Tag Archives: Theatre


“Let The Right One In”, “Under The Skin”, and Scotland

April Fool’s Day is a joke. It seems the only people who even care about the whole sorry charade are those working in the media, and even then they do so with a listlessness and lack of conviction. This year, however, was one of the worst I remember. Perhaps unsurprisingly, the majority of stories this year took aim at the forthcoming referendum on Scottish independence, with everyone from The Daily Mail to The Guardian joining in on the ‘fun’. What’s so sad about this, however, is that it is demonstrative of the lack of genuine debate in England about this huge, important thing which is looming and which could bring with it massive changes in identity, economy and government. The plethora of April Fool’s stories about the notion of Scottish independence highlight the extent to which our media view it as just that: a joke.

The truth is that we in England are scared of what might happen if the people of Scotland vote for independence on 18th September. We’re scared of having to reconfigure our own national identity which, currently, is largely self-described as “British”. We’re scared of a country we’ve loomed over for so long suddenly having nation-status quite separate from ‘the UK’. We’re scared of what might happen to our economy. So we bat it off with that well-used ‘British’ defence mechanism: humour.

Two things I’ve seen in the past month have thrown all this into relief and made me think that maybe, just maybe, we can have a serious debate in England after all.

The first was Jonathan Glazer’s film Under The Skin, with Scarlett Johansson starring as a predatory alien who roams the streets of Glasgow luring men into her van so she can take them home and submerge them in black goo. The second was the Royal Court and National Theatre of Scotland’s co-production of Let The Right One In, which has just transferred to the Apollo Theatre after it’s run in Sloane Square last year and tells the story of a teenager who falls in love with a vampire (though she insists that’s not what she is).

Neither of these things are ‘about’ Scottish independence in any tangible, meaningful way. Indeed, except for a brief mention of the vote on the radio in Glazer’s film, the subject isn’t even brought up. They are, however, both deeply and unashamedly ‘Scottish’.

Now, I realise I have to be careful here. The directors and writers of both are in fact English and as far as I can tell few of the creatives involved in film and play actually hail from Scotland. Indeed, the novel and film of Let The Right One In are both Swedish for God’s sake. Who am I, an Englishman, to decide what is and isn’t ‘Scottish’?

Bear with me.

I’d first like to point out that I don’t actually think either Glazer’s film or Thorne’s play necessarily ask any deep-and-meaningful questions about Scottish independence. If you want to, of course, you can read them as such without too much effort, and perhaps that’s what the writers of both scripts intended. In Under The Skin, a woman speaking with an English accent drives round a Scottish city to find lonely men who she can leech off, confining them to a pool of slime before their bodies collapse and disappear. In Let The Right One In, another female alien being (dependent on an older man) lives off the blood of men and women speaking with a Scottish accent, as one boy falls in love with her and isn’t sure he can live without her. So yeah, you can probably find the metaphors there if you want.

But I think the way they resonated with me was about more than simply offering metaphorical allusions to dependence and independence. Instead, they offered me, as an Englishman, a chance to see what might here be termed ‘the Other’ in a context where that group isn’t ordinarily represented.

First, let’s think about imagery, location and landscape, which are important to both play and film. Christine Jones’ design for Let The Right One In places dozens of thin, towering tree-trunks on a stage covered in fake snow, and could be either Scandinavia or Scotland (it’s definitely not England). Similarly, dozens of shots in Under The Skin focus on the rolling hills and deep forests of Scotland, locating Johansson’s alien firmly in the context of a landscape which has its own life and character. Even if the images evoked by each aren’t necessarily uniquely Scottish, they are defiantly un-English.

Then, perhaps most importantly, is the way these characters sound. In both, Scottish accents are constantly in earshot. Due to Glazer’s medium, he can afford to have his ‘actors’ speaking in slightly thicker, broader accents to which you sometimes have to listen intently in order to understand the text. Indeed, the sound design of the film isolates certain noises by playing voices and sounds against a backdrop of either the hum of an engine or deep, penetrating silence, thus making us acutely aware of the way in which individuals speak. And though the words in Let The Right One In are perhaps easier to pick up due to its theatrical context, we are unmistakably confronted with Scottish voices. This is in no way insignificant; in England, the only Scottish voice we hear discussing independence on any regular basis is that of Alex Salmond, whilst the rest of the commentary is largely given to those speaking ‘the Queen’s English’, meaning that even to spend a couple of hours hearing only Scottish accents shifts our perception and sharpens our hearing in no small way.

It’s perhaps a cliché to suggest that ignorance breeds prejudice, but there’s no doubt a kernel of truth in suggesting as much. We, inevitably, are often weary of that of which we are unaware. In this regard, then, Under the Skin and Let The Right One In are the kind of work we need to see more of in the run up to the independence referendum; that is, work which reminds us of the differences between Scotland and England, of the unique cultures of each, and of the need to open up to the possibility of being less selfish in our perception of national identity.


“Tabac Rouge”

at Sadler’s Wells, Tuesday 25th March 2014

*Originally written for Exeunt*

It’s often said that a good set becomes a character in its own right, allowing deeper insight into the piece itself and allowing for greater interaction with actors and audience. Rarely has set been seen as a ‘dancer’ in a choreographed work, but in Tabac Rouge, James Thiérrée allows his design to become exactly that. Desks, chairs, contraptions and – most strikingly – a giant mirror whizz across the stage aided by eleven human dancers in a messy, eclectic piece which sizzles and surprises.

In the opening moments of Thiérrée’s ‘choreodrama’, the metallic, wiry mechanics of theatre open up to reveal a quietly totalitarian regime, where a group of women are subordinated by a goose-stepping spiv. Continue reading

Grimm Tales_Tom Medwell (5)

“Grimm Tales”

by Philip Pullman, adapted by Philip Wilson

at Shoreditch Town Hall, Thursday 20th March 2014

The basement at Shoreditch Town Hall is a magical place. Wandering through the meandering corridors which connect the three main performance spaces, we catch glimpses of apples in cabinets and floating cutlery in cupboards, dresses hung from stairwells near a spinning wheel waiting to prick an innocent finger. In the playing areas themselves, chairs balance precariously upon one another beneath a ceiling of bulbs or desk-lamps whilst hooded figures usher us to our places. You could get lost in this place, part-installation, part-film set. Unfortunately, the same sense of abandonment cannot quite be said for the fairy tales themselves which, though engaging, struggle to find the dark heart of Grimm’s stories. Continue reading


“The Complete Brecht Toolkit” by Stephen Unwin

*Originally written for A Younger Theatre*

Although it’s a cliche, there’s a lot of truth to the old adage that, as Stephen Unwin says in his new book, “Brecht is often sloppily taught”. Many teachers of his plays and theories ignore the importance of contradiction in his work, and formal considerations are frequently given precedence over context. Artists and scholars alike become bogged down in ideas of “gestus” and “alienation” without considering their purpose and practicality, thus separating the ideas from their application. In The Complete Brecht Toolkit, Unwin takes care to knit the two back together, presenting the theoretical and practical ideas of Bertolt Brecht in a clear, concise and connected way so that students and practitioners may consider the importance of his work in the twenty-first century. Continue reading


Tim Key: Single White Slut

at Arcola Tent, Thursday 13th March 2014

*Originally reviewed for Exeunt*

Here’s a little game. Is the following (a) a poem or (b) a text message?

“Taj Mahal great. Poverty bad.”

If you answered (b), give yourself a pat on the back. The message was, apparently, sent to Tim Key by his mum when she visisted India, though it’s symptomatic of a show where, though poems are ‘announced’ and ‘read’, a poetic vein runs throughout. Key tells us stories, asks us questions and recounts information in a way which lilts and soothes, managing to be tightly structured and completely free at the same time, ensuring you’re never quite sure where the ‘poetry’ begins and the ‘comedy’ ends. Continue reading



at St James Theatre, Monday 10th March 2013

*Originally written for Exeunt*

Thomas Robert Malthus’ eighteenth-century essay on the troubles of population growth is hardly the most likely of stimuli for an all-singing, all-dancing musical. But then neither is an epic novel on the French Revolution or verbatim interviews with neighbours of a serial killer, and that didn’t stop the makers of Les Miserables and London Road. More so than those two shows, however, Mark Hollman and Greg Kotis’ Urinetown, playing at the St. James Theatre thirteen years after its opening off-Broadway, is aware of its own politics, commenting on and questioning its status as a piece of musical theatre. It’s a satire, and like the best satires it manages to be funny, hugely so, whilst also critiquing its context with often searing insight.

Coming so long after its original production, the UK première finds itself in the bizarre position of having an audience who may already be aware of the show’s content thanks to YouTube and online media libraries. Continue reading