Author: Andy Murray
Last month, when Northern Soul spoke to Steve Delaney of Count Arthur Strong fame about his current tour, he confessed: “It’s just Arthur’s stream of consciousness, really… In a sense it’s difficult for me to explain what a live show’s about.Read the full story..
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“I think kids like to see an old bloke behaving disgracefully.” Steve Delaney talks Twitter, telly and being Count Arthur Strong
Back in July, Steve Delaney’s Twitter feed lit up, as it tends to from time to time, with another wave of the rolling debate about which version of his character Count Arthur Strong is the best.Read the full story..
Ever since it was published nearly ten years ago, Jackie Kay’s memoir Red Dust Road has been in on-off development as a stage play. As a project, it’s a big ask. The book follows Kay’s journey of discovery as an adopted child from Scotland to Nigeria, taking in a whole host of different times, places and people along the way. Now the stage version, adapted by Tanika Gupta and directed by Dawn Walton, arrives at HOME in Manchester after several Scottish dates. In the event it’s very easy to like, but harder to adore.
It’s extremely ambitious, using a minimum of devices and trickery to conjure up Kay’s tale. The achievements of the cast vary, but as Kay’s adoptive parents, Lewis Howden and the mighty Elaine C. Smith loom large, proving to be the life and soul of the piece, appropriately enough. As Kay herself, Sasha Frost is an appealing presence, all the more impressive because she doesn’t have a great deal to go on. It’s an oddly slight, underwritten part. As events unfold, Jackie remains simply, unremittingly nice, with no edge and hence no depth to her, emerging almost as a bystander to proceedings rather than the protagonist.
The shape of the narrative has a similar problem in terms of drawing in the audience. Kay’s story is by no means a conventional quest, but one key destination point – meeting her birth father Jonathan (Stefan Adegbola) – is thrown in almost at the start, pulling away any sense of anticipation or dramatic tension. Frustratingly, the scene even begins after the first moment of meeting, so we never get to see it.
To be fair, Red Dust Road is aiming to create a subtle, lyrical tapestry, leaping back and forth in terms of time and place. In that respect though it’s an uphill struggle, not helped by the curious lack of enveloping intimacy in the HOME theatre space. It’s hard to feel engaged by Jackie’s tusslings with her roots and identity when they meander so, never settling in one setting for long enough to resolve in a satisfying way. That said, individual scenes often feel long and woolly and overall the piece, which runs at two and a half hours, lacks a concerted sense of pace and snap.
The second half coalesces a little better than the first, and it’s never less than enjoyable, with some great lines and decent laughs. Along the way there are some elegant, beguiling moments but for all the boldness and ambition on show here, it remains pleasant but underwhelming. There might be a much better play in there somewhere, or possibly Kay’s wide-ranging, highly personal memoir just poses insurmountable hurdles where staging is concerned.
Red Dust Road is at HOME, Manchester until September 21, 2019. For more information, click here.
To read Andy’s interview with Jackie Kay, click here.
“A reader has their own way of interpreting your whole story.” Poet Jackie Kay talks to Northern Soul
Jackie Kay’s 2010 acclaimed memoir Red Dust Road is the story of a journey as Kay comes to terms with the fact that she’s adopted and gradually wends her way from Scotland to Nigeria in search of her birth parents. But the book has since gone on a journey of its own.Read the full story..
L.S. Lowry was in his early fifties by the time his artwork started to find widespread acclaim, before which he’d painted privately at home, only for his elderly mother to be dismissive of his talents.Read the full story..
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