Well the plays have been revisited, the little grey cells put back into action and the oracle consulted. In short and without further ado, Civilian Theatre is proud to present the runners and riders in the inaugural shortlist for The Civil Awards. [Cue much fanfare, fireworks and underhand, dirty trick campaigns].
Bribes, whilst having little effect on the outcome, will still be gratefully received. Your comments and opinions are also welcomed.
Winners will revealed next week following a countdown of the Top 10 plays of 2013.
Best Actor – Male
- James McAvoy Macbeth (Macbeth)
- David Tennant Richard II (Richard II)
- Serge Maggiani Berenger (Rhinoceros)
- Henry Goodman Arturo Ui (The Resistible Rise of Arturo Ui)
- Rory Kinnear Iago (Othello)
Best Actor – Female
- Phoebe Waller-Bridge Marion / Fleabag (Mydidae / Fleabag)
- Harriet Walter Brutus (Julius Caesar)
- Hannah Waddingham Kate (Kiss Me, Kate)
- Neve McIntosh Claire (The Events)
- Ruth Wilson Monologue (The El Train)
Best Supporting Actor
- Kyle Soller Gaveston (Edward II)
- Vanessa Kirby Isabella (Edward II)
- Jonathan Slinger Parolles (All’s Well That Ends Well)
- Ben Whishaw Baby (Mojo)
- William Gaunt Dogsborough (The Resistible Rise of Arturo Ui)
- Susan Stroman The Scottsboro Boys
- Katie Mitchell Fraulein Julie
- Jamie Lloyd Macbeth
- Declan Donnellan Ubu Roi
- Gregory Doran Richard II
Theatre / Theatre Company of the Year
- Young Vic
- Barbican Centre
- Trafalgar Transformed
- Harold Pinter Theatre
Surprise of the Year
- The Scottsboro Boys
- The Events
- Hamlet de los Andes
Best thing to happen in theatre in 2013
- The amount of £10 seats for the Michael Grandage season
- Rupert Goold appointed as the next artistic director of the Almeida
- The opening of The Shed
Biggest disappointment of the year
- Not going to see Chimerica
- The general flat direction and conservative productions in the Michael Grandage season
- Ben Whishaw and Judi Dench in Peter and Alice
Worse thing to happen in theatre in 2013
- The growing trend to not allow people to book seats so that there is only one left on its own
- The continuing upward creep of top-end theatre ticket prices
- The cull of theatre critics across the mainstream press
A rather unusual thing happened to David Grieg whilst he was researching material for The Events (winner of a Fringe First, subject to rave reviews and currently playing at the Young Vic until November); following a feature interview in The Observer he was forced into the position of an issuing a statement via his blog to clarify that his latest work was both not a musical and not about Anders Breivik.
It is a telling moment in the creation of this subtle and quietly devastating work that one of our leading contemporary playwrights felt the need to publically justify his work; it was a moment that was indicative of the undercurrent of sensationalism that surrounds mass public tragedies and which makes it so difficult to discuss them in anything other than the most binary of terms.
There is nothing in The Events that is suggestive of the Breivik shootings, however the themes are as much about that tragedy as it is about Dunblane, Columbine or Sandy Hook. As a play it is at once singular and all-encompassing; Grieg allows the audience to only see glimpses of the tragedy as the play instead looks at the deeper, more powerful questions that arise in the response to a tragic event.
The play is neither cast nor structured in a traditional way; perhaps rightly assuming that to tell the story through a linear narrative would lead to difficulties in ensuring each viewpoint was treated with equal weight, Grieg has chosen to refract a number of positions through his cast of two, and the community choir.
The result is an audience that remains distanced from the emotional impact of the action; an alienating technique that enables the play to take the form of a Socratic dialogue between the two actors. This is developed further in brief, direct interventions with the community choir, who often resemble a Greek chorus providing commentary on the action.
Claire (Neve McIntosh) is the community’s priest who set up the choir that was the focal point of the events, and who acts as a mirror to the audience in looking for answers and explanations for the Boy’s actions. Rudi Dharmalingham plays the Boy – always nameless – and all the other characters in the play.
Claire is on a redemptive quest to find understanding in the Boy’s actions in the belief that doing so will liberate her from a perceived survivor’s guilt. The audience follows her through brief, fragmentary scenes, as Claire tries to gain answers that will provide some form of justification for the events rather than them appearing a senseless act of brutality from which survival was little more than pure luck.
However Claire’s crisis of faith (in both the secular and religious world) helps to shape the deeper narrative, which is a dialogue that sets out the precariousness of modern liberalism when it comes under an extreme and sustained attack. As a lesbian priest with partner and penchant for homemade bread, Claire may be something of a liberal caricature but in her belief and values Claire is reflective of the country that many of the university-educated, metropolitan middle-class assumes Britain to be.