at the Royal Court Theatre Upstairs
A better name for Nick Payne’s new solo show might be The Art of Lying. Throughout the monologue, the three stories Payne tells consider the various ways we lie to one another as life comes to an end. It’s a short, simple piece, and though it doesn’t contain the complexity of some of his earlier work, Payne delivers three affecting and heartfelt stories about the fraught relationship between death and truth.
Sat on a yellow plastic chair in front of a makeshift skyline of blue-lit medicine bottles, Payne begins the piece with the story of Maggie Noonan from Milton Keynes, who contracts a degenerative disease which forces her to split up with her partner and move into a home. Continue reading “The Art of Dying” by Nick Payne
at the Royal Court Theatre, Thursday 26th June 2014
I love how proud Tim Crouch is of John Peter’s assessment of An Oak Tree in 2007: “Some people will do anything to avoid writing a real play, possibly because they’re not sure they can.” You can find the quote in many places, not least on twitter where Crouch frequently cites it in discussion of his work. Similar things, we know, were said of Waiting for Godot and Blasted, so Crouch is in good company. What’s interesting about Adler & Gibb, however, is that it’s arguably the playwright’s most play-like play yet, and that’s not something felt only as a result of its context on the Royal Court main stage. Though formally and intellectually challenging, this is a play which has recognisable characters, a ‘proper’ set and – most strikingly of all – genuine emotional journeys. Its not that these things are absent from Crouch’s earlier work, of course, merely that here they are more visibly on the surface. Continue reading “Adler & Gibb” by Tim Crouch