Nearly a decade after Jerusalem opened to universal acclaim at The Royal Court, Jez Butterworth finally gives us another masterpiece. A sprawling family/political drama taking place over one day in 1981 rural Armagh, The Ferryman barrels towards a predicable end. But the genius lies in the final scene, where the plot shoots off in a different direction like a rogue firework before exploding. Laden with familial craic, rebel spirit, the complexities of colonialism and rounded off with phenomenal performances, The Ferryman encapsulates the best of contemporary British playwriting.
by guest critic Rebecca JS Nice
After working on Tristan Sharps’ Absent at The Shoreditch Town Hall in 2015, I have been given an education in the building’s rich maze of ballrooms and basements, shiny bars and crusty corridors, peeling paint and underground nooks and crannies that both delight and disorientate in equal measure. Dream Think Speak Company did just that, honouring the architecture of the building in a site specific work that set a precedent for work to come. As the evening of May 4th unfolds it seems that Cass Arts are unaware of their sophisticated forbears when they claim to produce “site-specific performances and installations on the themes of secrecy and disguise” in Den. As contemporary immersive theatre expands from the spectacle of Punch Drunk to the intimacy of Sheila Ghelani, Cass Arts have widely missed the context in which they have placed themselves.