Posts tagged ‘richard bean’

29 September, 2010

“Get dressed. The big fellah’s on his way.”

Everyone and mother has reviewed The Big Fellah already, but here’s the stuff nobody mentioned.

The Shadow of Sean O’Casey

Matt Wolf compares Richard Bean to Martin McDonagh and (tangentially) Harold Pinter in his review for The Arts Desk. Matt Trueman similarly calls the setting “Pinteresque” and references McDonagh’s In Bruges. Writing for What’s On Stage, Michael Coveney compares The Big Fellah to Bill Morrison’s Flying Blind.

Worthy comparisons all, but I’m surprised no one cast back beyond Morrison and McDonagh to Sean O’Casey, the master of Troubles tragicomedy. It could be because I studied it exhaustively at A Level, but O’Casey’s The Shadow of a Gunman sprang to my mind as a comparison almost immediately.

Gunman is a lot more claustrophobic in terms of scale and timeframe, but the similarities are there nonetheless. There’s the setting: a safe house in a deprived area (O’Casey’s in a Dublin slum, Bean’s in a Bronx brownstone). There’s the man seduced by the patriotic allure of the IRA (O’Casey’s Donal Davoren, who likes the glamour, and Bean’s Michael Doyle, who joins up out of a sense of duty to the victims of Bloody Sunday, fuelled by imagined ancestral pride). There’s the IRA assassin, laying low (though, okay, Davoren’s only pretending while Bean’s Ruairi O’Drisceoil is the genuine article).

The other thing Bean’s play has that O’Casey’s doesn’t is redemption, which may stem from the fact that O’Casey was reporting live, right from the heart of the Troubles, whereas Bean is charting their history (or, if we’re really lucky, writing their obituary).

“Britain’s most provocative playwright”

Aleks Sierz boldly labels Richard Bean thusly in his review for The Stage, though in the comfort of his personal blog he qualifies the assertion with a “perhaps”. I work for Aleks at theatreVOICE (full disclosure!), so I hope he won’t mind me saying I don’t agree with his judgement on this one.

For a start, I hope that Richard Bean isn’t Britain’s most provocative playwright, because if all it takes to earn that epithet is to point out on the Olivier stage that Britain is historically hostile to immigrants (in England People Very Nice), British drama is in trouble. (Having said that, I’m not sure I can think who does deserve the title. Tim Crouch, maybe? Nominations in the comments, please.)

For a follow-up, I think that while England People Very Nice was a deliberately provocative play, The Big Fellah isn’t, and I don’t see the value in bringing up the playwright’s reputation for being provocative in relation to a non-provocative play, unless it’s to say “he’s usually provocative, but this isn’t”.

I suppose my issue is with the journalistic tendency to slap labels on people, as shorthand for readers (“Oh yeah, that guy”), and to apply those labels regardless of context – and not with Aleks (my editor) after all (phew!).

“Get dressed. The big fellah’s on his way.”

What none of the critical community fail to mention is Finbar Lynch’s captivating turn as David Costello, the eponymous Big Fellah. There’s also plenty of well-deserved praise for Rory Keenan as Ruairi (the main character, to my mind, and the most interesting, beating the big fellah by a hair’s breadth), though not nearly enough for Claire Rafferty as the vibrant Elizabeth Ryan.

Unfortunately reviewers’ word counts are such that, when you only appear in one scene of a two-hour production, and the quality of your performance is matched by certain of your fellow cast members, all of whom have more stage time, you get sidelined. Well, Rafferty’s performance is lively and earnest; she makes light work of some clanging mouthpiece-of-the-playwright lines; and for a few short minutes she matches the charismatic big fellah blow for verbal blow.

Now, did I miss anything?

Written by Richard Bean

Crew includes Max Stafford-Clark (director), Tim Shortall (designer), Jason Taylor (lighting) and Nick Manning (sound)

Cast includes Rory Keenan (Ruairi O’Drisceoil), Youssef Kerkour (Tom Billy Coyle), Finbar Lynch (David Costello), Claire Rafferty (Elizabeth Ryan), David Ricardo-Pearce (Michael Doyle), Fred Ridgeway (Frank McArdle) and Stephanie Street (Karelma)

Those reviews in full:

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12 February, 2009

England People Very Nice

National Theatre, 4 February – 30 April 2009

Reviewed for the London Theatre Blog

The National Theatre is billing England People Very Nice, the first show of 2009 to offer Travelex £10 tickets, as playwright Richard Bean’s state-of-the-nation play. Well, according to Bean, the state of the nation is the same as always: reactionary and xenophobic.

Covering four waves of immigration – French Huguenots, Irish, Jews and Bangladeshis – Bean points a flashing neon finger the size of the Olivier Theatre at our national tendency towards intolerance.

The play does a great job putting the problems of today’s multicultural London in perspective, as each generation of immigrants eventually integrates into British life and then takes its turn oppressing the next. It’s enough to make anyone wonder why we’re still considered a go-to nation for anyone fleeing persecution and adversity.

Yet Bean somehow houses this damning admonishment in an epic, centuries-spanning romantic comedy, throughout which the successive reincarnations of a pair of lovers try again and again to love one another despite cultural divides and running gags. And as if that plot weren’t enough, it is itself embedded in a fairly iffy piece of metatheatre.

The immigrants in the detention centre in 2009, you see, have devised the centuries-spanning romantic comedy while waiting on their applications for leave to remain. At its best, this framing device salts the open wound of British hypocrisy: citizenship exams, testing the loyalty of potential immigrants to the nation that banged them up as soon as they arrived? Such exquisite irony. So quintessentially British.

But the cynic in me can’t help seeing the play-within-a-play as a Get Out Of Jail Free card Bean dealt to himself under the table, allowing him to neatly sidestep criticism with the excuse, “that’s how the characters would have devised it.” And at its worst, the device is a megaphone through which Bean can announce (in case we’re a little slow on the uptake) that it doesn’t matter if a character lives through the Blitz and still looks twenty-five in 2009, because that’s the magic of theatre.

The comedy does work. It tempers the worthier observations and keeps the play from turning into art as social work for the nation. So does the star-cross’d romance. After all, the truest measure of a country’s receptiveness to new cultures is the rate of intermarriage. But I don’t need Olivia Colman’s immigration officer Philippa to face front and tell me so before I can appreciate the point.

Bean could do with worrying a little less about whether people will pick up on his meaning. It’s clear enough without all the highlighting, and in overclarifying himself, he runs the risk of closing down alternative interpretations, yanking the subtext into the foreground and robbing the play of depth.

Written by Richard Bean

Crew includes Nicholas Hytner (director), Mark Thompson (designer), Pete Bishop (director of animation), Neil Austin (lighting designer), Grant Olding (music) and Scarlett Mackmin (choreographer)

Cast includes Olivia Colman (Philippa/Anne O’Neill/Camilla), Sacha Dhawan (Norfolk Danny/Carlo/Aaron/Mushi), Trevor Laird (Yayah/Rennie), Aaron Neil (Iqbal/De Gascoigne/John O’Neill/Chief Rabbi/Attar/Imam), Sophie Stanton (Sanya/Ida) and Michelle Terry (Camille/Mary/Black Ruth/Deborah)

Need a second opinion?