adaptation

In and Out of Chekhov’s Shorts, Southwark Playhouse

by Stewart Robson

For five performances only (sadly this not a full run), Dragonboy Productions have produced this adventurous adaption of five Chekov short stories: The Lady with the Little Dog, The Chemist’s Wife, At a Summer Villa, An Avenger and The Bear. Eliot Giuralarocca has skilfully adapted and directed these five stories. A brilliant cast of five, including Giuralarocca himself, give the stories a dynamic, farcical structure which plays brilliantly in the large space at Southwark Playhouse.

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Cold War, Almeida Theatre

by Maria Majewska

Paweł Pawlikowski’s 2018 film Cold War is a profound account of Polish identity, cultural homogenisation, politicisation of folklore and the trauma of migration from the Soviet bloc. As a Polish migrant with a deep connection to this story, I was keen to see how this masterful, nuanced film would translate to the stage. Tragically, the Almeida’s production is an insulting missed opportunity. 

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Boy Parts, Soho Theatre

by Zahid Fayyaz

This is the premiere of an adaptation of the popular 2020 Eliza Clark novel, Boy Parts. A comic thriller, this is the story of Irina. She is a Newcastle-based photographer of young men, and is either a violent killer or a damaged fantasist. It’s never clear which one is the correct interpretation of the main character. This makes the show more fascinating, as it leaves the audience and reader without a sure footing.

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The Ocean at the End of the Lane, Noel Coward Theatre

by Michaela Clement-Hayes

Real life can often be bleak, so many of us choose to escape from time to time. Perhaps we do this by reading a book, or going to the theatre. Those few hours of respite allow us to leave our world behind and be anyone we wish to be.

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JM Coetzee’s Life & Times of Michael K, Edinburgh Festival Fringe

by Laura Kressly

The South African companies Handspring Puppet Company and the Baxter Theatre have a world-renown reputation for puppetry and theatre, respectively. In this adaptation of the JM Coetzee novel, the puppetry is as good as anticipated, but the two hour-long, rambling story pushes the limits of audience patience and dulls the effect of the show’s message.

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Beautiful Evil Things, Edinburgh Festival Fringe

by Laura Kressly

Theatre Ad Infinitum has developed a reputation for excellent storytelling about a vast range of subjects, all performed with a distinctive physical language. Their latest touring show is no different. The solo performance platforms some of the women in Greek mythology who are villianised, minimised and/or ignored by the canon. As well as giving them a chance to tell their stories, the show prompts reflection on women’s depiction in legend and literature.

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Persephone, Brighton Fringe

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by Luisa De la Concha Montes

Loosely adapted from the original Greek myth of Persephone, this play co-written by Ami Sayers, Abi Smith and Mollie Semple is a creative exploration of Queerness. From the start, the play is fun and engaging, opening up with a fast-paced song and a coordinated stunt that shows the three leading characters, Persephone and her two friends, getting ready for the day, brushing their teeth and riding the bus to school together.

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Wonderland in Alice, Theatre Peckham

by Luisa De la Concha Montes

Directed by Lisa Millar and choreographed by Christopher Tendai, Wonderland in Alice is an original adaptation of Lewis Carroll’s tale that explores its themes and tropes through contemporary dance and music, trippy visuals and dynamic stage design.

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Caligula and the Sea, VAULT Festival

by Laura Kressly

Roman emperor Caligula has provided numerous artists with inspiration, and this year’s Vault Five artist Yuxuan Liu is no different. He has devised a new interpretation of Caligula’s story particularly focusing on the ruler’s megalomania, his queerness, and a bargain he made with Neptune as a young man in exile on Capri. Puppetry and set design effectively complement the script, and the prominent theme of nature’s power resonates strongly in the context of the climate crisis.

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The Commitments, New Wimbledon Theatre

by Zahid Fayyaz

Originally from the Roddy Doyle book, which was also adapted into a wonderful Neil Jordan film, this is the latest touring
version of the musical, The Commitments. Set in 1980’s Dublin, this is the story of a young band coming together to ‘bring soul’ to Ireland, before it all falls apart. Featuring a great soundtrack of soul songs, this has been around in some form in the UK for the last 10 years, and for good reason.

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