Book Review: Mexico Street by Simone Buchholz

I've been tackling a fair amount of German literature in translation recently: Günter Grass's The Tin Drum and Hans Fallada's Alone in Berlin being the latest (both thanks to my wonderful book club). Each an absolute classic of their era and completely rewarding the time invested in reading them. But for something more contemporary - and arguably more accessible - I find myself turning to Simone Buchholz and her series of gritty Hamburg-based crime thrillers, with no-nonsense state prosecutor Chastity Riley at their core.

These books are like catnip to me - well like catnip is to a cat, but you know what I mean. I reviewed Buchholz's Blue Night and Beton Rouge last year - her first two novels, translated by Rachel Ward, to be published in the UK by Orenda Books. Now here's a third: Mexico Street sees Riley investigating a series of arson attacks on cars being torched across Hamburg and beyond.

There's an apocalyptic feel, with reports coming in of vehicles being set alight, not only in Germany but also in countries across the globe. Yet the focus is personal, as Buchholz weaves her narrative around a singular story: the burning car that contains the body of Nouri Saroukhan, disowned son of a complex Bremen clan. As a homicide is declared and facts are uncovered, the investigation moves from Hamburg to Bremen and back again. We're drawn into a dark and sinister world, from which the tender love story of Nouri and his relationship with the enigmatic Aliza emerges in tantalising fragments.

I love Bucholz's writing, from her chapter titles that read like scraps of street poetry - 'lay your head in my sand' or 'sucking on shards' - to the way spaces talk back at their inhabitants - 'hello, this is your hole of an office speaking'. I love Chastity's hard-edged voice, fuelled by her own experiences but laced with humanity: 'Stepanovic is the cold-beer from-a-can-type. You can only drink canned beer with dignity if you know what rain in the gutter tastes like'. And these Hamburg law enforcers really can drink; the plot is fuelled by beer, spirits and endless cigarettes.

Food as well; 'In front of me is grilled halloumi with a spicy sauce. I can always rely on warm cheese to stick together some of the cuts inside me, temporarily at least'. Riley is the sticking plaster sort, not wishing to analyse her flawed past nor change the way she approaches her challenging present, refreshingly sure of her own uncertainty and past hurts.

Ultimately, the plot of Mexico Street feels less resolved than its predecessors, more an intriguing slice of other lives than a narrative that neatly ties up all its loose ends. But then life isn't all about seamless endings anyway, and certainly not where Chastity Riley is concerned.


Mexico Street was published in paperback by Orenda Books on 5th March 2020. Many thanks to Orenda and Anne Cater for my review copy. 

Theatre Review: Living Spit's Swan Lake at Tobacco Factory Theatres, Bristol

This review was first written for British Theatre Guide

No sooner had the dust settled on their condensed version of Homer’s Odyssey than Living Spit duo Howard Coggins and Stu Mcloughlin return to the Tobacco Factory with their own unique take on Tchaikovsky’s ballet Swan Lake. Having collaborated for the Greek epic in a threesome with songstress Kate Dimbleby, they now see fit to introduce not one but two professional dancers to this family-friendly retelling. Who knows, for their next production, they may decide to cram in a whole chorus.

Living Spit’s Swan Lake comes with a particular ornithological bias, framed by the Wetland Avian Council (WAC for short—they do love an acronym) convening on Swan Lake for their regular meeting. The members of WAC are the various birds living on the lake, represented by Coggins and Mcloughlin in breeches and flippers, and the audience divided into different species—ticking the Arts Council application diversity and audience participation boxes, as Coggins crows with satisfaction.

High on the agenda is the mystery surrounding the name of Swan Lake, given that no swans actually live there. Cue dancers Josh Hutchby and Francisca Mendo to re-enact selected pas de deux from the story, as the star-crossed lovers Prince Siegfried and Odette. Their stunning movement on the intimate stage is exquisitely choreographed by Holly Noble with particularly impressive pointe work from Mendo. It’s all the more elegant when seen so close up, and for its juxtaposition with Coggins and Mcloughlin’s panto-style buffoonery in the other roles—from the villainous magician Von Rothbart to Siegfried’s domineering Mum and his laddish best mate who presents him with a crossbow for his birthday.

Narrating in rhyme, the pair prove themselves once again to be masters of invention, clever wordplay and general silliness, and their improvised chorus work is a guffaw-inducing highlight in the closing moments of both acts. Their delight in questioning the convoluted logic of the ballet’s storyline, accepted without a raised eyebrow in classical productions, is a droll and accessible primer for newcomers young and old getting to grips with the work and its alternative sad or happy endings—as long as nobody takes the concept of anti-drowning pills too seriously.

However, on occasion, what lies beneath the frivolity does feel perilously two-dimensional; the princesses introduced as potential brides at the ball, for example, are only differentiated by a series of wigs and all too readily dispatched. The bird species divisions established in the audience at the top of the show could be carried further. And the inclusion of an interval in a production with a running time of a little over an hour feels intrusive and unnecessary.

That said, Living Spit has a strong community-based ethos and is always warmly—in this instance rapturously—received by Bristol audiences. This production is jointly presented with North Somerset performing arts charity Theatre Orchard, with whom they also manage the Theatre Shop in their hometown of Clevedon. It’s easy to imagine their Swan Lake being even more of a micro-ballet cackle of contrasting classical-meets-farcical styling, when it transfers billing to the Tobacco Factory’s smaller Spielman Theatre for the final (already sold out) days of this run.

Reviewed on 31 January 2020 | Images: Camilla Adams

Theatre Review: The Political History of Smack and Crack at Weston Studio, Bristol Old Vic

This review was first written for British Theatre Guide

The Political History of Smack and Crack traces the present-day glut of hard drugs awash on the streets of Manchester and other British cities back to an explosion of availability in 1980s Thatcherite Britain, arguing its root cause was a combination of Tory foreign policy and the desire to subdue the riots catching light in urban working-class districts across the land.

If that sounds like a treatise of abstract polemic then, in fact, it’s anything but: this urgent and energetic 80-minute two-hander—winner in Edinburgh 2018 of Summerhall’s Lustrum Award—threads this history through a deeply personal love story of addiction, recovery and the struggle to get clean of drugs, drawn from writer Ed Edwards’s own personal experiences.

Mandy and Neil are childhood friends and lifelong addicts, born and bred to deprivation and abuse in Manchester’s Moss Side. Between them, they narrate the story of their lives, fluidly weaving past with present in an ongoing cycle of dependency and rehabilitation, where shoplifting, prostitution and robbing from chemists alternate with sessions at Narcotics Anonymous and the support of friends.

It’s gritty and often tough to watch but also endearingly warm and funny, made so by riveting performances from Eve Steele, sure-footedly reprising her role as Mandy from the show’s previous runs, and newcomer William Fox taking over from Neil Bell in the role of Neil. The two break out of their narration to characterise other players in the story: instantly we are with Irish Tony watching a policeman being attacked in the riots, Mandy’s mother with a broken arm walking home from A&E to save the fiver a doctor gave her for a taxi, or Martin offering a spare room and lashings of unheeded advice. Nimbly switching back into the story, they are unapologetic but vulnerable, caught in a purgatory between life and death with confusion and self-loathing pock-marking their back-and-forth bravado and debate.

On the Weston Studio’s unadorned stage, Cressida Brown’s direction focuses intensely on the actors, their fleet physicality filling the space but supporting rather than overwhelming the storytelling. Similarly, Richard Williamson's lighting and Jon McLeod’s sound design are unobtrusive in the main, used with sparing intensity to highlight moments of particular tension.

Such is the pull of this absorbing and affecting tale of mismatched love and survival even after death that the political elements, though cleverly spliced into the action, can occasionally feel intrusive. But the play’s message is a shocking and hard-hitting one, leading you to question and want to find out more, ultimately inseparable from the characters whose lives it touches.

Reviewed on 22 January 2020 | Images: The Other Richard

Theatre Review: God Of Carnage at Theatre Royal, Bath

This review was first written for British Theatre Guide

Building on the reputation for sharp social observation established with her 1994 comedy Art, Yasmina Reza strips away the veneer of middle-class pretension and politeness in God of Carnage to expose the savagery that lies beneath. First performed in 2006, the play went on to garner a clutch of awards on both sides of the Atlantic, as well as an adaptation into the 2011 film Carnage, reset in Brooklyn and directed by Roman Polanski.

Now the production that featured in Theatre Royal Bath’s 2018 summer season has been revived by its director Lindsay Posner and is back prior to a West End run, with Elizabeth McGovern of Downton Abbey fame—currently with one arm in a sling due to injury—reprising her role as Veronica.

The play opens with two London-based couples convening to discuss the playground fight between their children, eleven-year-olds Freddie and Henry, which resulted in Freddie knocking out two of Henry’s teeth. Henry’s parents Veronica and Michael are the hosts and instigators of the meeting, while guests Annette and Alan are the parents of perpetrator Freddie.

What begins with pleasantries over coffee and clafoutis cannot of course remain that way, and tensions quickly surface, both between and within the couples. McGovern’s Veronica, an American author full of earnest sensitivity and underlying waspishness whose current subject is Darfur, seems to have little in common with her hardware merchant husband Michael, played by Nigel Lindsay as an out-and-out East End geezer—so much so that you wonder how they got together in the first place.

Annette and Alan (she in wealth management, he a prickly commercial lawyer) might appear better matched but soon begin sparring over his constant taking of work-related mobile phone calls. She, it seems, is given all the responsibility on the domestic front, while he is totally absorbed in the professional. Samantha Spiro and Simon Paisley Day are both convincing in their individual characterisations, she pained and long-suffering, he soulless and callously corporate. Yet, despite the revelation of an endearingly embarrassing nickname, it’s hard to imagine them ever having had enough chemistry to get hitched.

That neither couple seems to completely gel undermines the credibility of the ensuing comedy of manners. That said, as bourgeois civility begins to break down, the play’s farcical elements are well delivered with laugh-out-loud moments to savour. There’s a devastatingly ruinous attack of gastric upset and a rum-swigging session that finally puts paid to any lingering social niceties. Allegiances between the quartet form—the women siding together over the Neanderthal tendencies of their husbands, the men reminiscing over their time in playground gangs—and just as quickly implode over the next newly perceived slight.

As the decibel level and physical wrangling spiral, Peter McKintosh’s ceiling hanging design of African spears suspended above the chic living room becomes increasingly apt. This is little short of war in a domestic setting, the parents’ behaviour worse than their children’s, the passive aggressive comedy pierced by an underlying tragedy of desperation.

Caught up in the primeval vitriol are themes concerning the relative importance of local and global issues, the raising of children and the ways in which we say one thing and mean another. It’s a shame that, despite strong performances—particularly from McGovern—some of the subtleties of Reza’s clever construction ultimately become lost in the fever-pitch of hysteria.

Reviewed on 21 January 2020 | Images: Nobby Clark

Theatre Review: A Christmas Carol at Bristol Old Vic

This review was first written for British Theatre Guide

After a sell-out festive season in 2018, A Christmas Carol returns to the Bristol Old Vic main stage, with new casting that sees John Hopkins replacing Bristolian favourite Felix Hayes in the role of the money-grubbing miser Ebenezer Scrooge.

Though he has big shoes to fill, Hopkins fits them commandingly: huffing and impatient, peppering the stage with furious barbs, pressing his debtors until they are broken and embodying Scrooge’s misery in his unwavering rejection of anything vaguely celebratory. Much of his rage is directed towards his employee Bob Cratchit, played by signing actor Stephen Collins; "I don’t speak wavy language", Scrooge grouches, flapping away his kindly, mild-mannered clerk to do his bidding.

Charles Dickens’s perennially performed classic dates back to the Victorian era’s sentimental re-invention of Christmas, but Tom Morris’s adaptation, once again directed by Lee Lyford, brings a freshness and energy to its narrative. With a gothic, steampunk aesthetic and captivating puppetry, it is a retelling richly redolent of Bristol Old Vic’s 2016 production The Grinning Man.

When Scrooge is visited by the luminous Ghost of Christmas Past, though this segment does in places feel over-long, the simplicity of paper folding and shaping his favourite Sinbad story from Arabian Nights captures the power of the imagination. When he visits his future in a Christmas yet to come, the ghost is a macabre Grim Reaper who introduces Scrooge to the pitifully clinging puppet infants Want and Ignorance, strengthening his dawning realisation that he has been living a wretchedly empty, isolated life "like a beetle in a box".

Gwyneth Herbert’s contemporary live musical score is exquisite, her ballads haunting and expressive, contrasting with the raffish exuberance of livelier numbers where the audience is invited panto-style to sing along. She also reprises her role as the convivial Ghost of Christmas Present, showing Scrooge how his own nephew Freddie and family are celebrating without him and the close family bonds of Bob Cratchit’s clan, despite the depths of their deprivation.

A strong cast takes on multiple roles; Shane David-Joseph splendidly captures Freddie’s constant joie de vivre, while Rebecca Hayes gives a sensitive portrayal of Scrooge’s late-lamented sister Little Fan. Mofetoluwa Akande’s singing voice is strong and pure and she shines as his lost love Belle, whose story in this version shifts to centre-stage.

In true festive show tradition, young members of the audience become involved in the storytelling, called upon to play a primary school-aged Scrooge and the pivotal role of Tiny Tim. When the scales finally fall from Scrooge’s eyes and he reopens his heart to the joys of empathy and love, his conversion to a man of generous social responsibility takes place largely in the stalls—accepting the suggestion with good grace on press night that he should buy a round of drinks for all in the bar.

As Scrooge’s Christmas evening party gets into full swing, the dank blacks and greys of Tom Rogers’s skeletal multi-storey set are banished, to be replaced by bright ribbons of colour. The celebrations extend out into the audience, ending a captivating production on a high of much-needed ebullient seasonal celebration.

Reviewed on 4 December 2019 | Images: Geraint Lewis

Theatre Review: Snow White at Tobacco Factory Theatres, Bristol

This review was first written for British Theatre Guide

New International Encounter has playfully updated the familiar Brothers Grimm fairy tale of Snow White into a magically captivating story with redemption at its heart. Previously seen at Cambridge Junction in 2018, the original six-strong cast of actor-musicians reprise their performances for the Tobacco Factory in a show full of laugh-out-loud humour and audience asides, bound together by an effervescent and verbally dexterous live score.

Joey Hickman and Elliot Davis’s compositions set the scene from the start. In a time before Wi-Fi, mobile phones and Game of Thrones, in a song rhyming Daily Mail with curly kale, Jodie Davey’s Snow White prefers the outdoors to the cold confines of her castle home but is bound by the conventions of her day. For her sixteenth birthday party, she is reluctantly primped and preened by her stepmother the Queen, a woman whose vanity sets conventional beauty above all else.

This wicked stepmother is no mere one-dimensional embodiment of evil, however. Instead, Stefanie Mueller steals much of the show with a portrayal full of emotional complexity, casual amorality and hysterically funny audience-involving deliberations. Her full-length oval looking glass is less of a mirror and more of a portal into another world—a frame that, Alice-like, she steps through daily for the ensemble’s ethereal voices to reassure her she really is fairest of them all until, on Snow White’s seventeenth birthday, the message changes.

The ensemble makes the most of the simple staging—also designed by Mueller—to recreate the storybook castle and its gardens with a chaise longue, carpet and sliding stands of branches, with props descending from the ceiling. When Snow White is warned by the Huntsman (Abayomi Oniyide) that he has been sent to kill her for surpassing her stepmother’s beauty, she makes her escape into the forest where yarn-bombed pillars and rattan rugs set the scene for her new yurt-style home, occupied by a hapless band of numerically challenged vegans.

Director Alex Byrne explores the full parameters of the Factory Theatre’s intimate space, with cast members clambering through the audience and descending from the aisles. Even if there is noticeably more padding in the second half—the collective obsessively and inaccurately recounting their number and repeated attempts by the Queen to kill Snow White—then the energy and momentum never lets up. Mueller embraces her various disguises with gusto and her final attempt, with a poisoned apple that she declares most definitely organic, is the most hilariously apt of all.

For all its light-hearted references to vegan stew and recycling, this homespun fable’s nuanced contemporary morality acknowledges the difficulties of aging in its rejection of vanity and the temptation to build artificial walls and borders in its counterargument for tolerance, inclusivity and forgiveness. The Tobacco Factory has a strong tradition of uplifting family Christmas productions and Snow White is up there with the best; a show that bubbles over with entertainment for both adults and children, carried through by this tightly knit ensemble’s inherent warmth, wit and charm.

Reviewed on 3 December 2019 | Images: Mark Dawson Photography

Theatre Review: Wild Goose Dreams at Ustinov Studio, Theatre Royal Bath

This review was first written for British Theatre Guide

The Ustinov Studio’s new season features three UK premières of plays originating in the USA, beginning with the off-Broadway Korean love story Wild Goose Dreams. Written by Hansol Jung, it peels away the façade of an ever-more integrated world to explore the human disconnection that lurks behind, in the shape of two people from the opposite sides of a divided peninsula.

Guk Minsung (London Kim) is a ‘goose father’: a man whose wife and daughter have flown overseas in search of a better life. He subsists in a tiny Seoul apartment, sending the bulk of his salary to fund their expenses in Connecticut. Yoo Nanhee (Chuja Seo) has escaped the rigours of North Korea, searching to improve her lot in the South. But she misses her father (Rick Kiesewetter)—teller of bedtime folk tales—and, in her loneliness, is tempted when a message from an online dating site pops up on her screen.

The two begin hesitant communications against a backdrop of overwhelming Internet clamour, recreated by an ensemble of six performers crowding and sliding between them, jumping out from behind hatches to interrupt the most intimate moments. This fluid chorus delivers the hectic, easily recognisable staccato of the digital age: binary ones and zeroes, likes, reboots, deletes and emojis, peppered with traffic updates and random clickbait articles (“why Footloose was the Frozen of the ‘80s!”).

The lead couple is compelling throughout, beautifully judged in their tentative relationship, as their real-life meeting stirs up raw emotions both new and old. They each wonder whether their misunderstandings are down to cultural differences (“is that a North Korean joke?”), while Nanhee questions her desirability as a woman over 30 without plastic surgery. She is visited by sudden visions of her father: often goading her, advising on her new boyfriend and even appearing in the form of a penguin—a flightless bird—from the toilet. But there are darker aspects: repeated gunshots and the appearance of a troop of North Korean soldiers indicating something more disturbing and sinister.

Meanwhile, Minsung tries desperately to keep in meaningful touch with his family, connecting with his teenage daughter Heejin (Jessie Baek) on Facebook but unable to navigate the etiquette of their online relationship. Heejin replies from the height of a balcony, the distance of generational divide layered over the growing gaps of culture and technology.

Michael Boyd’s direction finds the light and shade in Hansol Jung’s vivid, audacious prose and interlinking themes; beneath the clashing demands of family and freedom and the tumult of everyday existence, there lies the humour of a quirkily expressive love song and simple moments of quieter intimacy when the stage is plunged into darkness. Jean Chan’s pale, pared-back set design encompasses the rudiments of a life largely sacrificed for others; a pull-out bed and few essentials cramped together, a backdrop to sporadic video projections and multi-screen sequences.

As the protagonists separate only to search for each other again and the claims of their families extract their toll, Wild Goose Dreams proves itself to be a play of contemporary aspirations; of never being fully alive and complete in your own present, but always wishing to be where you are not. At times, like modern life, it can feel too overwhelming; a point well made by this clever and multi-faceted production, crowded with ideas and chock-full of captivating and well-balanced performances.

Reviewed on 27 November 2019 | Images: Simon Annand