'Saved' at Lyric Hammersmith - 4/5

Unseen in 25 years, a new run of Edward Bond’s seminal playSaved has opened at London’s Lyric Hammersmith.

 Infamous for its shocking scenes of abuse, the original sixties production met with outraged response and was heavily censored. This groundbreaking new production triumphs by exploring the source of such vehemently hostile audience reaction – an unforgiving humanism that caused Bond to describe the play as ‘irresponsibly optimistic.’ Under the direction of Sean Holmes, with mesmeric performances from its cast, the audience is forced to confront their outrage at the deplorable acts of violence and, if not relate with, then at least understand the characters who commit them.

Saved is a vivid portrait of working class South London and, at its heart, a domestic environment governed by cyclical conflict. The play’s opening scene is a hilarious courting ritual between lead couple Pam (Lia Saville) and Len the lodger (the outstanding Morgan Watkins) which sets the tone with a brilliant blend of challenging silences, comedy and shock.

After Pam becomes pregnant, the relationship breaks down and by the time the baby arrives, Pam has a begun an obsessive relationship with the lewd and ambivalent Fred. Len refuses to leave the home at the indifference of Pam’s parents. Moments of audience sympathy interrupt grating rows and the appalling neglect of the baby, which culminates in its murder at the hands of Len and Fred’s yobbish friends with both men either directly or indirectly complicit.

Bond suggests the catalyst for his decision to allow a new production was the London rioting that incited a similar contrast of outrage and pleas to understand the youth: “inSaved the young men commit their murder in the park in order to regain their self-respect. Anyone who does not understand this cannot understand the contradictions and torments of living in a modern city.”

During rehearsals, i-D conducted an interview with Lia Saville as she revealed the intense, emotional engagementSaved demands from its actors. Following the traumatic turns of the plot, the characters must seem grotesquely malignant at the same time as inciting sympathy from the audience. There is no doubt the play succeeds at this: in a practically silent final scene the actors stare out at the audience in a kind of mutual understanding – underneath our antagonistic reaction lies a fear of ourselves and, much as we would gall at admitting it, we recognise them just as much as they recognise us.

Snakehips

‘Snakehips’ aka Ollie Dickinson is the pioneering hip hop producer from North London weaving soulful, East Coast nostalgia with the modern edge of the glitch-hop movement.

Hot on the feet of crews such as Glasgow’s LuckyMe, Snakehips is the latest to join the hip hop resurgence – gaining high-profile online admirers including LA producer NOSAJ THING. Despite a rousing live gig with Beaty Heart at Dalston’s Shacklewell Arms, appearances are a valued rarity – his popularity almost solely fuelled by online hype and by constantly churning out beats to his large, cyber fan-base.

His new Hoffman West EP, out for free-download on Bandcamp, showcases a triumphant first year of producing. A beat-tape of eleven short tracks they each evoke their own unique blend of ingenious soul cuts that will have your eyes closed and head bobbing. So zip up and zone in as i-D online chats to Snakehips, coming soon to a pet shop near you.

Where did the name ‘Snakehips’ come from? A dance move I used to do inspired by Earl ‘Snakehips’ Tucker. He used to dance to really early jazz in the 30s or 40s on telly. He had these really ‘eccentric’ dance moves – kinda fucked up but kinda cool. He’s the man who invented breakdancing… Sort of.

What are you listening to at the moment? There’s so much great new music the moment – Blank & Kytt, Camouflage Children, Young Montana?. Last thing was probably Ta-Ku. He’s awesome – really soulful. He always digs the best old samples. But they’re also really well produced. It’s my perfect hip hop – technically fresh but also really raw.

What’s your process when making a track? I don’t really have any set way of making stuff. I’ll just listen to a whole load of old records – sometimes I’ll sample drums, stick a beat together and work from there. I’m always listening out for that special bit in the record… It could just be a chord or a couple of bars that I can chop and twist into something truly vulgar. I try to make instrumental hip hop that doesn’t sound like it’s missing an mc, that works perfectly as a composition.

If you can have one rapper on your record who would it be?John Barnes…

Tell us about your inspirations… New skool producers  – Hud Mo, Ta-Ku, the Brainfeeder guys – but because they emulate the sound of classic underground hip hop – the greats like Pete Rock, J Dilla, Mad Lib, Lord Finesse – it’s the use of the old vibes and combining it with modern ways of producing – that’s what I love. I listen to an enormous amount of stuff outside of hip hop though and get just as much inspiration from bands and musicians as I do from producers.

You’ve had numerous guitar bands, solo acoustic material as well as being a professional jazz musician. How have these influenced your music? I used to play folk music… maybe I shouldn’t mention that! I guess it changes the samples you look for and helps you be more creative with it. Jazz always helps – just searching for breaks and things like that. It’s the feel of jazz isn’t it!? If you’ve always played jazz and swing music – you’re always going to be feeling hip hop. I’ve really only been producing hip hop for a year. I’m used to writing songs so when I produce, I try and make them sound like a piece of music – rather than just a beat.

What’s next? Keep pumping out as much material as I can – constantly updating my soundcloud – bringing out new beats every week to keep people listening.

Download Snakehips’ Hoffman West EP here and see our full i-DJ archive here.

soundcloud.com/snakehips-1

Yasmin Interview

Beautiful and talented, mighty things are expected of the DJ turned artist, singer and songwriter from Glasgow. Here she talks to me about honesty, hard-work and going it on your own.

 

We are in the midst of an explosion in young British music. What has made this generation of new UK music-makers, including yourself, so special?

It’s a DIY generation. We have new forces like the internet, everyone’s get a laptop and makes music. It means you get flooded, but people rise to the top through work ethic, through talent. We have a huge range of influences, listening to diverse radio stations. I think that’s why we’re going through such an exciting time.

What have been your biggest influences, from early on to recent collaborations?

I grew up listening to hip-hop and rap. I was just drawn to it because it was so honest. So raw and uncensored. They said anything. It wasn’t bubble-gum pop it was real. I’m always drawn to honesty - my favourite album of all time is ‘The Miseducation of Lauryn Hill.’ Today I’m inspired by a lot of my peers – people like Labrinth, like Ed Sheeran – these people worked so incredibly hard and they’re so talented and grateful and humble about everything. That’s really inspiring.

How would you describe your music?

Er….. what the fuck music. So when you hear it you can say what the fuck is that!?

Tell us about your DJing and how it has affected making music?

I started DJing at the age of 17. It’s extremely important in being an artist. I grew up listening to so much and I have so many references and inspirations – so much greater than if I’d have just been a music fan. You obviously have a grasp of what works in a club situation – you can judge styles and everything. It’s really helpful.

Throughout your career you have worked with a variety of artists and producers  – from Labyrinth, to Devlin, to Jamie XX. How important is collaboration in the creative process? 

Me personally I don’t produce so I’m always going to collaborate with people. It’s all about finding someone who works with you, somebody that sees your vision and has the confidence to add to it. I view making music like making babies – you wouldn’t just have a baby with anyone; there’s specific qualities in a person that you’d want. And that’s how I go about choosing people to collaborate with.

What was it like touring with such seminal artists as N.E.R.D and Eve?

I was DJing. It was really good. It was a great introduction to the life of touring. More recently I’ve supported Chase and Status and Eliza Doolittle as a singer. I love supporting artists that I’m a fan of especially. You learn a phenomenal amount. Touring with Eve was so great because she’s a female rapper and at the time I was a female DJ. To be a female in such a male dominated world she gave me a lot of confidence – she’s a very inspiring woman. With Chase and Status the live set is so incredible and mind-blowing – they’d watch my show and give me some pointers – that’s what it’s about – I’m still learning so much.

You’ve recently been in Ibiza. How is R’n’B and hip-hop changing, perhaps becoming more integrated into dance music?

Yeah, I can’t say I’m happy about it. There is a lot of this kind of hip-hop R’n’B David Guetta stuff. Personally it’s not my taste. I’m a huge fan of the 90s – using samples – it was such a craft. The hip-hop’s come back but I’m waiting for the R’n’B. I’m waiting patiently.

Debut single ‘On my own’ seems influenced by trip-hop pioneers massive attack, whereas new track ‘Light Up The World’ has a sped up garage sound. Do you enjoy experimenting with musical genres?

Yeah definitely. When I started making music I never thought I had to find one genre. I like being unidentifiable. I like mashing together but not in a contrived way just what feels like the right thing to do at the time. With the horns and strings ‘On My Own’ is very influenced by that trip-hop sound. With ‘Light up the World’ I kind said to Shy Fx just give me breakbeat and reggae. I thought it showed a different side of me – I like to go out and feel good. It was time to reflect that different side of me.

Tell us about your upcoming debut album.

It will be out maybe first quarter of next year. I’m working on it. Debut album – it’s such a big deal. Being close to your music it’s very hard to be like ‘yeah ok I’ve finished it.’ There’s a lot about independence. I’ve spent a lot of time on my own. I want to inspire other people to take risks, and be brave and adventurous – to go for what they really want. Sonically, there’s a lot of reggae and breakbeat. There is also a couple of acoustic moments – I just kind of let the songs do the talking. It’s honest. I’m excited about people hearing it. There are a couple of ex-boyfriends who might be pissed off when they hear it.

What gigs and tours have you got lined up?

I’m doing some headline gigs in November, there are also a couple of festivals left. I’ll be doing loads of shows – I love performing with my band. I’ll definitely be on the road.

http://www.yasminsworld.co.uk/

http://disordermagazine.com/

'Fit and Proper People' at Soho Theatre

New play, Fit and Proper People, fuses football and theatre with a spot of food on the side for good measure.

 

Located in London’s epicentre of vice, Soho Theatre is surrounded by the sultry glow of neon lights. It seems the perfect venue for Fit and Proper People, a new play by Georgia Fitch, which looks to expose the seedy underbelly of the beautiful game. Daring, relentlessly provocative and darkly familiar, the play is both satire and tribute. It succeeds resoundingly in capturing the atmosphere of the stands, not least by giving out free pies at the half time interval.

Fit and Proper People tells the story of football agent, Casey Layton (Katy Stephens), and her dealings with new millionaire owner Frank Wong (David Yip), as she uses his fortune to buy players and earn promotion to the Premiership. In a furious non-stop narrative of quick-fire exchanges, the cut-throat politics of the board room are laid bare as Casey attempts to oust manager and narcissistic womaniser Tony Whitechapel – played by Steven Hartley with a croaking East End malevolence.

Before writing the script, Georgia immersed herself in a club, travelling with fans, speaking to players, and on her own admission, getting hooked on the world of football and all that surrounds it. “I felt compelled to tell the truth about what is really happening to our national game; my cousin had been dating a Premiership play and England star and her stories gave me the final push.”

Under Steve Marmion’s direction, there was an ingenious use of space, dance routine and intense physical interaction. The characters navigate around a set design that includes a dugout, changing room, grass pitch, floodlights, big screens, four stands seating the audience and electric advertising billboards. “The direction and stage design are inspired,” Georgia said, “Steve knows everything you could ever need to know about football and theatre; it’s great to have his experience and extensive knowledge leading the production. And Tom’s design makes the audience complicit and immersed within the play.’

As the whistle blew for the interval, with the excited babble of the audience gobbling on free pies, it really could have been half time at a football match. This carefree atmosphere was soon demolished in the second half of the play, which brought to light the characters’ disturbing back stories that include sexual abuse, fraud, human rights violations and an ultimate exploitation of fans. It focused on the misogyny that remains at the core of footballing institution, articulated by Tommy the scout (Russell Floyd): “women can’t deliver on the pitch that’s why they are treated the way they are.”

Incredibly ambitious, the script encroaches topics such as football’s imperial legacy and anxiety over the rise of Eastern economic power – all presented in a fragmented collage of surreal canivalesque media images that come to replace reality. We are shown how football gives a phoney and transient meaning as well as a sense of belonging in a ruthless and dehumanising capitalist society. The play is a testament to the potency of both theatre and football. As Georgia surmises: “Both are life choices, both can provide the most defining moments of one’s life.”

Fit and Proper People runs at The Soho Theatre until the 5th of November.

Lia Saville Interview

Lia Saville is the bright young thing taking to the stage to illuminate the dark and brutal reality of the disaffected British youth – a subject dominating contemporary playwriting, as well as recent political and social debate.

Acting in bold and powerful productions including Dennis Kelly’s ‘Osama the Hero’ and Simon Stephens’ ‘Herons and Country Music’, Lia’s tireless energy is now focused on something even more hard-hitting, as she stars in Sean Holmes’ upcoming production of Edward Bond’s infamous play, ‘Saved.’ Originally produced at the Royal Court Theatre in 1965, it initially received heavy censorship, provoking Laurence Olivier himself to plead for audiences to show ‘the courage’ to watch it. In the face of such a controversial and volatile history, Lia talks to i-D online about a play which, all over again, promises to incite its mixed share of outrage and adoration.

How are rehearsals going? They’re going well this week, last week we were just getting the feel of the play – that was quite a stressful time because you’re realising a lot about your character. Mine is quite an emotional character so it’s a lot to take om. But this week I felt a lot better and more comfortable.

You’ve been in some of the greatest premieres of new playwriting in recent years. Do you think British playwriting is striving to reflect what’s going on with people on the street? Yeah I definitely do. All those plays were a while ago. When I did Herons it very much had the feeling of real life situations, often quite intense; the boy (the main character) gets raped. Behind all that hardship and emotion there is a sense of wanting to get out and get a better life for themselves. I do think though that, of course, these are dramatisations, specifically designed for an audience.

What’s it been like working on such an emotionally intense and demanding play as Saved? You would think that the play was intense and demanding and sad and shocking and everything but actually there’s some funny bits as you’re reading it. And the way Sean has cast it there is a comical side to it. And everyone thinks it’s all over-emotional but there are bits in it which are amusing and funny and light. Although of course the play is hard-hitting, there are some…nice parts to it as well.

Edward Bond has described the ending as ‘almost irresponsibly optimistic.’ Do you see it that way? I do. We’ve gone through every scene now and spoke about it. My character Pam especially goes through so much. You see so much of her life and she comes out the other side. Edward Bond couldn’t have finished a play any better; the final scene, with the total silence just movement – it just makes perfect sense. After everything there’s still hope. People still go on. It’s a fantastic play it really is – the more I read through it. You have to come see it.

Is it hard to remake such an infamous and influential play?We’ve only been rehearsing two weeks – there’s ideas flying about. It’s Sean’s vision – what he sees the play to be. People have to come see it to answer that question for themselves.

How is it working with Sean Holmes? He’s so lovely. Even in casting he puts you at ease. He’s an amazing director, he’s so talented and he loves the play, which makes it even easier for him to express what he wants from us. When we see his love and passion it’s hard not to feel it as well. I feed off it.

Do you think ‘Saved,’ which explores the cultural poverty and frustration of a generation of young people, has more meaning in the current climate of the London Riots and the Arab Spring? It’s a tough question. It’s just a great play. People may feel it has some relevance. But I think it has resonance whatever time it is put on. It’s such a strong play whenever.

Saved runs at the Lyric Hammersmith in October, pop here for more information and to scoop some tickets!

Tempest the Musical!... - 'The Tempest' at Royal Haymarket with Ralph Fiennes

From Ibsen to Maid in Manhatten, Shakespeare to Potter, Ralph Fiennes isn’t afraid to swap the prestige of the stage for silver screen success. Now the Dark Lord himself takes a turn as Prospero; iconic lead of The Tempest, currently running at London’s Royal Haymarket Theatre.

The original desert island story, The Tempest follows Prospero, usurped Duke of Milan, on his quest for revenge, employing the power of spirits to trick his enemies and regain the dukedom for his daughter. Trevor Nunn’s production focuses on drawing out Shakespeare’s subtle metanarrative, exploring how theatre works as illusion – an ambitious and original outlook that has divided critics.

Provoking several laughs, Fiennes’s star performance combines revelry with malice, power and emotion. He recites his lines with quavering force invoking a subtle blend of authority and vulnerability, again suggesting the production’s emphasis on exaggerated theatricality. The set reflects his state of mind; a vast and bare stage hazed in dreamy shadows and projected silhouettes. Fiennes plays an isolated figure in his lonely search for catharsis by way of a healthy dose of magic and fantasy.

Shakespeare’s final solo play-and arguably his finest-returns to a traditional neo-classical style which is emphasised in Nunn’s deliberate and careful direction. Combined with an almost slapstick physical comedy, exemplified in Nicholas Lyndhurst’s drunken West Country take on Trinculo, this meant an entertaining, if prolonged, production (especially when watched from the bum-numbing seats squeezed into the lost heights of the upper gallery).

Luckily, the exciting combination of tragicomedy and masquerade kept it enthralling. Critical reaction to the play has reached fever pitch at the three hour duration, lengthened by the peculiar and indulgent musical interludes. These songs reach a bemusing balance between ridicule and dreamy mysticism. At times, the production was in danger of finally bridging the genres and becoming ‘Tempest the Musical.’ A sprightly and androgynous Ariel, singing in a quavering falsetto voice, brought contemptuous laughs from the audience. Even Ralph gets in on the act with a few lyrical exploits.

Yet these strange songs are at the heart of the production’s success. The overt and jarring theatricality draws focus onto its own nature as a play. It ironically draws links between Prospero’s ‘art’ and dramatic illusion.  Prospero’s rejection of his magic at the end of the play has been seen to parallel Shakespeare’s farewell to playwriting. Nunn’s production highlights Shakespeare’s final questioning over the mechanisms and potency of all his theatrical works.

The director’s inconsistent pacing failed to create tension. But this is the point. This production is a tribute to bathos; the contrast of powerful existential exploration and the dubious spectacle of sprits flailing around on wires. As a result we are drawn into the very nature of theatre.

The Tempest runs at the Royal Haymarket theatre until the 29th October.

'The Moon is Halfway To Heaven' at Jermyn Street Theatre, 3/5

Dubbed ‘the jewel in the basement,’ the modest Jermyn Street Theatre hides innocuously amid the bustle and glitz of London’s West End. Its latest production, David Kerby-Kendall’s ‘The Moon is Halfway to Heaven,’ suits the cosy layout: its small central stage surrounded by tightly packed seating reminiscent of a miniature padded amphitheatre. Consequently, the audience feels like an unwanted intruder overhearing the intimate confessions driving this poignant story of life, death and friendship.

Paul (also played by Kerby-Kendall) and Jamie (Lucas Hare) are best friends who, seeking temporary respite from reality, return throughout their lives to their special place – a secluded park bench and tree. The play uses this single location to trace their unorthodox relationship, bearing witness to various contemplations on their lives from ages seven to eighty-nine.

These intimate encounters are constantly overlooked by a Mighty Boosh-style moon that becomes a symbol of childhood and mortality. It also serves the purpose of scene setting, playing topical clips from the interchanging time periods. A large screen also sits behind the stage allowing limitless backdrops that project childhood fantasies and reveal the personal, imaginative escapism of the characters.

Born after the First World War Paul and Jamie’s early lives demonstrate the happy innocence of public school Englishness – mispronouncing words, confusing ideas, and wondering how adults manage to know everything. Obvious schoolboy gaffs and mostly unimaginative jokes are buoyed by the energy and gusto with which the actors throw themselves into their childhood roles.

Their teenage years brings inevitable sexual awakening; the discovery of girls and masturbating. Ladies man Jamie is the foil to intellectual but socially incapable Paul, even teaching him how to kiss. An admirably truthful portrayal of adolescent angst gradually escalates into over-indulged laddish humour. This get drunk, male-focused comedy continues throughout their adult lives. Whilst intending to reveal their ‘young at heart’ attitude, it begins to seem rather repetitive and overdone.

War, marriage and divorce invade their experiences whilst their central friendship maintains the one loving and supportive constant. As the characters grow old reluctantly, their nostalgia for the pure imagination of childhood intensifies. They offer metaphysical and spiritual reflections on life and identity– ‘the billion things that make us who we are.’ The characters realise the tragic transience of life and perception. These insights are thought-provoking although often cross over into tedious and didactic monologues of the writer’s personal philosophies.

Where the play succeeds is in its sense of fun and the heartfelt sympathy with which the audience identifies with the relationship described in the program as ‘without a label;’ a relationship outside society’s preconceptions. What undoes this slightly is that their loutish heterocentricism underpinned by homoeroticism is the definition of conventional masculinity. What could have potentially been an interesting theme of repressed homosexuality is immediately rejected as one of those ‘labels.’

From a production that resolves in the program to confront the conventions of society, it seems to conform to many itself. The dialogue though genuinely funny and moving at times, often seems unoriginal and cheesy. Jamie’s eventual death in old age sets up a final scene that could have been from a Hollywood chick flick –Paul gazing up at the moon as a pop ballad blasts in the background.