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Fraser's
View. Enormous credit to Cambridge's own Menagerie Theatre for
commissioning this play. After working together on Gifts of War and
again on Butterfly Fingers, Artistic Director Paul Bourne asked if
I'd write a full-length piece for the company- and got more than he
had bargained for!
The technical
and design requirements of the play are extensive, taking us from
the Royal Palace at Windsor, through a shipwreck at sea, and on to
the Arctic ice sheet. Then things get strange- a man's severed
screams for mercy, Queen Elizabeth appears in her furs, the crew are
transformed into animals-and the play transports us back to England!
Rachel
Aspinwall as Associate Director at Menagerie put in great work on
the dramaturgy of the play- and on the movement in the
production-and several old friends featured in the cast including
Patrick Morris, Darren Strange, Caroline Rippin and oldest, if not
dearest of them all, Terry Molloy (Mike Tucker in BBC Radio 4's The
Archer's). They were led by the legendary Janet Suzman, whose
performance as Elizabeth was astounding, and a real coup for
Menagerie; why cast someone to play a queen, when you can get one?
It was a
great, rollicking adventure, and great to work on something which
mixed so much comedy and drama, history and fantasy. As you will see
below, the critics were divided about the play- especially about
which part they liked!
Thoughts for
the future: definitely a feeling of unfinished business with
this play.
Reviews Clipped 'As in his earlier, implosive
'Breakfast with Mugabe', Grace searches in the most
personal of debris for the elusive causes of imperialism, and the
uncharted casualties it inflicts on the human heart...The early
scenes, where Suzman holds sway, are enthralling, but all too soon
we veer wildly off course...Much dreary silliness follows..' Lucy
Powell, Time Out
'Peerlessly
acted by a superb cast led by Janet Suzman, this is a rare play that
gets better the longer it chunters on. Up to the interval it is a
tedious historical drama. But with arrival of Elizabeth in the
Arctic wastes, the whole thing suddenly bursts into surreal life. In
the second half the play dazzles with its wit and wordplay...'Lyn
Gardener, The Guardian
  
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