters backstories, friendship, protectiveness and so on for some time after the curtains closed!) in such a short span speaks to their respective skills. Irritatingly, I was well into the second half before I recognised Molony from Being Human and Ripper Street – he is transformed in this.
The show ends ambiguously. At least, I think it does. We certainly had lots of questions as we headed out. A new friend, who happens to be a nurse, and I speculated as to whether Hirst had dementia? Was Foster really his son – and he had forgotten it? Would that explain why he knew Spooner one moment, and not the next? How had Foster and Briggs met – from Foster’s point of view? Was Spooner actually the most genuinely masculine, owning his cringing self, while the others puffed out their chests in a show of Alpha status…Did any of this actually have anything to do with anything?
It’s my favourite feeling walking out of a theatre.
Personally, I would recommend this showing and this cast to anyone. However, I would normally be a lot more circumspect in pushing Pinter onto others as I do find his work to be really dense and locked into a particular time frame and context.
Embarrassing aside – there’s a moment where Hirst (Patrick Stewart) face plants onto the floor. For one second, I honestly thought that my Captain had just collapsed on stage, before cottoning onto the fact that Ian McKellen was still in character. I wasn’t the only one either – there was a proper gasp and an ‘oh shit no’ from others in the audience too.
Massive thanks to @HalfPintBlonde for inviting me to join in on this lovely day out. My first ‘live’ Pinter (boy, does his stuff make marginally more sense on a stage as opposed to on the page), my first theatre trip in FAR too long and my first proper visit to Sheffield ever!
By Harold Pinter
Directed by Sean Mathias
Ian McKellen – Spooner
Patrick Stewart – Hirst
Owen Teale – Briggs
Damien Molony – Foster
It would be terribly neglectful not to acknowledge the beautiful setting for this production. The Lyceum opened its doors in 1897, though there has been a theatre on the site since at least 1879. It dates from the Edwardian era – in fact it is the only surviving theatre build outside of London by esteemed architect W.G.R. Prague (ain’t wikipedia grand!) and has Grade II listed status.
Capable of housing an audience of 1000; it doesn’t feel like a grand space. There is an intimacy and friendly atmosphere that permeated throughout – most notably in the stalls which were a bit on the squeezy side, but I always think that encourages chatter with your neighbours, so for me a solid positive! (Oh and when you exit, there is this weird TARDIS like staircase where you seemed to go down far more stairs than you ever went up. Kinda cool.)
Buy Tickets HERE
Sheffield Theatres is the largest theatre complex outside London. Across our three auditoria: the Crucible, the Lyceum and the Crucible Studio, we offer a huge variety of home-grown and touring productions, as well as a thriving programme of participatory events and activities.
Recently I received an email from Open Letters – letting us know about their upcoming event. We both attended MINIcine at few months back for Never Let Me Go, so they immediately thought of book club when laundching their own literary based event!
Looks like it could be a giggle – do report back if you attend!
Date: 13th of July 2016
Time: 7:30 pm
Venue: Hyde Park Book Club
Contact: openlettersleeds @ gmail.com
AN EVENING OF LETTERS, READ ALOUD.
Fiction & Nonfiction.
Open Mic: bring a letter to a person, place, or thing. read it aloud.
We will also write letters.
Paper & envelopes will be provided.